This issue of the British Journal of Music Education marks a new phase in its development, as we welcome Alison (Ally) Daubney from the University of Sussex as co-editor, alongside Martin Fautley, who remains in position. In welcoming Alison we also say farewell and thank you to Regina Murphy for her work on the journal over the years she has been co-editor here, and we wish her all the best in her future teaching and research.

The issue of inclusion is currently a hot topic in music education both in the UK and elsewhere. There are many discussions about what it means, what it should involve, and how it can be enacted. This is to say nothing of the positive effects inclusion can have on the lives of young people in terms of personal fulfilment, as well as musical participation. For a journal concerned with educational research in music education, as is clearly the case with the BJME, there is, or there should be, more to it, however, than just these simple matters. After all, having children and young people in wheelchairs participating in a musical event is all very well – even if it does not happen often enough - but is this really all we mean by inclusion? And it is this aspect which needs problematisation for music education. After all, having young people who are disabled in some form, visible or invisible, taking part in music education should be something which just happens, we shouldn't need, pardon the phrase, to be making a big song and dance about it!

The issue of knowledge and skills as competing factors in education has been considered in BJME editorials previously, notably 30(2) and 33(2) (Fautley & Murphy, 2013, 2016). This is a matter which not only affects the English system specifically, however, as there are strains of it being felt in many jurisdictions throughout the world. It is worth revisiting in this editorial because of a number of elements of the ways in which conceptualisations of this dichotomy are influencing what is enacted in policy. This is having an impact at both the macro and micro levels in and between schools and education systems (Schmidt, 2017).

The purpose of this article is to contribute to existing literature about how activity theory might be used in music education research. It draws from the author's doctoral action research into the assessment of group composing for New Zealand's secondary school qualification, the National Certificate of Educational Achievement (NCEA). It outlines and explains how activity theory was used to examine three interacting activities: social jamming, group composing and achievement in the NCEA. Analysis revealed a relationship between students’ identities, their achievement in NCEA group composing, and socio-economic disparity.

This article explores the significance of context and discourse from a gender perspective within three different studies of the Swedish music classroom, conducted in lower secondary school, upper secondary school and higher music education respectively. The theoretical point of departure is that gender performances as well as the music classroom are discursively constructed within a specific context. The result suggests that if discourse and context are directed towards music as identity and skill, gender is performed in music, but if the music classroom is constructed as educational, gender is performed beside music. A conclusion is therefore that the impact of gender in the music classroom has to be understood as a matter of school discourse and school context in close relationship. It is argued that studying the interplay between context and discourse can be a way ahead for understanding the complexity in the relationship between music education and gender.

This paper presents research carried out in a kindergarten in Catalonia with the aim of studying the different kinds of musical activity that take place during one school day. This is an ethnographic study where the researcher became an extra teacher in a group of one to two-year-olds and interacted with them musically. The methodology is based in a participatory observation approach and data are collected via video-recordings, field notes and a daily exchange of impressions and reflections with the teacher. The results show four different kinds of participation that determine the type of musical activity carried out when children are placed in the spotlight: (a) active audience, (b) performer pointer (c) performer proof with expert, and (d) performer proof without expert.

The implementation of a school-based integrated curriculum enables schools to plan a balanced, flexible and coherent curriculum in order to reduce subject specification, especially in kindergartens. Despite kindergarten teachers in Hong Kong Special Administrative Region (SAR) being encouraged to integrate music content across subject areas, these boundaries still exist and prove challenging. This instrumental case study shows how one kindergarten teacher attempted to integrate other subjects into the music curriculum through movement and games, and encourage children's creativity. Eight detailed observations of music lessons and an interview with the kindergarten teacher depict her efforts at integration. Findings show that some progress was made and that the support of the principal was pivotal. They also suggest ways in which kindergarten teachers might begin to incorporate more creative integrated approaches to music education and have some applicability to other kindergarten settings where transmission approaches tend to dominate and teachers want to encourage music integration and children's musical creativity.

Whilst the impact of gender inequalities has been studied in relation to music education, especially in the UK, relatively little has been written about their impact on higher music education (HME). This article compares data on HME programs and courses, in the UK and Sweden, from 2010 to 2014. It looks at similarities and differences in the numbers of men and women who applied to HME subjects, compared to those who were offered a place on their chosen program or course, in both nations. Through this it demonstrates that whilst a Swedish HME appears to show less institutional discrimination against women, there are still similar transnational divisions in men's and women's HME subject choices. However the article uses these data to build on existing critiques around a need for intersectional understandings of gender inequalities, before arguing that a critique of neoliberalism is essential to tackling gender inequalities in HME.

Recent decades have seen gender and feminist research emerge as major fields of enquiry in musicology and to a far lesser extent, music education. While these fields have increased awareness of the issues confronting women and other marginalised groups, the pedagogical practices and curricular design that might support aspiring women composers are in urgent need of attention. This article reports from an international survey of women composers (n=225), who in western art music continue to experience a masculine bias that has its roots in the past. The findings in the survey were focused on income, work and learning, relationships and networks, and gender. Numerous composers surveyed noted the under-representation of music composed by women in their higher education curricula. They also described their unpreparedness for a career in music. The article explores the issue of gender in music composition and makes practical recommendations for a more gender balanced music curriculum in higher education.

