Dunwich Revisited was a curriculum-based music project run at Debenham CEVC High School between December 1999 and March 2000. All pupils in Years 7, 8 and 9, together with a Year 10 GCSE group, participated in the composition of an electroacoustic piece based on Dunwich (a place with a remarkable history on the east coast of Suffolk). A distinctive feature of the project was the use of a range of technologies to compose, develop and perform musical ideas. The final piece was performed by thirty-five pupils at the Celebration of Schools' Music held at Snape Maltings Concert Hall on 7 March 2000.

This article shares insights from this curriculum project drawn from a range of qualitative data collected by Jonathan Savage, the Head of Music, and Mike Challis, an electroacoustic composer who is also a member of the school staff. These insights are placed within the context of other recent research evidence describing the relationships between composition, performance and listening as prescribed in the English National Curriculum for music. The article considers how these technologies, some old and some new, can have an impact on music teaching and learning in the classroom environment.

There is increasing international evidence that playing a musical instrument has a positive impact on attainment at school but little research has been undertaken in the UK. This study addresses this drawing on data on attainment at age 11 and 16 relating to 608 students, 115 of whom played a musical instrument. The findings showed that the young people playing an instrument showed greater progress and better academic outcomes than those not playing with the greatest impact for those playing the longest. The findings are considered in relation to the possible reasons for this, and the implications for education.

The study reported in this article investigates students’ experiences (n=41) of their primary school songcrafting, examining the potential to support creative agency within school music education programmes. Songcrafting refers to a collaborative composing practice in which everyone is considered to be a capable creator of melodies and lyrics, and where negotiation, collaboration, and openness to the situation are essential. Through semi-structured individual interviews with students who had experienced songcrafting in the past, analysed with qualitative methods, it was found that the students' narration of songcrafting included meanings related to general agency, creative agency, musical participation within the classroom community, and documented and shared collaborative musical products, or ‘oeuvres’.

The results of this study illustrate the various often unforeseeable meanings produced through participation in collaborative musical activities. Furthermore, they highlight the potential to enrich meaningful teaching practices and pedagogy through the examination of students' experiences, and exploring the potentials in narrating one's musical stories. These findings suggest that music education practices could benefit from the inclusion of a broader range of opportunities for the students to create their own music, and the sensitive facilitation of collaborative music creation processes.

This paper takes the view that kinaesthesia, processes involving neuro muscular sensation, should be the central and unifying component in any psychological model for music learning. It maintains that engagement in music activities, which consciously encourages the processes of kinaesthesia, helps to bring about the closer association of thinking and feeling. The paper develops the notion that this form of musical ‘knowing’, which is based on the interrelationships between muscular, perceptual and cognitive awareness, is the essential ingredient of musically sensitive and imaginative behaviour. Having established these principles, the paper explores those recent developments in music microtechnology which appear to support and develop these processes.

We know that pupil talk is an integral part of the learning process. Previous research has not viewed affective engagement in a music composing task as a vehicle for developing higher order discourse skills. The aim of this study is to evaluate the significance of teacher questioning in encouraging quality dialogue with children during music composing. This paper reports on an empirical study investigating dialogue with young children during an imaginative music composing task. Pairs of children aged 6 and 7 years were audio recorded as they talked to each other and the researcher about the task. The dialogues between the researcher and the pupils highlight the importance of teacher questioning in encouraging young children to engage in evaluative talk and problem solving, through discussion and musical experimentation. Significantly, the findings suggest that young children are able to reflect on the learning process through meta-cognitive thinking. The findings highlight the significance of the role of the teacher in scaffolding and encouraging children's thinking and learning through dialogue, and the importance of talk and evaluation as a part of reflective music composing activities.

This paper presents an overview of boys' and girls' musical learning inside and outside school. This involves a sampling survey of 877 pupils (414 boys and 463 girls) in nine Chinese secondary schools. The paper argues that patterns of gender stereotyping associated with music among Hong Kong students have some similarities with those in the Western world. The impact of gender beliefs was most evident in types of instrumental learning, types of music activities, and listening and singing preferences. The subjects' attitudes towards the promotion of popular and Western classical musics in school emerged as statistically significant, while their attitude towards Chinese classical music was non-significant.

