While studio-based instrumental and vocal learning is widely regarded as both important and effective in higher education music, research to date has offered little concrete information about studio practices that students have regarded as ineffective. Two recent case studies investigated what appear to be exceptional instances in which students expressed dissatisfaction with the approaches taken by their current teachers. In this paper, data from these studies is mined again, focusing particularly on verbal behaviour from semi-structured interviews. The two studies are compared with each other and with data from a broader study from which they had been drawn, asking how the ‘dissonant’ cases are distinct, and how student interviews might cast fresh light on the complexities of studio practices.

This article proposes age and gender as a way of classifying music; it raises awareness of the importance of age–gender classifications of West African musics; and introduces examples of West African musics.

It is argued that the classifications could help in selecting musics for curricular use: they could be used as a framework to choose African musics for school curricula; while the musical examples may be of some use to teachers. Three curricular perspectives – musical, intercultural and multidisciplinary – are suggested, the first of which draws on African drumming procedures and creative work.

This study compared primary student preference for competitive and non-competitive singing games. Students in three intact classes of second graders (n = 65) and three classes of fourth graders (n = 67) at one school in the USA served as subjects. After playing a pair of games, one competitive and one non-competitive, over the course of five classes, students anonymously named their preferred game and reported reasons for their preference. Results indicated that the students significantly preferred the competitive game, regardless of grade level or gender. The most common reason students provided for their preference was the higher level of kinaesthetic activity.

This inquiry focused on the initial implementation of the National Curriculum for music in primary schools. The findings – from 39 schools in different parts of England – indicate that although some teachers are confident about introducing the new curriculum, many perceive problems implementing the programme as presently formulated. In particular there is a reluctance to teach music history and notation to the extent specified and concern is expressed by class teachers over their ability to cope with all the requirements. Successful implementation wold seem to depend on the presence of supportive head teachers, proactive subject coordinators and appropriate INSET programmes.

This article examines the impact of analysis teaching on performance by documenting the progress of 12 students who took part in an advanced undergraduate class in music analysis. Each class participant was asked to keep a diary of their performances, both during practice time and in instrumental lessons, and these are documented and analysed. Finally, the students were given oral viva voce examinations. The data from this short qualitative study shows a variety of results that illustrate the extent to which individual students react to the teaching of music analysis in different ways.

Using a discursive approach, this study explores the ways that adolescents construct the notion of social status and ‘being privileged’ through their talk about musician role models. Drawing on social identity theory (see Tajfel, 1978), we examined how adolescents moved between the relational ‘in’ and ‘out’ groups of being privileged versus being disadvantaged as a framework for discussing classical and popular musician role models. Seven focus groups were conducted, each composed of male and female adolescent musicians and non-musicians aged 14–15 years. Participants were asked to discuss 19 pictures of famous classical and popular musicians, commenting on whether they were familiar or unfamiliar figures, and whether they were liked or disliked and the reasons why. Through their talk, the adolescents constructed and negotiated a complex understanding of musical subcultures, whereby high levels of expertise and success were perceived within the notion of privilege. Findings suggest that adolescents' perceptions of privilege may act as a barrier or constraint to their exploration of alternative conceptualisations of musical expertise and success, thereby limiting their own musical aspirations.

Music is more than just sounds; engaging in music activities in educational settings may foster a sense of wellbeing. This paper explores whether positive learning environments can change attitudes and build confidence of students undertaking the Bachelor of Education (primary) program. As part of a wider study in Melbourne (Australia), using questionnaire data, this qualitative case study reports on two overarching themes (Wellbeing and Learning, and Skill Development and Confidence). I contend that a happy and safe teaching and learning space may promote and nurture the health and wellbeing of students who lack the confidence to teach music as generalist teachers.

This article considers some paradigms of educational research, and their relation to teachers’ action research in their classrooms or studios. The positivist/scientific paradigm and the interpretive/naturalist paradigm are examined, with reference to two cases of music teachers’ action research studies. These studies are found to be flawed because the paradigms underpinning them are inappropriate for classroom-based action research. The critical theory approach is also discussed but only briefly, because no instances of music teachers’ action research in this paradigm have been found. The participatory paradigm is explained, with reference to a third case of music teachers’ action research. The article argues that, for teachers’ classroom-based action research, this paradigm is more appropriate than others. It suggests that music teachers’ action research in the participatory paradigm: (a) includes self-study, (b) involves students, (c) considers the influence of context, (d) involves more than one turn of the action research cycle, and (e) engages with, and contributes to, the development of theory.

The study investigates criteria chosen by music students for peer and self assessment of both the rehearsal process and performance outcome of their rock groups. The student-chosen criteria and their explanations of these criteria were analysed in relation to Birkett's skills taxonomy of ‘soft’ and ‘hard’ skills. In the rehearsal process, students placed an emphasis on ‘soft’ skill issues, and in the performance outcome, on ‘hard’ skill issues. For students and staff, challenges raised include understanding how and whether to assess ‘soft’ skills; that there is a continuum of ‘soft’ and ‘hard’ skills rather than a binary; and ensuring clear understanding of criteria terms.

Cecil Sharp's educational significance is clear – he introduced the music of an oral tradition into schools. Breaking the domination of the literate tradition was no mean achievement. Of course the general climate of educational reform helped, and folk song provided an ideal model of a supposedly instinctual form which would be able to transform the hitherto rigid style of schooling. Nevertheless the folk song movement developed into a narrow orthodoxy.

In his work Sharp probed into relationships between art, race, and national identity, and tackled notions of authenticity and knowledge; issues which are at the heart of the search for an adequate philosophy of music education.

