[11][12]. Part 1, which contains the largest number of chapters, provides a necessary context for the applications that follow in Parts 2 and 3.McClellan provides a set of learning objectives and activities in each chapter across the whole text to provoke thought and reinforce information, encouraging the reader to further explore music pedagogy within their own circumstances and reinforcing the practical emphasis of the book. Throughout, the discussion draws primarily upon the American music education system, reflecting McClellan's native background; however, ideas could be applicable to other settings.At the outset of the book, McClellan discusses the concepts of teaching and learning. Teaching is defined as 'engagement with learners to enable their understanding and application of knowledge, concepts, and processes : : : [including] design, content selection, delivery, assessment, evaluation and reflection' (p. 3). Learning is defined as 'the activity or process of acquiring new understanding, knowledge, skills, values, or attitudes by studying, practicing, being taught, or experiencing something' (p. 3). Music education is then defined as 'a field of study that focuses on the teaching and application of music in the classroom' (p.5). There are of course other applications of music teaching beyond the classroom that may arise within or outside school settings, including one-to-one and small-group instrumental teaching as well as ensemble coaching, so this book is bound tightly by its focus on schooling in music classrooms in Western education systems.Two issues merit particular attention for their relevance in contemporary education: pupilcentred learning (Chapter 1: The Study of Teaching and Learning) and culturally responsive teaching (Chapter 9: Sociocultural Characteristics of Learning in the Music Classroom). In relation to pupil-centred learning, McClellan emphasises that teaching is about creating environments where students can acquire knowledge themselves. Even though this approach is not new (e.g. Mackworth-Young, 1990), he argues that it is necessary for educators to continue to develop ways to facilitate pupil-centred learning, particularly where the motivation and engagement of young musicians are concerned. This point is echoed in other recent studies (e.g. Park, 2022) and is relevant across different music education systems. In fact, a pupil-centred pathway features in the new National Plan for Music Education in the UK, where 'identification and support for individual talented young musicians should be tailored to the young person's need' (HM Government, 2022).
