This article is the documentation of a sub-research question of a larger empirical study that employed quantitative methods to identify variables that are impacting on the delivery of music in the learning area Arts and Culture in South Africa extrapolated from questionnaires. Analysis of the data revealed that educators lack specialisation in music and have limited training in any of the art forms. Significant relationships were established between the educator and involvement in music activities within and outside of the school environment.

School music has a comparatively low take-up rate as a qualification among English secondary school pupils. Existing research on the issue has proffered possible reasons for this phenomenon but has generally been piecemeal and undertheorised. This paper sets out a fresh theoretical perspective capable of providing a basis for systematic empirical research, and discusses the results of two exploratory studies. Drawing on legitimation code theory, a new approach in the sociology of education that focuses on the basis of achievement within educational contexts, the paper analyses National Curriculum, GCSE syllabi and pupils' attitudes towards a range of school subjects, including music. The documentary analysis highlights that earlier stages of the music curriculum emphasise either musical knowledge or musical dispositions of knowers, but music at GCSE level represents an ‘elite code’ where achievement depends upon both possessing specialist knowledge and being the right kind of knower. The study of pupils' attitudes suggests this code shift is recognised by pupils and may play a role in the low uptake of music for GCSE study. This new framework offers a firmer foundation for future empirical research into attitudes towards school subjects and subject choices.

The article explores curriculum change in Scottish schools between 1978 and 2000 and its impact on learning and teaching. This period produced far reaching alterations to music curriculum thinking and practice. However, there is presently only limited reference within music education literature to strategies that either support or enhance our understanding of the change process. An attempt is made to address some of these omissions, to identify the conditions that most effectively foster and manage change and so establish a clearer basis for future studies. The wider implications of music curriculum change for classroom practitioners are considered, together with conclusions and implications concerning future curriculum policy in this area.

This review article discusses the use of action research in music education and its potential for producing knowledge and improving practice. The discussion is situated in an analysis of action research studies in music education. The review demonstrates that action research in music education focuses on a wide variety of subject matter, integrates research and action, is collaborative, grounded in a body of existing knowledge, and leads to powerful learning for the participants. However, few action research projects are cyclical, deal with aspects of social transformation, or broad historical, political or ideological contexts, and there is little focus on reflexivity. The review suggests that, in order to undertake high-quality action research, researchers need a good understanding of action research, a focused use of research literature and a defensible position with regard to data analysis and the generation of trustworthy findings.

Whilst a rationale for the content and organisation of knowledge in a standardised curriculum may be clearly articulated at official policy level, factors may come to bear on a teacher operating at a local level which may work against the successful implementation of the curriculum on the ground. Drawing on a Bourdieuan notion of cultural field, ‘habitus’ and cultural capital to examine commonality and difference in teacher practice in an Irish primary school context, the paper reports on a study which highlights the role played by formative experiences in shaping the responses of primary teachers to performance and music literacy.

This article addresses the question of whether higher education music courses adequately prepare young musicians for the critical transition from music undergraduate to professional. Thematic analyses of interviews with 27 undergraduate and portfolio career musicians representing four musical genres were compared. The evidence suggests that the process of transition into professional life for musicians across the four focus genres may be facilitated when higher education experiences include mentoring that continues after graduation, the development of strong multi-genre peer networks, the provision of many and varied performance opportunities and support for developing self-discipline and autonomy in relation to the acquisition of musical expertise. Implications for higher education curricula are discussed.