This study aims to highlight the uniqueness of the English choristers’ education, what special musical skills it passes on to youngsters and how these may help them in later life. It investigates the perceptions of 30 ex-choristers who attended a broad selection of English choir schools between 1940 and 2010 using semi-structured interviews. The findings showed that music training of choristers forms a solid foundation to enhance the development of an all-round musicianship. In particular, it gives them significant sight-reading skills due to the huge volume of rehearsals and public performances. Although in most cases their instrumental skills are not sufficient for them to become professional soloists in their instrument, many ex-choristers found it relatively easy to achieve a music scholarship or pursue a music career if they wanted. Many of them retained a passion for music which was not necessarily limited to choral singing. The findings are considered in relation to the possible reasons for this, and the implications for education.

There have been numerous calls for the use of qualitative research in music education. Music educators have been slow to heed these calls, despite the wide acceptance of qualitative methods in other areas of education research. This paper describes the place of qualitative paradigms in the gamut of research methodology and assesses the potential of the ethnographic techniques of participant observation and ethnographic interviewing for music education. In doing so it responds to Swanwick's (1984) critique of participant observation method by, (a) describing some of the techniques' philosophical bases, (b) citing several model ethnographies in other disciplines, and (c) reviewing some of the ethnographic research literature which, the author argues, has recognised the particular strengths and weaknesses of qualitative method and developed a strong philosophical and empirical rationale for its use. The author argues that ethnographic method has much to offer as we seek solutions to the problems of understanding music education in its social context in the late twentieth century.

The aim of this article is to explore some important issues which music educators have raised concerning our work on the use of popular music in teaching and concerning the sociology of music thesis that underpins this work. Following a brief résumé of our perspective, we shall address four criticisms that have been made fairly generally by a number of reviewers of Whose Music? (Shepherd et al. 1977), and of the Cambridge University Press books (Vulliamy & Lee, 1976, 1982a) and the Routledge Popular Music Series (Vulliamy & Lee, 1982b). These criticisms are, first, that we hold an over-socially determined view of music; secondly that we have overstressed the qualitative differences between various musical traditions, especially in their differing relationships to analytic musical notation; third, that the culturally relative view of music which we espouse is both suspect theoretically and potentially anti-educational in practice; and, finally, that many of our suggestions for a reform of music teaching are impractical. Our hope is that we can dispel some ambiguities in our earlier work concerning these important but complex issues and thus leave music educators in a better position to appraise the relevance of our thesis.

This article describes inshimi – a musical storytelling practice of the Bemba people in Zambia. It gives a general perspective on the whole practice and some details on the ‘MUSIC’ as contained in the practice. The article further encourages the idea that inshimi represents a nucleus of the ‘MUSIC’ practices of the Bemba people and therefore plays a vital role in the transmission of musical arts practices. Embedded in musical storytelling are educational principles that could and should guide musical arts education in Africa and the rest of the world.

This article explores the theoretical concepts of ‘apprenticeship’ and ‘reflection’ in Initial Teacher Education music mentoring. It presents two case studies of Secondary music mentoring and relates these to the theoretical concepts. The article argues that a more integrated view of music mentoring might be provided with reference to Kolb's (1984) theory of experiential learning.

This paper is based on a five-year research project into the work of music teachers in Northern Ireland. It is concerned with the implications of the research for the curriculum. The results reveal a serious shortage of suitably qualified music teachers in the Province, and significant deficiencies in funding and facilities for the subject. They also reveal that many teachers doubt the value of their general classroom teaching, and prefer their extra-curricular activities. The author suggests that Music should become an option during Key Stage Three which schools would have to provide, and which motivated pupils could choose as an alternative to the other ‘Creative and Expressive’ subjects.

With the introduction of the new Revised Higher Grade Examination in Music, the proposed Certificate of Sixth Year Studies in Music and the plethora of modules and short courses available from the Scottish Vocational and Educational Council and the Scottish Examination Board, teachers now have the opportunity to tailor courses to suit individual student needs. Those involved in planning have been meticulous in ensuring that performing, inventing and listening are present at all stages of certification. This ‘comprehensive musician’ approach ensures that students have breadth of experience in playing more than one instrument and that they are all involved in inventing – improvising, composing or arranging. In addition, having adopted a concept-based approach to the acquisition of knowledge and understanding, the whole process is very clearly associated with the philosophy of the ‘spiral’ curriculum.

I enjoy composing and feel able to write songs that I like and which feel significant to me. This has not always been the case and the change had nothing to do with my school education or my degree. Composing at secondary school did not move beyond Bach and Handel pastiche. I did not take any composing courses during my degree. What did influence the change in me was the fact that I made a friend of a songwriter.

This article uses case-study research to examine approaches to adoptive parenting, with particular reference to children's musical instrument learning. Drawing on video and interview evidence, we consider the effects that family narratives about adoption, genetic inheritance and environment have upon different family members' perceptions of themselves and of each other. We conclude that the supportive parenting style demonstrated in our case-study family provides an environment in which musical learning can flourish, and we draw parallels with research in the psychology of music, to illustrate the importance of family support for young musicians.

In this article, I discuss the importance of movement in music education and suggest an effective way to approach this particular area of music teaching for younger children. The most important characteristics of movement to music activity in musical experience would seem to be in the role of developing in the mind of the participants ‘music schemata’, an active, developing organization of past responses to music which play a vital role when we listen to music and comprehend its expressive character. This hypothesis was tested in the teaching-experiment which was carried out in an English primary school and a Japanese primary school with the children of 7 to 8 years of age.