Music curriculum courses for generalist primary and early childhood teacher education students have tended traditionally to be heavily skill-intensive and instruction-based and reflective of the pedagogical methods of prominent music educators. In such learning experiences emphasis is generally placed upon the acquisition of skills dealing with notational and historical precedents and the development of some expertise in the areas of singing, playing and listening. Whilst these experiences provide students with valuable insights into traditional music education pedagogy, students who have a limited formal knowledge of music and who do not consider themselves to be musically articulate or literate frequently find such experiences alienating. Furthermore the teaching practices modelled through such programs tend to conflict with those advocated in other curriculum areas.

In an attempt to redress this situation an action research study was undertaken in which compulsory music curriculum units for generalist primary and early childhood teacher education students were re-developed to place compositional experience at the heart of the music education enterprise. In developing a theoretical and philosophical base for the pre-service music education units a number of educational strategies common in other curriculum areas were examined and adapted for use in the music education classroom.

Qualitative evaluation of the units has indicated that participating students whilst developing skills and knowledge in music and understanding of a range of teaching and learning strategies also perceive themselves to be more capable and confident as musicians.

The writer and ten primary school teachers conducted a survey aiming to find out the extent of parental interest in musical activity in schools of contrasting location and character. Parents' interests and tastes in music were canvassed, together with the interest shown by children at home. They were also asked their opinions about various types of school musical activity. Results showed no lack of interest amongst parents, and strongest support for singing, moving/dancing, listening, and playing ‘school’ instruments. They also, overwhelmingly, would have liked their children to have had the chance of learning orchestral /band instruments. The survey was useful and encouraging, but improvements could follow in any future ones. Parents' views on educational concerns were illuminating and thought-provoking for teachers.

During the academic year 1992–93 HM Inspectors of Schools (HMI) inspected 1208 class music lessons in maintained schools in England. These included almost 400 lessons attended by pupils in their first, third or seventh year of statutory schooling, that is pupils to whom the National Curriculum applies. HMI found a wide range in the quality of the practice in both primary and secondary schools. However, the proportion of lessons which HMI judged to be satisfactory or better in at least one of three important dimensions was substantially higher in primary schools. Primary class teachers often under-rated the quality of their music teaching. Some principles for developing good practice were identified.

This article is based on a case study of how the Rocksmith entertainment music video game can be used in the context of studying electric guitar and bass as part of music teacher training. In empirical terms, we were interested in how music teachers’ knowledge becomes articulated in the pedagogical discourse of our participants. As conceptual points of departure, we used play theory, game studies, and the Technological Pedagogical Content Knowledge (TPACK) model of teacher's knowledge. Four ways of approaching the potential role of Rocksmith in music teacher education stand out as a result. In the discussion, we suggest that music gaming can be conceptualised as an activity that expands the reach of what can be considered as ‘playful’ and ‘serious’ in music teacher studies. Such an approach can guide our thinking about how different areas of music teachers’ knowledge merge into multidimensional competence, paving the way for further discussion about how ‘music educatorship’ can be constructed in the digital era.

This article examines the debate over issues of musical intelligence, largely in a Scottish context, although it draws on recent international research in its discussion. It examines different perceptions of musical gift, and will relate these to factors which either release it, or constrict the release in different ways. Musical intelligence is then examined within the context of the multiple intelligences proposed by Howard Gardner, and is related to practical aspects of musical education.

In the last few years expressions like European convergence, European Higher Education Area, European Credit Transfer and Accumulation System and others have become more and more usual not only in academic circles but also even in the mass media. But to what extent are these expressions valid for all knowledge areas in all EU countries? After analysing the curricula for Music Teaching Training in Spain (through the lens of J. Butler and J. Derrida) I will show the situation of precarity of this knowledge area under a postmodern perspective and how the expressions above have become non-neutral expressions sous rature that manage to preserve the rights of the already consolidated knowledge areas to the detriment of the non-consolidated ones.

