This historical account traces the beginnings of the Society for Education, Music and Psychology

Over the past three decades it has become customary to regard music education as a form of aesthetic education. Recently a number of writers have expressed some objections to this view which they maintain has acquired the status of an accepted orthodoxy. In a healthy educational climate it is right that any orthodoxy should be questioned and aesthetic education has often become the subject of an international debate The purpose of this paper is not to add another voice to that debate but to re-examine the concept of aesthetic education with reference to the teaching and learning of music in educational institutions.Many discussions on this issue become clouded because the term ‘aesthetic education’ is used in different ways and in different contexts In a broad sense the aesthetic is not necessarily associated with the arts and is taken to be a dimension of experience in any discipline; accordingly, aesthetic education is across the curriculum. Most frequently, it implies an education in the fine arts, the aim of which is the development in children of a particular style of thinking or mode of intelligence. A third view arises from the notion of aesthetics as a form of enquiry best described as the philosophy of art; aesthetic education thus conceived involves the study of topics such as artistic meanings, judgements and values.An examination of these different conceptions of aesthetic education raises a number of philosophical and educational issues that have implications not only for the organisation and practice of music education in schools but also for the education and professional development of teachers.

This inquiry focused on the initial implementation of the National Curriculum for music in primary schools. The findings -from 39 schools in different parts of England -indicate that although some teachers are confident about introducing the new curriculum, many perceive problems implementing the programme as presently formulated. In particular there is a reluctance to teach music history and notation to the extent specified and concern is expressed by class teachers over their ability to cope with all the requirements. Successful implementation wold seem to depend on the presence of supportive head teachers, proactive subject coordinators and appropriate INSET programmes.We were concerned essentially with the English National Curriculum, since that for Wales is rather different. The research involved a study of relevant documentation, including of course the crucial reports of the Music Working Group (DES 1991a(DES , 1991 and the draft and final Orders for music (DES, 1992). From an analysis of these documents we were able to map out those musical activities in which children should B.

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