A skilled music education workforce is essential to ensure longevity of music-making for future generations of young learners and access to high-quality instrumental music tuition remains crucial for school-aged pupils. Yet, Higher Education providers, including conservatoires, are not held accountable for providing high-quality pedagogical…

Background: Society remains gender-differentiated, and the development of inappropriate stereotypical attitudes appears to be one factor preventing many individuals from achieving their true potential. A significant level of attention has been given to challenging inappropriate stereotypes in older children. However, previous research suggests…

It has been argued that conservatoires in England have a responsibility to train music educators. This article proposes that alumni could have an important role to play in contributing to their former institution's instrumental music teacher education provision and explores how two UK conservatoire graduates with at least three years teaching…

This paper investigates the relationship between music qualification choice and academic performance in secondary education in England at Key Stage 4 (KS4; usually at ages 15 and 16). We analysed data from 2257 pupils at 18 educational settings in a city in the southeast of England. Two regression analyses with clustered errors modelled KS4 music…

In a report commissioned by the Society for Music Analysis to address a gap in music literacy, McQueen (2020) identified instrumental teachers as an important part of music education both within schools and in the community. This article takes as a starting point McQueen's (2020) proposal that 'it is through instrumental tuition that music…

Conservatoires train musicians to high levels of proficiency in performance and other 'principal study' disciplines, but often, teaching is perceived as a second-class profession, and little is known about how music students learn to facilitate music making in others. Yet, conservatoires have a responsibility to contribute to the development of…

The purpose of this study was to examine the role of the parent as a supporter of practice during a whole-class beginner violin programme and whether it is considered most beneficial for practice to be undertaken at home, at school or in no formal manner. This mixed-methods research project involved a year-group of 31 pupils aged 6-7 years from a…

In 2001, the government in England pledged in the white paper Schools Achieving Success that all primary school pupils who wanted to should have the opportunity to learn to play a musical instrument. The research reported here aimed to establish what contributed to the success of the implementation of this policy. The findings showed that success…

The Whole Class Ensemble Tuition (WCET) is a model of teaching and learning music which takes place in many English primary schools. It is a relative newcomer to music pedagogy in the primary school. In the groundbreaking study reported in this paper, two new models of teaching and learning music are proposed. These are (a) "Music education…

The provision of instrumental lessons in certain areas of England can be hampered by the geographical position of some schools that are rural in nature, with teachers needing to travel long distances between schools. Internet-based technologies have been successfully used elsewhere to deliver instrumental lessons. A collaboration between the…

This qualitative research presents data relating to eight amateur pianists who completed a 10-week Piano Performance course for lifelong learners at the University of York, UK. This article discusses the development of learning through the impact of group participation, challenges faced by learners and pedagogical strategies used by the leader to…

This article deconstructs some of the underlying assumptions that inform projects in Paynter and Aston's 1970 book, "Sound and Silence." Foucauldian and Deleuzian technologies of power and technologies of desire are used to frame an argument that Paynter and Aston's projects play into the fabrication of sonorous bodies and sonic selves…

This paper is based on the data collected from a longitudinal study of seven maintained, secondary schools in England that have adopted Musical Futures as an approach to teaching music. The research had a particular focus on key stage 3 (11-14). For the purposes of this paper, data gained from 18 music staff and 325 student interview…

Despite ostensibly sharing a common language, music education terminology as used in England and the United States has many different practical meanings and corresponding connotations. In this comparative study, the authors consider these differences in relation to whole-class learning of instrumental music, a comparative newcomer to the English…

Current inclusive pedagogical thinking advocates that learning should begin with what the learner can already do. As children bring rich musical experiences with them into school, primary generalist student teachers also bring rich experiences of music and music-making into their initial teacher education programmes. Yet debate still continues as…