Composing is an obligatory activity at Key Stage 3 in the present National Curriculum in music for England and for Wales. The research programme, based on field visits, seminars and questionnaires, seeks to identify a basis for effective classroom practice through direct observation of experienced teachers and their pupils in twenty-six State secondary schools across England. Visits have also been made to Northern Ireland, Scotland and Wales. Group-work is the dominant working method in most secondary schools. Much time is at present wasted in group-work and it contributes significantly to stress in both teachers and pupils. Composing is largely an individual activity and this is insufficiently acknowledged or planned for at Key Stage 3. Too many teachers use methods inappropriate to the resources available to them. There are problems of progression and preservation of pupils' work. Despite these problems there is strong evidence that many children enjoy composing activities in school and compose music in and out of school for a variety of reasons and occasions. Composing is firmly established in our music education curriculum and provides a unique feature of practice in the United Kingdom. When composing is taught well, pupils look forward to their music lessons in the secondary school and approve of and enjoy composing activities.

How is information and communications technology (ICT) used to promote musical learning by pupils aged eleven to fourteen, i.e. pupils in Key Stage 3? Inspectors from the Office for Standards in Education (OFSTED) visited 52 schools in England, and inspected 161 Key Stage 3 music lessons that made some use of ICT. This article describes the characteristics of the good teaching found in 106 of those lessons, and discusses some issues concerning the use of ICT in classrooms.

This study explores ways to develop focused musical listening skills with six- to eight-year-olds. Groups of children listened to short musical extracts and decided upon a best-fit match from a selection of patterns, colours and textures. At all times their ‘expert’ status was emphasised to keep self-esteem as high as possible and maximise response levels. In requiring children to make an ‘expert judgement’ it was hoped that concentrated listening could be better sustained and actively fostered. Results suggest that listening skills were developed, musical self-esteem enhanced and verbal responses scaffolded. The greatest measurable progress was made by the less able musicians and those with low self-esteem.

The music curriculum, along with the other arts in primary education in England, is under pressure from an increasing governmental focus on ‘core’ subjects. Recruits to the profession are particularly important to the long-term health of music in schools. As part of a longitudinal study to evaluate the efficacy of the university-based arts courses in preparing student teachers, the author looked at the factors affecting music. In so doing it emerged that feelings of confidence were a significant feature in the profile of successful students. The findings from this longitudinal study contribute to our understanding of how students perceive their development as teachers of music and the other arts in primary schools. The subjects of this study were students following a four-year Bachelor of Arts in Education BA(Ed.) course that prepared them to teach the full range of school curriculum subjects as generalists. The analysis of a series of semi-structured interviews reveals a complex interaction between prior experience and beliefs, and the quality of school experience.

Since their beginnings, popular music studies have relied primarily on disciplines such as sociology, anthropology and semiotics. However, the nineties saw the emergence of a generation of scholars whose knowledge of the recording studio led them to show a common interest in technological parameters, and to develop new tools for musicological analysis. This article describes the perspectives that their work offers within the realm of education.