A skilled music education workforce is essential to ensure longevity of music-making for future generations of young learners and access to high-quality instrumental music tuition remains crucial for school-aged pupils. Yet, Higher Education providers, including conservatoires, are not held accountable for providing high-quality pedagogical…

Swanwick and Tillman set out three levels at which their "Sequence of Musical Development" may implicate music teaching: "general curriculum planning," "individual development," and "the role of the teacher." From the perspective of a practitioner working as a secondary music teacher in England, this article…

Toward the end of the nineteenth century a number of external music examining systems were introduced to New Zealand. Two of them, Trinity College, London, and the Associated Board, gained a strong following and became de facto standards in the absence of a national music conservatorium. This article briefly outlines the beginning of external…

The COVID-19 pandemic, which emerged during 2020, had a wide-ranging impact on all forms of social engagement in England until February 2022, when all COVID restrictions were lifted. Schools were widely affected during this time in both tangible and tacet interactions. The impact of COVID restrictions on curricula for 11-14-year-olds in the Key…

Curriculum design is a domain that infrequently forms a discrete element of initial teacher training, or continuing professional development for music teachers in English secondary schools. Classroom music teachers, teaching Key Stage 3 (KS3) learners (11-14-year olds), are, however, required to design their own curriculum. Teachers are…

My role as a university-based, general classroom music teacher educator in England has become unclear, exacerbated by policies that have undermined the field of classroom music in schools and the role of universities in teacher education. Using self-critical inquiry enacted as critically reflexive autoethnography, I interrogated my professional…

The biggest and most devastating pandemic of the 21st century began to affect our world, with the Chinese Government reporting that a mysterious respiratory disease of unknown origin was detected in 2019. Education has been one of the areas most affected by this deadly disease, which spread all over the world in a short time. In this process,…

Music curriculum programmes are designed by English Music teachers in schools as the primary means of musical engagement for young people aged 11-14. Such Music curricula are often structured in learning topics. However, Music teacher rationales for the sequencing of the topics they have chosen to include in their curriculum is an under-developed…

This article describes how I, an American music teacher educator, visited the classrooms of eight Musical Futures Champion Teachers in the United Kingdom and observed their teaching with a focus on informal music learning and nonformal teaching. Musical Futures, a professional development organization in the UK, is the original organization that…

This article examines documentation from a previously unpublished architectural survey of English comprehensive secondary school music classrooms, conducted between 1976 and 1978 by a team of Department of Education and Science architects led by David and Mary Medd on behalf of a Schools Council music curriculum research project directed by John…

In a report commissioned by the Society for Music Analysis to address a gap in music literacy, McQueen (2020) identified instrumental teachers as an important part of music education both within schools and in the community. This article takes as a starting point McQueen's (2020) proposal that 'it is through instrumental tuition that music…

This study focuses on the current situation regarding children working creatively in schools. With two colleagues, I used a form of action research called Appreciative Inquiry, working in collaboration with teachers. Though it took courage for the teachers to plan and implement activities in which children worked creatively, they valued this work…

Classroom music teachers in England design their own music curricula for Key Stage 3 (11 - 14 year olds, 6th - 8th Grades). These curricula are designed in a context where policymakers define, regulate and legitimate curriculum formulations. This study traced curriculum development in England, where government has validated a policy driven…

The purpose of this article is to explore the pitfalls and benefits experienced whilst implementing elements of a co-research approach with teachers during a three-year research project which sought to explore perceptions of informal learning in secondary music education. The co-research methodological approach was adopted due to (a) the perceived…

Conservatoires train musicians to high levels of proficiency in performance and other 'principal study' disciplines, but often, teaching is perceived as a second-class profession, and little is known about how music students learn to facilitate music making in others. Yet, conservatoires have a responsibility to contribute to the development of…