This article maintains that the emphasis placed on technical work during instrumental lessons inhibits the growth of students' musicianship. In addition the focus given to technique is shown to be responsible for the development of unnecessary physical tensions. It is argued that in terms of brain usage, technical skills and note-reading are based largely in the left-hemisphere, while the less used skills of improvisation, memorisation and internalisation are based in the right-hemisphere. It is proposed that in order to allow pianists to become more creative, imaginative and musical, young beginners should be given the opportunity to develop all the functions of their brains. Through using a whole-brain approach in piano teaching, pupils would develop a greater understanding of music and obtain a greater sense of physical ease whilst playing. The approach would increase enjoyment and motivation, reduce anxiety and physical tensions while performing and improve the ability to sight-read.

Authentic learning approaches are designed to immerse students in contexts that promote real-life applications of knowledge, and provide meaningful learning experiences beyond the abstract instruction of the classroom. In a grounded theory study of music teaching practice in high-achieving schools, 50 teachers from 23 schools across New South Wales (NSW), Australia, were asked to describe how they taught their senior secondary students and the musical environment they curated within their school. Through examination of the interview data, authentic learning exposed itself as uniquely situated in classroom music teaching of high-achieving music programmes for senior secondary students in NSW. This is shown through the use of thorough inquiry-based and student-centred learning tasks like video journals, the use of professional resources and expertise and collaborative learning in authentic contexts, in and outside of the classroom.

What is composing and how is it valued? What does a good education in composing look like; what constraints hinder it and is it possible to overcome such constraints? Can composing be a personal, creative and valuable activity for the school student? What role does the teacher play in all of this? These are questions that I discuss in this reflective study of composing in the classroom.

The present study aimed to identify student (16–18 years) attitudes towards the subject of music in second-level education in the Republic of Ireland. The study, framed by an interpretivist approach, employed qualitative data collection methods through interviews and focus groups. Findings indicate that student attitudes to music were influenced by the following factors: their innate interest in the subject, which was strengthened by an existing musical skill or talent, and the perceived use of the subject as a pathway for entry to further/higher education or for a student’s professional career. The findings also suggested that the music curriculum and the teaching style of the music teacher impacted student attitudes as did the appeal of the practical element of the subject, particularly with regard to the practical assessment component. Some interpretations of these findings are explored.

For students in Years 1–10 in Queensland, Australia, The Arts (hereafter referred to as ‘arts’) is one of eight Key Learning Areas in the core curriculum. Yet, while arts – comprising five strands including music – is a mandatory component of the curriculum, implementation varies widely. This occurs for a range of reasons, one of which is the common practice that generalist teachers are allocated delivery of the arts programme in their teaching load. Furthermore, research reveals that music and the arts are frequently considered to be the ‘frills subject’ in a school's timetable, often the first to be removed from the timetable when time is short and the first to feel the impact of budget cuts, including the engagement of specialist arts educators (Russell-Bowie, 2004). This study highlights the gap between policy rhetoric for music and the arts and the pedagogical reality in generalist classrooms. Using a narrative informed case study methodology, a story constellation derived from a beginning generalist teacher and a school principal is revealed. The discussion which follows provides a focus, through the generation of key values statements derived from the data, on the tensions this beginning teacher has experienced in his practice as a teacher responsible for teaching music and the arts, juxtaposed with a similar narrative of the school principal.

This study examined the nature of inclusion for female and black and minority ethnic (BME) young people in elite-level classical music in England. By contrasting the numbers of female and BME students taking part in elite youth orchestras and music schools with the representation of female and BME compositions in the professional classical music repertoire, the study asked whether female and BME inclusion was limited to participation as performers or whether it included adequate representation in terms of the music performed. The survey analysed 4897 pieces from 681 composers drawn from the 2017/18 concert seasons of 10 major English orchestras, 1 week’s play lists from two classical music radio broadcasters and the programmes from the last four London Promenade seasons. The study found that female and BME students were well represented in elite music education, but they were very poorly represented in the professional repertoire, where 99% of performed pieces were by white composers and 98% by male composers. Applying Bourdieu’s concepts of doxa and illusio, the study concluded that inclusion in classical music in England allowed female and BME musicians to play, but structures in the field maintained a repertoire that continues to be white and male and does not recognise the contributions of female and BME composers. This suggests that inclusion for female and BME musicians is limited and the field continues to promote white and male dominance in its cultural values.

