The articles in this issue encompass topics that range from the musical behaviours of primary school children in Singapore, to the use of podcasting in an undergraduate programme in Wolverhampton, UK, and from the musical role models of secondary school children in Stoke-on-Trent (also in the UK), to the impact of the social and cultural context on school music education in Hong Kong. This issue also brings together articles that explore how university music students develop skills as instrumental and vocal teachers and reconsiders how musical skills can form a meaningful relationship with music education research. These articles, taken together, reflect the richness and diversity of contemporary music education research and the range of contexts in which it takes place. How should music educators respond to the changing tapestry of cultural themes and diversity which underpin the field of music education?

In this issue, we witness different ways in which to illuminate the changing relationship between music education research and practice and how that relationship is understood. In studies drawn from as far as afield as Belgium, USA, Canada, and including the UK, authors locate current debates about practice within a range of theoretical frames of reference (including Foucalt, Marx, Piaget, Vygotsky) and relate their work to a range of contested areas. The articles move between self-reflection (in rehearsal contexts) to teacher reflection (on teaching composing and movement) to reflective research techniques which look at how children make sense of their musical listening through figurative representations or musical mapping tasks. We are also invited to consider afresh Orff and Kodaly from critical theorist standpoints.

In this issue the majority of articles focus on performance. Within this context we are invited particularly to reflect upon the perspectives of students, parents and children, all of whom may share the delights of music learning, musical knowledge and engagement but who experience and apply them in very different settings. Understanding how we learn music, how musical skills develop, how musical knowledge is represented and how music teachers can best teach and inspire, are challenging topics for music educators across all phases whether they be early music teachers, artists in residence or artist educators.

On 1st November 2008, more than 50 people gathered in the Faculty of Education, University of Cambridge to celebrate the 25th anniversary of the BJME. The attendees represented the whole spectrum of the music education community including teachers, researchers, students and teacher-educators as well as BJME past editors. We were delighted to welcome colleagues not only from the UK but also from Ireland, Norway, Italy and the USA.

An important part of the process that enables us to improve ourselves as musicians in group music making involves developing an awareness of our personal attributes as they are displayed in the rehearsal. In order to help students become more aware of themselves and of their band members’ personal attributes as they rehearse, a peer assessment system was established. The project was piloted and developed at Barnsley College and University of Huddersfield (Barnsley Campus) with first year undergraduates on the BA Popular Music course across 2000–2008. Individuals agreed to allow their bands to identify particular personal attributes for each member that, they felt, could be improved and used as peer assessment criteria. In-depth interviews were conducted with 16 students over a 4-year period and the following areas emerged as a focus of these: self-knowledge, feedback, confidence, honesty. The study has implications for devising peer assessment systems that are responsive to individual learners and their unique needs. It also suggests the desirability of providing peer assessment activities that might foster trust among participants and, if so, supports the provision of exceptional feedback. Now in its ninth year, this system has been refined into a model.

This paper analyses a collection of musical life histories, drawn from 71 British respondents who have maintained a lifelong interest in music as regular concert-goers, amateur performers and/or music educators. These respondents reflect on the influences and opportunities which have contributed to their lifelong engagement in music, and in doing so illustrate the impact of changes in British music education and culture over the last 50 years. Particular analytical focus is placed here on the relative influence of home and school, on the ideal characteristics of each environment, and the relationship between them. The value of a long-term perspective on music education is debated, and conclusions drawn about the challenges to teachers and researchers that are evident from this study.

This article reports a case study of an experienced teacher of composing working with secondary school students in a large urban centre in Ontario, Canada. Results suggest authentic assignments connect student composing to the ‘real world’, and so have meaning and life beyond the music classroom. Teachers can facilitate the development of theoretical music knowledge by supporting and enhancing the experiential learning that students accomplish on their own, through composing. Offering suggestions for change to compositions-in-progress, and cultivating a classroom ethos where students exchange this service amongst themselves, serves to enhance composing potential. By helping students infuse their work with personal knowledge, experiences, and interests, teachers can increase students’ meaningful involvement in classroom composing.

This article draws on a study designed to analyse parental expectations of the Swedish municipal school of arts (hereafter MSA) (in Swedish: kommunal musik- och kulturskola). The study is based on in-depth interviews conducted and informed by grounded theory. Although parental expectations are scarcely uniform, the study reveals a hope that the whole child will be nurtured, both musically and socially. It also transpires that parental expectations vary according to the activities offered by the particular school. The MSAs are administered and financed by the local authorities, and parents therefore expect them to be distinguished not only by their educational ambitions and the range of cultural choices available, but also by their democratic norms and values.

Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follow but as invitations for readers to generate their own activities and experiences.

