LEA re-organisation is in many places bringing instrumental teachers into closer contact with people whose background is that of classroom teaching and curriculum development. Initially there may be some suspicion on both sides, but our experience in Wolverhampton suggests that this is potentially an enjoyable and immensely fruitful relationship.

The author calls for the physical, kinesthetic sense, to be recognised and understood for its role in all musical experience, on a par with our mental capacities, and also suggests that it is the missing, yet essentially vitalising part, of what might be called a ‘whole human’ response to and engagement with music. This thinking is applied to support an emerging theory of practice, which takes its original inspiration from the principles of Dalcroze Eurhythmics: principles which have been adapted and developed to meet the changing needs of contemporary education.

This paper explores the proposition that kinaesthetic gesture is at the root of art making and is thus an integrating factor in both a music and an arts curriculum. Examples of art making are examined and a basis for collaborative arts learning established before implications for teaching and learning style in the arts are considered.

As the time for the implementation of the National Curriculum in Music approaches, will the tail of assessment begin to wag the dog of class-room music and dissipate all that has been achieved in providing the dynamic, challenging and fulfilling experiences that now characterise many class music lessons? This article sets out some proposals for an assessment strategy which, it is hoped, is faithful to the intentions of the National Curriculum Music Working Group in allowing practical music to flourish but with a greater sense of direction and enhanced awareness of the power of musical expression for teachers and students alike.

This paper addresses the musical needs of people with disabilities, taking two specific issues – entitlement and access to music experience. While there are increasing examples of good practice, for various reasons the needs of many individuals and groups with special needs are not being adequately met. The argument that all people, regardless of ‘ability’, should enjoy equal access to music is fundamental to the discussion.

Whilst the roles of music providers may differ in various contexts, if disabled people are to enjoy the right to music at all levels, access from primary age through to adulthood has to be ensured. The implication for training to fulfil this need cannot be ignored.

With the introduction of the new Revised Higher Grade Examination in Music, the proposed Certificate of Sixth Year Studies in Music and the plethora of modules and short courses available from the Scottish Vocational and Educational Council and the Scottish Examination Board, teachers now have the opportunity to tailor courses to suit individual student needs. Those involved in planning have been meticulous in ensuring that performing, inventing and listening are present at all stages of certification. This ‘comprehensive musician’ approach ensures that students have breadth of experience in playing more than one instrument and that they are all involved in inventing – improvising, composing or arranging. In addition, having adopted a concept-based approach to the acquisition of knowledge and understanding, the whole process is very clearly associated with the philosophy of the ‘spiral’ curriculum.

‘Le musicien intervenant’ is a concept that has been developed in France especially to increase the scope of musical education, particularly in the elementary and pre-elementary schools. The ‘intervenants’ are not substitute teachers but are trained to work with school teachers as part of a team, offering children a high quality introduction to music. Intervenants also help to develop other musical activities in the localities where they work. Nine institutions throughout France (Centres de Formation de Musiciens Intervenant – CFMI) offer diploma courses. The author of this article is Director of the Centre at Lyon. He outlines his philosophy of music education, and describes some important aspects of his work – notably the commissioning of compositions that exploit contemporary musical ideas but are easily accessible for all children.

This paper traces the relationship between music and national feeling which permeated popular education during the latter part of the nineteenth century, culminating in the publication of The National Song Book (Stanford, 1906). By the First World War there was hardly a school in the country which did not possess a copy. The roots of the idea of national songs are traced back to Herder and Engel, and in particular to William Chappell's Popular Music of the Olden Time (1858–9). The paper argues that music educationists developed distinct theories about the educative value of such songs in developing notions of nationhood, patriotism and racial pride. Specifically a line of development is traced in the development of The National Song Book through Charles Stanford, W. H. Hadow and Arthur Somervell, while taking cognisance of the dissenting views of John Stainer and Cecil Sharp. The paper concludes that The National Song Book proclaimed the hegemony of the literate tradition as opposed to the oral, and considers the view that national songs contained within them the danger of the manipulation of patriotism.