This historical account traces the beginnings of the Society for Education, Music and Psychology Research (SEMPRE) to the founding of the Society for Research in Psychology of Music and Music Education (SRPMME) in 1972, which in turn had evolved from Arnold Bentley’s Research in Music Education conferences instituted in 1966. The paper charts the growth and development of SRPMME through to its transformation into SEMPRE in 2002. In conclusion there is a discussion of the society’s achievements and influences which augur well for the future of research in the fields of music, education and psychology.
BentleyA. (1999). In the beginning. Psychology of Music, 27, 113–116. (Reprinted from Training music teachers: The first ten years at the University of Reading, 1959, unpublished manuscript)
2.
BentleyA. (1963). A study of some aspects of musical ability amongst young children, including those unable to sing in tune (Unpublished doctoral thesis). University of Reading, UK.
3.
BentleyA. (1966). Musical ability in children and its measurement. London, UK: Harrap.
4.
BentleyA. (1974). Music education research conferences [a listing]. Psychology of Music, 1(2), 62–63.
5.
Board of Education. (1944). Report on the supply, recruitment and training of teachers and youth leaders. London, UK: HMSO (McNair Report)
6.
Burt-PerkinsR. (2008). Learning to perform: Enhancing understanding of musical expertise. TLRP Research Briefing, 47. London, UK: TLRP.
7.
Central Advisory Council for Education. (1963) Half our future. London, UK: HMSO (Newsom Report)
8.
Committee on Higher Education (Great Britain). (1963) Higher education: Report of the committee appointed by the prime minister. London, UK: HMSO (Robbins Report)
9.
CoxG. (2002). Living music in schools 1923–1999: Studies in the history of music education in England. Aldershot, UK: Ashgate.
10.
Department of Education and Science (DES). (1985) Music from 5 to 16: Curriculum Matters, 4. London, UK: HMSO.
11.
FarnsworthP. (1938). Auditory acuity and musical ability in the first four grades. Journal of Psychology, 6, 95–98.
12.
FarnsworthP. (1958). The social psychology of music. New York, NY: Holt Rinehart Winston.
13.
HallamS. (2002) Editorial. Psychology of Music, 30, 3.
14.
HallamS. (2003) Editorial. Psychology of Music, 31, 5.
15.
HallamS. (2011). Music psychology in education. London, UK: Institute of Education.
16.
HallamS.LamontA. (2004). Learners: Their characteristics and development. Psychology of Music, 32(3), 243–252.
17.
HallamS.WelchG. (2004). Foreword: Mapping music education research – International perspectives. Psychology of Music, 32(3), 235.
18.
HargreavesD. J. (1986). Developmental psychology and music education. Psychology of Music, 14, 83–96.
19.
HargreavesD. J. (1990). Editorial. Psychology of Music, 18, 116.
20.
HargreavesD. J. (1997). Editorial. Psychology of Music, 25, 3.
21.
HargreavesD. J.MarshallN. A.NorthA. C. (2003). Music education in the twenty-first century: A psychological perspective. British Journal of Music Education, 20(2), 147–164.
22.
HargreavesD. J.NorthA. C. (Eds.). (1997). The social psychology of music. Oxford, UK: Oxford University Press.
23.
HirstP. (1974). Knowledge and the curriculum. London, UK: Routledge
24.
KempA. E. (Ed) (1988). Research in music education: A festschrift for Arnold Bentley. Reading, UK: ISME Research Commission.
25.
KempA. E. (1999). Guest editorial. Psychology of Music, 27(2), 111–112.
26.
LehmanA.SlobodaJ.WoodyR. (2007). Psychology for musicians: Understanding the skills. Oxford, UK: Oxford University Press
27.
LundinR. W. (1949). Development and evaluation of a set of musical ability tests. Psychological Monographs, 63, 1–20.
28.
LundinR. W. (1953). An objective psychology of music. New York, NY: Ronald Press.
29.
MadsenC.MadsenC. (1969) Experimental research in music education. Englewood Cliffs, NJ: Prentice Hall.
30.