This study concerns children's representational knowledge, more specifically, their ‘invented notations’ of music. A small-scale empirical study of four 5-year-old children and their teachers working on the representation of music is reported. The challenges posed by the teachers and how the children respond to these challenges are analysed. The teachers challenge the children to explain their understanding and use contrast to direct children's attention towards distinctions and important terms in the domain of music. The children use coloured geometrical shapes on paper and a sequence of building blocks to represent music. By means of these visuospatial representations, sounding and conversing about them, the children are able to communicate their understanding of the relationship between representation (sign) and sound. The role of external representations in the development of children's musical knowledge is discussed.

In this ethnographic study, the musical behaviours of 28 primary school children in Singapore were examined for their meaning and diversity as they engaged in the school day. A large part of these children's musical behaviours stemmed from their exposure to the mass media. Children's musical inventions emerged in the context of play, occasionally using musical play as an aid to academic learning. Instances of rhythmic play were more prevalent compared with melodic utterances. The children tended to motivate and encourage each other in their daily activities through the use of rhythmic play while melodic utterances seemed more prominently tied to expression and communication.

Understanding physical movement is an integral part of learning to make music. This article presents the action research that the author has pursued while teaching movement to musicians. The narrative provides a theoretical underpinning for the teaching practices discussed. It provides examples of musicians’ movement with analyses of the anatomical structures involved, and it discusses the influences of bodily perception on observing and learning movement (e.g. the body map). The implications of the study are to provide a somatic foundation for music education and thereby to enhance the understanding of music as embodied experience.

One hundred and sixty-five undergraduate music students studying in Scotland completed a 30-statement Q-sort to describe their self- and task-theories of musical performance. Statements reflected the importance of effort, confidence, technical ability, significant others and luck/chance in determining a successful performance. The Q-sorts were reduced to six underlying sorting patterns, or viewpoints. The relationship between sorting patterns and participants' primary genre affiliation was explored in order to identify whether self and task-theories were a function of genre affiliation. Some intuitive hypotheses of what performers of particular musical genres might think were supported by the data. However, results suggested that there was considerable diversity in self- and task-theory of performance within each of the genre affiliation groups, which supports previous research. Other background factors, such as gender, years of playing, chronological age and type of institution, were not significant predictors of self- or task-theory of musical performance.

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.

What began as an exploration of student learning while listening to music evolved into a study of learner agency in a music classroom. Whilst students used and developed strategies that enabled their own success while listening to, performing and creating music, it became evident that they were proactively seeking musical understanding and growth in their own musicianship. Their intense desire to share their musical ideas and to be valued for their role in the music learning community within the classroom illustrated the learners’ agency for affirmation and valuing of self and others. These qualities are closely connected to the zone of proximal development (Vygotsky, 1978) and perezhivanie (Mahn & John-Steiner, 2000, 2002; Mahn, 2003). As educators may seek to enable students to grow in conceptual understanding (competence) and self-efficacy (confidence), a reflexive relationship occurs as students, too, seek to grow in musicianship (competence) and to be valued for who they are (confidence).

A survey of final-year music students at the University of York for the Investigating Musical Performance research project found that 45% (23 of the 51 students in the year group) regularly gave instrumental or vocal lessons. Semi-structured interviews with 16 students revealed a range of teaching activities including workshop leading, one-to-one lessons and group teaching. This paper examines the attitudes of the nine students engaged in giving instrumental lessons and explores their development as teachers and their understanding of some of the key concepts of teaching and learning. Findings suggest that students learned to teach through increased experience rather than formal training, and although they were enthusiastic, reporting benefits to their own learning and performing, they could have been more pro-active regarding their development as teachers and more resourceful in their approaches towards lesson content and materials, strategies relating to modelling and motivation and the teaching of practice techniques. Increased provision of support and training opportunities could be made by Higher Education institutions, by giving students feedback regarding their effectiveness as teachers, opportunities to discuss their teaching, and enabling learning through mentoring partnerships with more experienced teachers.

The aim of this research was to investigate the value and purpose of Master Classes, from the perspective of Conservatoire students. Thirty-seven UK Conservatoire students responded to a questionnaire, providing information about their prior experiences of Master Classes, the factors that they considered to be important in a successful Master Class and any possible barriers to learning in Master Classes. The students considered Master Classes to offer valuable performance opportunities, fresh ideas for approaching musical interpretation and technique and access to a professional community of practice. Performance anxiety was noted as a barrier to learning for those who performed in Master Classes and students raised several issues relating to the problematic notion of ‘participation’ as an audience member. Whilst the sample was clearly limited, these findings contribute to an understanding of how students might best be facilitated in capitalising on the opportunity to learn in Master Class contexts.