Although there are many choices for teachers who are considering music technology in the classroom, care has to be taken not to be swayed by novelty value alone. What is required is software that can be linked directly to children's maturation as composers and instruments that make use of their existing playing skills. Sometimes it is difficult to make the right decision, as user friendliness can outweigh the educational value for the pupils. By looking at all that is available a more informed decision can be taken when purchases are made. This new dimension to music education offers an opportunity to reassess music learning and how thinking and working in groups can be developed in the music lesson.

This article reports the second stage of a project investigating the impact of IT, generally stereotyped as a masculine area of competence, in music education. The project examined differences between boys' and girls' use of music technology and their attitudes towards it. The second stage focused, in particular, upon the effects of school type, since previous research had suggested that girls in single sex schools are more likely to fare better than their counterparts in coeducational schools in areas of the curriculum stereotyped as masculine. The results of a study of 1115 pupils (661 11–12 year olds and 454 15–16 year olds) from eleven secondary schools (four girls', three boys' and four coeducational) in Leicestershire, Birmingham and Coventry are reported here. The most noteworthy findings came from pupils' ratings of their own abilities in relation to same-sex and opposite-sex peers. These ratings were lower in older girls from co-educational schools, indicating a particular lack of confidence within that group. Qualitative data from pupil and teacher interviews is used to examine explanations for this finding and its educational implications.

Do high levels of resourcing improve pupils' attainment across any or all areas of the music curriculum; and do pupils make greater progress in their learning where there are significant levels of music technology resourcing? Are there specific outcomes for teachers in terms of teaching styles, INSET, and finance; and what are the most useful items of music technology in the modem classroom? Perceptions of these issues suggest positive developments in key areas, with clear implications for teachers and managers of schools.

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.

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.