The rationale for this article lies in a perceived need for instrumental teaching to take on positively some of the opportunities that the National Curriculum represents; in particular, the need for music-centred approaches encompassing improvising, composing and appraising as central activities in instrumental lessons in addition to performing. Its background is the belief that traditional approaches to instrumental teaching have tended to favour development of technical skills in preference to imaginative responses to musical encounters. Pragmatic realities as well as potential curriculum benefits now demand a shared outlook from class and instrumental teachers who have tended to travel on different, if parallel, tracks. This article provides a tentative model for instrumental learning in the National Curriculum which will enable the unique character of what instrumental music has to offer to be maintained whilst enriching it with wider curriculum perspectives. Note: Throughout this article instrumental teaching refers to that provision offered by specialist teachers whether of instruments of the Western classical tradition, those of non- Western cultures, or of the pop, rock, jazz or folk traditions. Exemplars are indicative only and are not drawn from specific cases. It is intended that readers will interpret exemplars according to their own particular instrumental specialism.

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.

The purpose of this paper is to outline the background to the introduction of peer assessment at the University of Ulster and to report on how the project has operated and developed over the past three years. Initially assessors were drawn from the same student year group as the performers (BMus, year 2). The process was monitored by the authors who subsequently met with each assessment panel to discuss the performances before marks and reports were finalised. In the following years the assessment of second-year performances was conducted by panels of final-year students; this resulted in more objective reporting.

Peer assessment is a relatively new approach, especially in music higher education where there seems to be a resistance to changes which give more control of the assessment process to student and, apparently, less to lecturers. At Kingston University peer assessment has been introduced into a number of modules on the BA (Hons) in music and also the BEd (Hons – music specialism) courses. These include: performance; music, performance and communication (a community based performance project); music and business; and composition. The latter is the main focus of this paper, although some of the observations are applicable to other curriculum areas. The main purposes of the study have been to evaluate student attitudes towards peer assessment, to identify features which have been successful, and to identify features which could be improved.

Originally, the creative music workshop involving professional players was intended to give direct support to school teachers and to enhance music in the classroom, but today's large-scale, high-profile projects mounted by orchestras and opera companies appear to be developing into a full-scale industry on their own. Their role in partnership with schools and colleges now requires clarification: a survey of education policies has revealed some confusion of aims with few bodies looking closely at objectives, outcomes and effects. Music companies could profit from the experience of museums and art galleries.