All research starts with identifying a problem, drawing on a firm knowledge of a particular context aswell as the literature relating to the problem and its potential solutions. For music educators these problems are usually located in some aspect of their practice as teachers. It is this connection between research and practice that has been at the heart of this journal since its inception.

This article reports on a school-based research project into teaching composing at GCSE, setting this alongside a review of the literature. It suggests that research into cognition in composing in school students and teaching composing within a school context may be synthesised by understanding composing as problem solving. Composing is described as knowledge-rich, complex, multiple and creative problem solving, requiring the development of skills of hypothesis and verification in students. A series of case studies of individual teachers is analysed using Bernstein's framework for coding knowledge in the curriculum. Research data presented suggest that although there is significant variation in the practice of individual teachers, teaching composing is characterised in the main activities of instruction and training in composing skills and knowledge; management of a positive creative learning environment; and facilitation of ownership, autonomy and authority in students. The article concludes by suggesting that conceptualising teaching composing as problem solving enables music educators to rationalise the specific demands of the curriculum context in which they are operating by providing students with a framework for cognitive development in composing.

The purpose of the study is to examine, through interviews and observations, the extent to which 8–10 year old children in a London primary school replicate gendered musical practices and experience gendered musical meanings, and how these may affect their expectations and the specific practices and products of their composition. I also consider how primary school teachers participate in the overarching discourse on gender and music education, by examining their expectations about the nature of girls' and boys' compositions. I analyse my findings in relation to Lucy Green's model of gendered musical meaning and experience. One outcome of the analysis is the development of a concept of ‘female musical subculture’ to interpret girls' and women's participation in the compositional world. Secondly, the findings strongly suggest that in their musical practice, the children in the research are not reproducing ideological assumptions about gendered musical practices, which contradicts how they operate discursively, for their discourse lies within the bounds of gendered musical ideology. Thirdly, the findings also indicate that the teachers are strongly affected by gendered musical ideologies, and have concomitant expectations about the music girls and boys produce.

This paper is the result of a research project that set out to document a group of adolescent musicians in a rural Australian secondary school as they wrote and performed their own music. The processes they developed are reflective of a cooperative approach to group composition where upwards of 21 students composed and ‘jammed’ their way through a weekly rehearsal. There appeared to be strong links not only to the theoretical field of cooperative learning, but also to the ‘garage’ rock band model of peer-led composition and group processing. The participants completed a six-month programme of interviews, questionnaire and narrative writing tasks, as well as participating in the video recording of their weekly rehearsal. This paper focuses on two of the senior members, Sarah and Matt, and their reflections on the process of songwriting as a group and the significance of the relationships between the student members and the staff. The participants identified a middle ground occupied by ‘Jungle Express’, the name the students gave to themselves, between their mainstream school environment and their peer groups. This paper identifies the significance of using a cooperative approach with adolescent musicians and the high level of personal investment in, and identification with, the musical product that emerges.

Numerous studies in general education have concluded that parental involvement improves student achievement. Research in music education indicates that parental involvement is beneficial to progress on a musical instrument. However, few music teachers are known to actively encourage it. This paper reports on a detailed qualitative survey that examines teachers', pupils' and parents' attitudes to parental involvement, the extent and nature of that involvement, and pupils' resultant enjoyment and achievement.

The survey found that, while pupils and parents alike welcome parental involvement, some teachers encourage this collaboration and some do not. Teachers who (a) have pedagogical qualifications, (b) have followed specialist courses, and (c) are experienced, prove more likely to encourage parental involvement.

Breathing and breath control are central to playing the oboe, yet few detailed educational resources are available to support their teaching and learning. This paper presents a review of existing knowledge and expertise in the field. It highlights common ground and points of controversy, and indicates some key areas for consideration. It points to the need for further research to establish both a more detailed picture of the anatomy and physiology of breathing practices in playing and effective teaching and learning strategies.

The article offers an explanation of the effects of music on children within a hospital setting and points up the multifaceted nature of this experience. The nature of the client group allows the musical experience to work on many different levels, such as modifying the child's perception of pain and reducing stress, whilst at the same time having an integral educational element that supports musical development. The evidence base is drawn from an extensive review of the music/medicine literature, interfaced with the first author's experience over many years as a participant musician in a paediatric oncology ward.