Music as a whole is richer for the coming of jazz. Although its natural performing habitat is the night-club rather than the concert-hall, the fact that many recordings have endured in the public consciousness over several decades, and that jazz-lovers return to these recordings again and again to find new and life-enhancing things expressed in their sounds, would seem to indicate that jazz is more than just ‘entertainment’, although, like the music of Haydn, agreat deal of it is very entertaining. Jazz has openedup new realms of expression, and is capable of conveying deep feeling in the subtlest shades. It has also made a major contribution to the language of music, in giving us new approaches to melody, harmony and rhythm, and extending the range of tonal colours for both instruments and the voice. Its extensions of instrumental virtuosity have formed one of its most impressive achievements. Some instruments, the saxophone for example, had to wait for the emergence of jazz before their full potential could be realised. But the repertoires of established instruments such as the trumpet and the piano have also been greatly stimulated by their encounter with jazz. The theoretical side of jazz is rich in new concepts, or new ways of looking at traditional things such as harmony and scale-patterns. These techniques, together with the individualistic ethos of the jazz performing tradition, have had a profound influence on the popular music enjoyed by huge numbers of young people. The musical language of pop music, of rock, reggae, soul, and other styles, is steeped in the grammar and structures originally developed by jazz musicians.

Progress is a two-edged sword; for some it releases new and enriching opportunities, while for others it cuts away hope. We are all too familiar with the effects of mass unemployment, deadening the spirit and damaging the self-respect of so many people – particularly the young. Curiously, society's institutions of government and education appear reluctant tograsp a particular nettle – the by now pressing need to reappraise the concepts of ‘work’ and ‘leisure’. Even so, some enterprising young people, in various parts of the country, have shown considerable initiative in developing community music workshops where they meet to play rock music. For them this is an important work activity, even if it is not one that brings conventional monetary rewards. This article introduces three of these workshops, and examines the motivation of those who organize them.

Richard Addison initiated this research to evaluate the effects of his approach to the teaching and learning of music in the early school years. The project is designed to look for changes not only in music lessons but also in the general, non-musical learning and behaviour of children aged 4–8.

A team from Newcastle University is associated with Gateshead Education Authority in this research.

A description of the method is included, together with initial findings of the first year's work. These indicate significant improvements in children's musical skills, together with increased signs of confidence and co-operation in music lessons. Little evidence of change in other lessons was found.

It was envisaged that the data gathered in this investigation from empirical statements, case studies and observation of a broad spectrum of group teachers, would contribute towards establishing a clearer perspective, focus attention on and evaluate the techniques and procedures of group tuition. In short, the study was intended to investigate, in an illuminative and interpretative manner, the effectiveness of group work.

A major concern was to identify a methodology – practice-based, eclectic and illuminative of music and the learning milieu – with designing a questionnaire; and with selecting for interview acknowledged group teachers. Thus the interviews provided both a primary source of opinion and a basis for further evaluation of the principles and procedures of group teaching in action.

To collect empirical data, a case study technique was employed and structured by use of pro formas. Four teachers, chosen on the basis of specific criteria, were each observed systematically in both group and individual settings. The datum elicited was then interpreted and summarized.

It's the start of a new academic year and a familiar pattern is about to repeat itself. Students from a variety of locations around the country arrive for their first composition lesson, fresh from seven years of secondary education, no doubt pleased with having passed A level music…