The article describes the formation and development of the UK Council for Music Education and Training from its inception in 1975 to the present day, identifying its major concerns, achievements and influence during that time. The UK Council's role as an umbrella body, to which all the major associations in music education in Britain are affiliated, is outlined, and its new phase of development resulting from the revised constitution adopted in 1985, alongside its plans for its future organisation and activity are described.

The author examines the role of music in the Danish Gymnasium (grammar school), commenting upon the changes that have taken place over the last 10–15 years, and noting in particular the special opportunities provided by the ‘Music Education Wing’ in some schools. Although the students themselves tend to regard performance as something which should take priority, these unique ‘wing’ courses allow teachers to encourage a much greater involvement with music and a deeper understanding of music's power to unite the analytical and the creative: the intellect and the emotions.

From time to time the standard and content of musical education in Danish Teacher Training Colleges has been the subject of strong criticism. It has been argued that the courses are out of date; that they should be modernised, and that the quality of instruction should be improved. Yet the criticism is often imprecise – possibly because those who make it are not themselves sufficiently well-informed about the details of the existing courses and the problems faced by those who have to teach and administer them. The author, a very experienced musician, author of numerous music-education publications, and himself a Lecturer at a Teachers College, discusses the principles and problems of organising music as a specialist area of the teacher-education programme.

Evidence suggests that only a very small number of music teachers in Denmark make use of modern compositions; and this in spite of very considerable efforts made by the Danish Music Information Centre to disseminate annotated lists of contemporary works suitable for schools and for private instrumental teaching. The author argues that there is now no excuse for not recognising the importance of the work of living composers; all that we need to do is to play their music!

The author writes about his development of the ‘play along’ principle for instruction in instrumental skills (in this case, Blues Guitar). He sees this as an extension of the earlier ‘Music Minus One’ publications, and describes the musical and educational reasoning behind the format of his ‘Book and Tape’.

In spite of its small population, scattered over a wide and largely rural area, Iceland has developed an extensive and exciting infrastructure of music education through a large number of local Music Schools. Although such schools have existed for fifty years, it is only within relatively recent times that the system has been able to be developed to its present extent. Expansion has been made possible through the collaboration of state and local authorities which between them cover all tuition costs. However, the scheme is once again threatened by cuts in funding so that, currently, no increase in student enrolment is possible. The author, who is Head of the Department of Music Education at Reykjavik College of Music, describes the history and development of the Music Schools and gives some interesting statistics of the national and regional take-up of this important music-education provision.

Reykjavík College of Music offers a unique course of instruction for piano teachers. An important feature of this three-year course is the opportunities it gives for students to work with pupils of all abilities: from beginners to the higher grades. Students teach their pupils under supervision of professors of the College, and assessment includes practical teaching and the presentation of concerts by the students' pupils. The author describes the course, its contents and examination procedures, and stresses the need to develop individuality and open-mindedness in those wishing to make their careers as piano teachers.