MainwaringJ. (1933). Kinaesthetic factors in the recall of musical experience. British Journal of Psychology, 23, 284–307.
31.
MarkM. L.GaryC. (1992). A history of American music education. New York, NY: Schirmer.
32.
McPhersonG.WelchG. F. (Eds.). (2012). The Oxford handbook of music education. New York, NY: Oxford University Press.
33.
MillsJ. (2005). Addressing the concerns of conservatoire students about school music teaching. British Journal of Music Education, 22(1) 63–75.
34.
MooreT. (1974). Educational theory: An introduction. London, UK: Routledge.
35.
MüllensiefenD. (2012). Statistical techniques in music psychology: An update. In BaderR.NeuhasC.MorgensternC. (Eds.), Concepts, experiment and fieldwork. Studies in systematic musicology (pp. 193–215). Frankfurt, Germany: Peter Lang.
36.
MursellJ. L. (1937). The psychology of music. New York, NY: W. W. Norton.
37.
OckelfordA. (2009). Beyond music psychology. In HallamS.CrossI.ThautM. (Eds.), The Oxford handbook of music psychology (pp. 539–555). Oxford, UK: Oxford University Press.
38.
PhelpsR. (1969). A guide to research in music education. Oxford, UK: Scarecrow Press.
39.
PriceH. (2004). Mapping music education in the USA: A response to the UK. Psychology of Music, 32(3), 322–329.
40.
PringR. (1978). Philosophical issues. In LawtonD.GordonP.IngM.GibbyB.PringR.MooreT. (Eds.), Theory and practice of curriculum studies (pp. 19–28). London, UK: Routledge.
41.
Psychology of Music. (1972–1982). Cumulative index, Vols. 1–10.
42.
Psychology of Music. (1982). Proceedings of the ninth international seminar on research in music education [Special issue]. Psychology of Music.
43.
ScheidP.EcclesJ. C. (1975). Music and speech: Artistic functions of the human brain. Psychology of Music, 3, 21–35.
44.
SchoenM. (1923). The validity of tests of musical talent. Journal of Comparative Psychology, 3, 103–121.
45.
SchoenM. (1940). The psychology of music. New York, NY: Ronald Press.
46.
SeashoreC. (1938). The psychology of musical talent. New York. NY: Silver, Burdett. (Original work published 1919)
47.
Secondary School Examinations Council (Great Britain). (1943). Curriculum and examinations in secondary schools. London, UK: HMSO (Norwood Report).
48.
SEMPRE Minutes (2003–present). University of Roehampton, UK.
49.
SergeantD. (2012). SEMPRE: some recollections and background history. Unpublished manuscript.
50.
ShuterR. (1968). The psychology of musical ability. London, UK: Methuen.
51.
Shuter-DysonR. (1986). Letter. Psychology of Music, 14, 146.
52.
SimpsonK. (1976). Some great music educators. London, UK: Novello.
53.
SlobodaJ. (1986). Open letter: Achieving our aims in music education. Psychology of Music, 14(2), 144–145.
54.
SlobodaJ. (1990). Editorial. Psychology of Music, 18(3), 3.
55.
SRPMME Minutes. (1972–2002). University of Roehampton, UK.
56.
StenhouseL. (1975). An introduction to curriculum research and development. London, UK: Heinemann.
57.
TibbleJ. W. (Ed.). (1966). The study of education. London, UK: Routledge.
58.
TylerR. (1949). Basic principles of curriculum and instruction. Chicago, IL: University of Chicago.
59.
VernonP. E. (1931). The psychology of music with special reference to its appreciation, perception and composition (Unpublished doctoral thesis). University of Cambridge, UK.
60.
WelchG. (Ed.). (2004). Mapping music education research – International perspectives [Special issue]. Psychology of Music, 32(3).
61.
WelchG. F.PapageorgiI. (2008). Investigating musical performance: How do musicians deepen and develop their learning about performance?TLRP Research Briefing, 61. London, UK: TLRP.
62.
WelchG. F.PurvesR.HargreavesD. J.MarshallN. A. (2011). Early career challenges in secondary school music teaching. British Educational Research Journal, 37(2), 285–315.
