This article examines the issue of self-assessment of musical performance and the role of the learner in this process, with particular reference to the Australian context. Initially, traditional methods of assessment are discussed and references made to alternative methodologies in action. Following this, the rationale for and structure of a new method of self-critical assessment is outlined. The initial trial is discussed along with the evaluative questionnaire. The resultant data are then analysed and discussed, as are the implications for adopting and for developing this method.

The question of when it is convenient to start with vocal and instrumental lessons is a much-debated issue. This article studies a group of conservatoire students and looks at the relationship between their current level of vocal and instrumental performance and the age when they started formal lessons. It concludes that, for the whole student population, those with highest grades started earlier. Looking at separate instruments, however, we see both a positive and a negative relationship between an early start and a high level of performance in the conservatoire. Additionally, there are large differences between students. The findings are discussed in the context of expertise theory.

This article is a field investigation of the musical memories of preschool teachers and child minders, their experiences and interest in working with music in preschools. It is part of a larger international research project at Mälardalens University, Sweden. The original component of analysis is adults' memories of play. (Sandberg, 2001.) Participants also interpreted their own musical memories and defined music. Under the umbrella entity, WRP (Women's Researchers in Play and Disability) participating project partners were from the USA, Brazil, South Korea, Taiwan and Sweden. Participants reported their memories using an instruction sheet, a drawing sheet and a questionnaire.

Over the past few years, instrumental performance has been subject to considerable research in this journal and elsewhere. A great deal of this research has concentrated on the practice strategies and individual lessons, which most students undertake in preparing as performers. Little has been done on raising standards of performance on a larger scale within the context of a large music department. This article describes the outcomes of a two-year programme undertaken with undergraduates at Barnsley College. It looks specifically at the scope for curriculum changes over that period and the way the various individual aspects of performance lessons are brought together through a weekly class which focuses on the demands of a public performance and the strategies required to prepare for that event.

Interpretation of musical works depends on meanings, which, on a pragmatist view, are necessarily tied with cultural habits and practices. This entails that a piece of music is always interpreted differently by people raised in different cultural contexts. A musical work is always a result of this process of interpretation. Strictly speaking, works of music are therefore different works in culturally different contexts even if they were presentations of the same notes. The following discussion of the conditions of cultural exchange in music illuminates some pragmatist viewpoints on the topic by using Keith Swanwick's ideas as a point of comparison. The discussion shows that a contextual starting point leads towards a more ‘child-centred’ education.

This article originates from a research project investigating the effects of gender on achievement in music education in one secondary school. The study showed a correlation between gender and achievement in music with some surprising insights into possible causes of male under-achievement in education at Key Stages 3 (11–14 years) and 4 (14–16 years) generally. It is argued that because of national testing and school performance tables, the debate on male under-achievement in this country may have become so focused on core subjects that a very important link in the argument is being overlooked – a link provided by music and the other creative arts.