Recent years have revealed local government to be a fundamental stakeholder in the development of arts and music communities. This article provides a context for an exploration and study of the issues, themes and dilemmas that surround local government and music communities. In particular the article provides this examination from an Irish perspective and focuses on recent research to provide insights from local government music practice. Key themes, questions and issues are raised concerning the impact of local government on the development of music communities, how arts agendas are integrated into local government, the tensions between artistic aims and political remits, as well as the ways local government is enhancing musical participation and development amongst communities.

Existing classifications of West African musics seem to have a limited applicability as models for music education in schools and colleges. Hence, a more comprehensive classification, highlighting a range of syncretic forms, is merged with a structure in Ghanaian drum ensembles to yield a sequential, two dimensional, model. It is then argued that the model can be used as a framework for teaching West African musics in primary, secondary and tertiary educational institutions. A more general discussion is followed by an integrated arts application; finally, a musical perspective, including compositions by the present writer, is presented.

It was envisaged that the data gathered in this investigation from empirical statements, case studies and observation of a broad spectrum of group teachers, would contribute towards establishing a clearer perspective, focus attention on and evaluate the techniques and procedures of group tuition. In short, the study was intended to investigate, in an illuminative and interpretative manner, the effectiveness of group work.

A major concern was to identify a methodology – practice-based, eclectic and illuminative of music and the learning milieu – with designing a questionnaire; and with selecting for interview acknowledged group teachers. Thus the interviews provided both a primary source of opinion and a basis for further evaluation of the principles and procedures of group teaching in action.

To collect empirical data, a case study technique was employed and structured by use of pro formas. Four teachers, chosen on the basis of specific criteria, were each observed systematically in both group and individual settings. The datum elicited was then interpreted and summarized.

Free improvisation has two sources in the avant garde jazz, and experimental classical practices of the 1960s. Appeals to freedom, musical or otherwise, often result in more limitations. Sessions at Thames Valley University are managed by the students, and involve intense debate concerning how best to maximise collective musical freedom. Performances are triggered by individually prepared plans, which take the form of intervallic and rhythmic cells, registrally distinct roles, formal markers, dynamic processes, and even evocative poetics. Free collective improvisation in the classroom rewards sensitivity and sustained, intense concentration with a confrontational and convivial, ethical and musical, experience.

This article reports an investigation into the pedagogical content knowledge (PCK) of Dutch specialist preschool music teachers with regard to teaching and learning rhythm skills from an embodied cognition perspective. An embodied cognition perspective stresses the intimate relationship between body, mind and environment. Through stimulated recall interviews, video analysis tasks, notebooks and semi-structured interviews, the PCK of six music teachers was explored. Regarding the content, a new form of bodily based PCK was found in the data: instructional gestures, representational gestures and guiding gestures that facilitate the learning of rhythm skills of preschoolers. Regarding its nature, this study demonstrated that the music teacher’s PCK presents itself as a multimodal form of knowing, distributed over language, sound, gestures, body positioning and physical actions. This study raises the question whether the body is marginalised in current conceptualisations of PCK.

This paper examines teacher confidence in teaching music within the context of the introduction of a Foundation Phase ‘curriculum’ in Wales for pupils aged 3–7 years. This involved a move away from music as a single subject to being part of creative development. The findings are based on a small-scale study of 12 teachers from four primary schools in south Wales. The findings illustrate that teacher confidence has improved since the Foundation Phase was introduced. The language used in the new documentation was a contributory factor as teachers found it more straightforward to understand what they were expected to do, and being able to combine music with other topics made it easier and more enjoyable to teach music. As a result, music (both indoors and outdoors) is a more regular occurrence and has become liberated from its perceived single subject status with the associated confidence issues.

This paper presents new data extracted from the National Survey of Jazz Instrumentalists and Vocalists. The survey was administered to 209 professional jazz musicians who resided and performed in Australia during 2009–2010. Presented here are five statistically significant characteristics which differentiate vocalists’ experiences from other jazz musicians. These are: the singers’ preference for learning by imitation, their use of chords to find starting notes, their reliance on aural feedback, their greater sense of personal risk in improvisation, and their desire to be comfortable when performing lyrics. The results are accompanied by suggestions as to how jazz educators may respond to the findings.