Within the growing field of publications on El Sistema and Sistema-inspired programmes around the world, a marked divide can be observed between the findings of critical academic studies and commissioned evaluations. Using evaluations of El Sistema in Venezuela and Aotearoa New Zealand as our principal case studies, we argue that this gulf can be explained at least partly by methodological problems in the way that some evaluations are carried out. We conclude that many Sistema evaluations display an alignment with advocacy rather than explorative research, and that the foundation for El Sistema's claims of social transformation is thus weak.

Limited consideration has been given to the challenges young composers and performers face when learning to communicate through notation in contemporary classical music, and the specific opportunities presented for peer learning. This article describes a project at a Swiss music conservatory in which two student composers wrote pieces for solo piano which were performed by three student pianists. Students were deprived of collaborative opportunities, with communication limited to score markings and legends. Results from individual interviews are discussed in relation to categories of approaches drawn from existing studies on learning new piano works, on notation and on collaboration, plus new categories arising from this research. The challenges and potential opportunities arising from this approach are examined here, highlighting specific areas to be targeted for future peer learning.

This article explores children's reflections on the value of their participation in In Harmony, a social and music education programme whose approach and philosophy derives from the Venezuelan ‘El Sistema’ (‘The System’) model. More specifically, through an analysis of participating children's accounts (n=111) and an exploration of the key patterns evident within children's attribution of value to their In Harmony participation, the article highlights a series of ways in which the initiative's approach to music and musical learning threaten to undermine its core aims.

In this qualitative case study, we used participant observation and interviews to examine Violet, a Flemish string youth orchestra. In doing so, we identify the qualities that constitute an ‘eclectic’ ensemble space, herein defined as a musical environment that uses a blend of informal and formal learning practices. Moreover, we emphasize how members benefit musically, socially, and personally from such spaces. Our findings suggest that a blend of eclectic practices create a music space that promotes social engagement, social interaction, and peer learning among members. Additionally, eclectic music spaces allow for personal development and nurture self-appreciation. An eclectic ensemble space thus provides a rich alternative to more traditional forms of music ensemble instruction.

This article outlines the development of an appropriate research approach, including methods from diverse disciplines, for researching the Colombian state-funded social music programme Music for Reconciliation (Música para la Reconciliación). After outlining the Colombian context and the literature, a pilot with ten participants is discussed. Findings show the contributions of sound postcards as part of life histories for capturing the experiences of displaced people in a country recovering from war. Their evocative capacity enriched the interviewees’ narrative, illustrating diverse sonorous landscapes throughout their lives that evidenced the changes generated by both the violence and programme participation. The conclusions offer suggestions for readers based in the arts, health, social sciences and beyond, interested in the uses of music and music education for other-than-musical purposes.

There is much dialogue in the academy about the role of doctoral studies in relation to employment, career trajectories and graduate outcomes. This project explores the experiences of Doctor of Musical Arts (DMA) graduates and students at the Queensland Conservatorium in Australia to reveal how the programme has impacted upon their professional activities, while also addressing assumptions promulgated through the literature on artistic practice and research education. The paper presents emergent themes and concludes by offering insights into artistic research in music more broadly.

Music notation is intrinsic in the composition and performance of Western art music and also in its analysis and research. The process of writing about music remains underexplored, in particular how excerpts of music notation are selected and arranged in a written text, and how that text describes and contextualises the excerpts. This article applies ‘semantic gravity’ from Legitimation Code Theory to characterise notational excerpts and their integration in a written text, by focusing on how closely they are connected to a particular performance or generalised across performances. It illustrates these concepts with case studies of tertiary students’ research projects to reveal how different purposes drive different notational usage when writing about music. This provides insight for music educators on how to support writing about music and the use of notational quotes.

Selecting repertoire that adult piano students find motivating and musically satisfying is more complex than simply finding pieces that are aurally pleasing. Drawing on theories of motivation, adult learning and transformative pedagogy, this practitioner-based study describes how the author learned to involve her students in the selection process, to align repertoire with their tastes and goals, and to understand the impact of students’ values, expectations and perceptions of learning on their engagement with repertoire learned. It is hoped that the experiences and theories shared herein inspire teachers to reflect on their own pedagogical choices regarding repertoire selection.

This paper reveals contemporary issues of music education in post-soviet Armenia. The author analyses the state of music education and draws special attention to the music education of adult beginners, which is a new challenge for the educational system of Armenia. In particular, the author reveals new problems in the performing arts, especially piano playing by adults, which brings with it many questions about new methodical approaches.

The author details ideas with respect to the psychological aspects of adults who wish to play piano and presents results of her tests on students from the chair of Music Education, Armenian State Pedagogical University after Khachatur Abovyan. She also provides observations and a number of recommendations for even more productive work.

Within a rapidly changing higher education landscape, there is an increased need for universities to look beyond their ‘ivory towers’ and into their surrounding communities in preparing students for the ‘real world’. Findings from an Irish case study explore a children's choral university-community initiative within an urban area of socio-economic disadvantage. The choral initiative involved 14 student volunteers and 150 children. Qualitative research, carried out over two years, involved student focus group interviews and reflective surveys. The research illuminates the multifaceted nature of the learning experience for students and examines to what extent such an initiative can build choral leadership capacity to work in school and community settings.

The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.