Having in mind that CD ROM could have considerable potential for music education, The National Council for Educational Technology commissioned The Northamptonshire Inspection and Advisory Service to carry out an evaluation. Working over two residential weekends, twelve teachers, representing all key stages, evaluated a sample of the available CD ROMs. This article reports some of their findings.

This article investigates some of the properties and capabilities of electronic keyboards which now dominate so many British music departments, especially in secondary schools. Their strengths and limitations are discussed and questions are raised over whether the prevailing practice in lessons always supports worthwhile musical objectives. It is argued that the emphases placed upon musical literacy and assessment do not necessarily enhance pupils' musical experiences or promote gains in sensitivity and awareness. An example of good practice is described, and it is suggested that more stress might be placed on defining that which constitutes a musical lesson so that keyboards can be used to support genuinely musical outcomes.

There has long been concern about the confidence and performance of the so-called non-specialist teacher of Music in the primary school. Although much research has focused on the long-term solution of educating student teachers, it is important that practising teachers are not forgotten. Many forms of training are available which attempt to help these teachers develop their current practice. This article looks at the effectiveness of this provision by examining a survey of teacher opinion, and suggests ways in which this may inform future practice in this vital area of teacher development.

The importance of a cultural context for musical instrument teaching and learning is analysed in terms of situated cognition and cultural validity. It is suggested that the current cultural location of instrument teaching is often associated with a view that confines success to a minority of children, partly by retaining the notion of the concert player as the goal. The nature of this goal and its implications are discussed and compared with traditional instrument learning and playing. Given that recent research suggests that virtuoso players are the product of practice rather than innate talent, the authors argue that a more relevant cultural framework for instrument teaching would result in competent players whose facility with an instrument would be appropriate to their social context.

Strategies for memorising music change as expertise develops. Twenty-two professional freelance musicians and 55 novice musicians were interviewed regarding their approaches to memorisation. Strategy use was found to depend on the nature of the material to be memorised. There was also evidence of considerable individual diversity in preferred strategies, learning being based on combinations of automated aural, kinaesthetic, or visual strategies. The professionals also made deliberate attempts to assist the memorisation process by developing an understanding of the structure of the music through analysis and devising strategies to avoid confusion when passages were similar. To reduce anxiety related to performance several strategies were often adopted simultaneously.

The authors of this paper have been involved in the setting up, development and teaching of the U.K.'s first postgraduate Music Technology course at the University of York. Ironically neither author was permitted to study both the component subjects (music and technology) at secondary school due to the manner in which the school timetables separated these apparently ‘non-related’ subjects. This paper explains the ways in which technology, music and computing can be very closely related from a higher education perspective. It is hoped that it may be of equal interest to musicians and technologists working within institutes at various levels in the educational hierarchy, and may be instrumental in encouraging collaboration between them.

When we enjoy a solo musical performance, two factors in particular may contribute to our appreciation: the technical skill of the performer in playing the instrument and the individual expressive interpretation of the work. The factor which predominates will vary from piece to piece according to the musical demands. In traditional piano method the skills of playing the instrument and of creating an interpretation are normally taught together. Here the author suggests that the two factors can be separated and considers how the skills of creating an interpretation might be explored independently. A computer-based system is described which enables a person to create individual expressive performances of piano music even without being able to play the piano. Some potentially limiting factors are considered.

In the two years following the proposed and trials of Sound Therapy (see Ellis, ‘Incidental Music’, BJME 12, 59–70) the approach has been further developed. Working in conjunction with a local special school a non-invasive therapy has been evolved which depends upon the use of music technology. This paper describes the background, development, and modus operandi of Sound Therapy and the ways in which music technology contributes to the programme. An account of the qualitative research tool, by means of which progression and development can be monitored and assessed, is also given. In conclusion, one case study, extending over two years, illustrates the results of this approach.