Do high levels of resourcing improve pupils' attainment across any or all areas of the music curriculum; and do pupils make greater progress in their learning where there are significant levels of music technology resourcing? Are there specific outcomes for teachers in terms of teaching styles, INSET, and finance; and what are the most useful items of music technology in the modem classroom? Perceptions of these issues suggest positive developments in key areas, with clear implications for teachers and managers of schools.

Learning-practices of popular musicians are a prominent theme in Western music education literature; however, there appears to be a shortage of such literature in Asian countries. With the aim of comparing East and West, a qualitative study was conducted to investigate the learning-practices and involvement in music of Hong Kong popular musicians. Since Hong Kong is a former British colony, the study intended to investigate whether these practices resembled Western practices, or if they were derived from elements indigenous to Hong Kong. Interviews and observations of the informants’ performances and rehearsals were used to obtain data. It was found that all the informants learned mainly in an informal way and participated actively in music-making – similar to the Western popular music-making scenario – but the shadow of the mentor–apprentice learning relationship inherent in Chinese culture also appeared. Lastly, achievement-driven motivation in learning, which is prevalent in Chinese society, was also found among the informants in the present study. This may not be a significant finding in the context of popular music generally, but it is an issue in which Asian educators may be interested.

Attempting to explain the mis-match between women's low profile in most music professions and females' success in formal music education, I looked for differences in the attitudes, experiences and expectations of music students. This was done by using repertory grids with relatively small numbers of A-level and undergraduate music students, and postgraduate student teachers with music degrees. Constructivist psychology, of which repertory grid technique is a practical example, offers approaches in harmony with feminist preferences for the meaning people attach to their situation and the usefulness of their interpretation over notions of truth. Thus participants' responses dictate any groupings to emanate from analysis, rather than their being placed in pre-determined categories.

The outcomes of the study suggested, however, that little differentiates female and male musicians, as represented by these music students. Conversely, the results implied that the sexes are inclined to think similarly, insofar as likenesses in their attitudes could be associated with their instrument, and, crucially, that each sex tended to look to mo dels I mentors who reflected their sex as well as instrument. The sexes' inconsistency of achievement might then be explained by differences between sex-role models.

This research was carried out as part of an extensive investigation into why some music teachers were experiencing difficulties teaching music to Muslims in their classes. For some Muslims, music is pronounced haram and is forbidden in Islamic law due to its associations; it has frequently been linked with sex, drugs and alcohol and has been ‘tarred with the same brush’. For many more Muslims it is seen as mubah, indifferent in relation to law, but for cultural reasons they would still prefer their children not to take part. Some forms of music are more acceptable than others, and some are acceptable under certain conditions, but of course most non-Muslim teachers are unaware of these. This article reports on observations of music lessons in a school with a high proportion of pupils from Muslim backgrounds. Interviews with pupils and several relevant adults are included. A report of the background to this research, and other aspects of it, can be found in the suggestions for further reading.

The article uses methods of philosophical enquiry and historical research to clarify questions surrounding the epistemological basis for music education. It critically examines the idea of ‘music as aesthetic education’ in the context of evolving policy and practice within the English National Curriculum. It argues for broadening the concept of aesthetic education as a necessary antidote to an impersonal curriculum where an undifferentiated notion of knowledge distorts the character of goals, pedagogy and the valuing of musical endeavour.

In recent times the types of teaching and learning strategies adopted within higher education in British music conservatoires have been reviewed and reformed. This paper provides a case study of some of the newer practices adopted by one such institution, the Guildhall School of Music and Drama. It focuses on the work of the Performance and Communication Skills Department, and, drawing on participant observations, makes a detailed analysis of the success of the implementation of the teaching and learning aims and objectives. The findings suggest that, not only are the changes adopted by the conservatoire useful, but also that they are beneficial to teachers and students at a number of levels.

In this study, the authors set out to investigate the assessment of musical composition in the General Certificate of Secondary Education (GCSE), according to the criteria and marking system of a ‘typical’ examining board. In this article they describe how they conducted their investigations, what they found, what they suggest may be reasons for those findings, and how it might be possible to make improvements in the assessment procedures.