This research project was initiated to study how instrumental pupils might respond to different practice methods assigned to them, and to explore pupils' perceptions of their own achievements at the end of the five-week study. Pupils were asked to choose one of two methods of practising: they could either do straightforward repetitions of short phrases in their music, or they could choose a set number of different repetitions from a menu of options listed on three graded pro forma cards. A description of the method is included as well as the data from pupils' returned questionnaires. Results of the study suggest that pupils not only preferred variety and choice of practice techniques, but also found that their learning process was faster and more effective. Recommendations are made, as there are implications here for instrumental teachers, class music teachers and their pupils.

The introduction of a National Curriculum to England and Wales in 1988 provided the first compulsory framework for music education. Writing in 1996, Mills suggested that in ten years time the impact of this change would result in primary school student teachers needing refreshment, and not development, of their musical knowledge. This five-year study examines primary school student teacher's knowledge of the musical elements as they entered the one year Post Graduate Certificate in Education (PGCE) course in one institution. The results suggest that some elements as defined by the relevant national curricula (duration, pace, pitch and silence) do indeed need only refreshment, but others (timbre, texture, dynamics, structure) need significant development in schools and in training courses.

I am a composer, producer, pianist and part-time music lecturer at a Further Education college where I teach composing on Music Technology courses at levels 3 (equivalent to A-level) and 4 (Undergraduate/Foundation Degree). A ‘Music Technology’ course, distinct from a ‘Music’ course, often attracts applicants from diverse musical backgrounds; it is not uncommon for a typical class to contain a majority that cannot read staff notation and have taught themselves to play their instrument. Sometimes the student's only experience of music-making prior to the course has been sequencing beat patterns using computer software. Potential students are drawn to music technology courses for many different reasons – perhaps their individual interests lie in sound engineering, acoustics, live sound reinforcement, computer programming or software application design. As a teacher of composing in this context, I am faced with a challenge: how to bridge the knowledge and confidence gaps that exist between students with more and less formal musical experience? I believe that music technology applications can help in this area, particularly with fostering confidence and motivation in less-experienced students. What follows is a student profile and a case study of one assessment task in composing, which will illustrate how such strategies can work.

Experience as a music lecturer in higher/further education and as an instrumental teacher suggests that instrumental pedagogy – focused on strings – and music analysis could usefully be brought closer together to enhance performance. The benefits of linkage include stimulating intellectual enquiry and creative interpretation, as well as honing improvisatory skills; voice-leading analysis, particularly, may even aid technical issues of pitching, fingering, shifting and bowing. This article details an experimental curriculum, entitled ‘Voice-leading for Strings’, which combines voice-leading principles with approaches to string teaching developed from Nelson, Rolland and Suzuki, supplemented by Kodály's hand-signs. Findings from informal trials at Lancaster University (1995–7), which also adapted material for other melody instruments and keyboard, strongly support this perceived symbiotic relationship.

With the support of the Royal National Institute of Blind People (RNIB), the life histories of five visually impaired (VI) musicians were collected and analysed between November 2011 and August 2012. This research was conducted as a pilot for a two-year, national investigation of VI musical participation, ‘Visually-impaired musicians’ lives’ (VIML) funded by the Arts and Humanities Research Council (AHRC, 2013–2015), which has brought together the Institute of Education, University of London, the RNIB and the Royal Academy of Music, London as project partners. In this instance, life histories were co-constructed narratives – foci were the self-identities of this unique group and ‘insider’ perspectives on education, musical participation and society. Analytic induction of the biographies revealed that a perceived barrier to lifelong learning was having the ability to read notation, either adapted print or in Braille format, and the access to educators who had expertise to teach musicians with visual impairments. The respondents commented on the great value of ensemble participation and adopting teaching roles too. With widespread lore in society about the exceptional musical abilities of those with visual impairment, longstanding traditions of blind musicianship, plus evidence of distinct neural development and hearing, they acknowledged the cachet associated with blind musicians but, regardless, wished to be considered musicians first and foremost. The findings raise questions about social and music educational inclusion.

This article compares two very different GCSE compositions, and various ways to assess them. The type of emphasis which examination boards, teachers and moderators place upon different musical styles, and different musical skills, has radical consequences for the type of marks we are likely to allot; and the system of music education itself throws up some significant ironies concerning the future opportunities of candidates.

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.