Music is supremely a manifestation of thought and perceptual judgement. Yet – and in spite of the good intentions of the National Curriculum - because the importance of these qualities is not generally acknowledged, musical education is in danger of being marginalized. Drawing on the work of W.E. Johnson and F.N. Sibley in logic and aesthetics, the author formulates a hierarchy of musical perception corresponding to Abraham Maslow's hierarchy of basic human needs and suggests that the future status of musical education could depend upon the extent to which teaching can be focused at a level of perception where musk as thought is most evident.

In this article consideration is given to some of the issues raised in Malcolm Ross's provocative critique of music education and music educators (TJJME, 1995, 12, 185–201). Ross's claim that there is empirical evidence to support a view of school music as a failing arts subject requires closer examination and critical evaluation. Whilst his contention that the arts subjects cannot really be taught in schools is both interesting and challenging, teachers will question some of Ross's underlying pedagogical and aesthetic arguments. They are also likely to conclude that he pays insufficient attention to the many developments that have taken place in the theory and practice of music education.

This article discusses the results of a nation-wide survey of the extent to which A-level music is valued as a preparation for higher education and for employment in the music industry. The survey was carried out with music lecturers in higher education, personnel in the music industry, and present A-level and undergraduate music students. The investigation revealed a mismatch between what is looked for in a music education at A-level and what is being studied and achieved at this stage. This raises questions about the core of A-level music in relation to our changing social, cultural, economic and educational climate.

Between 1922 and 1941 Walford Davies linked music in schools with the relatively new media of the gramophone and the radio. His work with the BBC and the Gramophone Company had immense potential. He believed strongly that teachers using the radio and gramophone could contribute to a significant improvement in the musical life of the nation. At the heart ofDavies's educational mission was a belief in the ability of children to compose their own melodies, Davies achieved a high public profile for his work, but was less successful in developing its detail. His teaching method became predictable, and style triumphed over substance. However, it may be more productive to view his work within the context of his notion of fellowship, recovering a sense of community in the arts through the mass media, an attempt to connect different musical worlds.

This paper reviews the traditions of teaching school music in Russia and focuses on the music curriculum for comprehensive schools elaborated by the Russian Academy of Pedagogical Sciences. New teaching methods continue to be developed and, despite economic difficulties in Russia, the number of institutes of higher music education remains high compared to that in other countries. As a result Russia has, perhaps, a greater number of highly-qualified musicians, teachers and performers than any other country in the world.

There has long been concern about the confidence and performance of the so-called non-specialist teacher of Music in the primary school. Although much research has focused on the long-term solution of educating student teachers, it is important that practising teachers are not forgotten. Many forms of training are available which attempt to help these teachers develop their current practice. This article looks at the effectiveness of this provision by examining a survey of teacher opinion, and suggests ways in which this may inform future practice in this vital area of teacher development.

Strategies for memorising music change as expertise develops. Twenty-two professional freelance musicians and 55 novice musicians were interviewed regarding their approaches to memorisation. Strategy use was found to depend on the nature of the material to be memorised. There was also evidence of considerable individual diversity in preferred strategies, learning being based on combinations of automated aural, kinaesthetic, or visual strategies. The professionals also made deliberate attempts to assist the memorisation process by developing an understanding of the structure of the music through analysis and devising strategies to avoid confusion when passages were similar. To reduce anxiety related to performance several strategies were often adopted simultaneously.