Why don't more primary teachers teach music? This article describes a study of forty non-specialist primary B.Ed. students over their year-long professional music course. Initially, most students have little confidence in their ability to teach music. As the course progresses, a smaller proportion of students who lack confidence teach music during school experience. A cycle has developed in which student teachers worried about music do not learn to teach it because teachers with similar worries often do not teach it. The author argues that students who lack confidence in music need more encouragement from all those involved in their professional preparation if they are to break out of this cycle.

This article gives an historical survey of the growth of music consultancy in primary education and follows on from the same author's Music Consultancy in Primary Education published in Vol. 5 No. 3 of BJME. It is postulated that the move towards the teaching of music by the generalist class teacher, supported by the consultant, has evolved gradually as a result of ideological factors, falling rolls and cuts in expenditure. The case studies represent contrasting accounts of music consultancy in operation in two primary schools. The more balanced music education was provided by the class teacher at School A, where the staff and head teacher appeared to be more committed to and more capable of including music in the curriculum.

In autumn of 1985, the Music Department of the Institute of Education, London University initiated an enquiry into music in schools. During 1986 the Gulbenkian Foundation generously supported the project, facilitating the appointment of a research assistant. The aim was to map out the current context and practice of music teaching in a wide range of school classrooms and examine the role of music within the wider school community. This article is a distillation of the published Report on the research.1

Instrumental teaching methods in schools have resulted in a near total reliance on notation. Playing by ear has been undervalued by instrumental teachers, yet it is through such playing that some of the aims of music education can best be achieved.

In this article different ways of playing without notation are distinguished theoretically and exemplified through the experiences of some players who have learned in this way. A case is made for all musical playing to be viewed as ‘by ear’, including when notation is involved, so that the aural basis for musicianship is maintained and a wider view of performance encouraged. A possible model for teachers is offered based on imitation and invention.

Liberty to select their own methods and attitudes is not commonly enjoyed by teachers in other lands; its existence in this country is not an immemorial right and dates only from the early years of the present century. In conferring this freedom upon teachers Robert Morant, now an almost forgotten figure whose highly unusual background is outlined, emphasised that freedom of choice implies a corresponding responsibility in its use. The fuller implications of that declaration are seldom realised and the injunction itself is regularly ignored. The special case of music is examined in relation to this circumstance.

I took office as Chair of the United Kingdom Council for Music Education and Training at what I hope will be viewed in later years as one of the most significant times of change in the history of music education in this country. I express this in terms of hope since I am sincere in my wish that music educators should not have to adapt to and survive such radical changes again in the foreseeable future. Time will tell.

Stirrings of change in secondary education in general, and in music in particular, were taking place in Scotland towards the end of the seventies. Reports published at that time suggested that a deal of thinking on curriculum, and on methods of assessing pupils' achievements, was required. The authors record that, ten years later, the many discussions and trials that have taken place have borne fruit. In this article they describe the planning of the new examination in Music at Standard Grade, and take a brief look at its requirements.