This paper examines the intrinsic potential for well-being outcomes in a heritagerelated music project. We look at how creative activities that are embedded in a community can serve to enhance the cohesion and well-being of communities through the work of its youth groups. The paper also examines the important roles of partnership working and peer mentoring and how they need the time and resources to be nurtured in order to ensure sustainability and self empowerment as long term legacies of arts based community well-being initiatives.

This article discusses current issues around the provision of music technology in British universities. The discussion is based on the most current results from the project Betweening, funded by Palatine (Higher Education Academy). The aim of the project was to explore the educational landscape of music technology in HE and to provide an oversight of the different models used. The way a particular discipline music technology becomes established and how it evolves has as much to do with institutional and governmental politics, social constructs and pedagogical methodologies, as it does with the discipline itself. As well as an overview of the findings from quantitative studies (published in detail in Boehm 2006), this article discusses the findings from the qualitative information gathered from the Betweening project in order to provide an overview of the educational landscape of music technology in higher education in Britain today.

These recommendations for the standardization of interpretation and reporting of sequence variations identified in the course of providing clinical laboratory services are intended (1) to provide a framework for the interpretation and reporting of such test results, and (2) to aid referring clinicians by educating them as to possible testing outcomes so that they may inform their patients and families appropriately.

In 2007 Carola Boehm published the introductory article within the first volume of the Journal of Music, Technology and Education entitled ‘The discipline that never was: Current developments in Music Technology in higher education in Britain’. Boehm identified the higher education (HE) offerings in Music Technology at that time. In the ten or so years that have passed since those findings, we have witnessed both incredible growth in the HE sector and significant shift in the flavour of programmes on offer. This shift has been seen primarily in the growth of the creative practice-led title of ‘Music Production’, but not at the expense of traditional ‘Music Technology’. Boehm’s paper also explored the wider range of subject matters that could be considered within the then term ‘Music Technology’, whether by an ever-expanding technological backdrop, or through interdisciplinarity. In this article, we report on the significant changes since then, with some analysis for the future whilst considering the current political challenges for British HE.

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