research...
The Centre is involved in wide-ranging research into all aspects of musical development, as well as music education, music teacher education and subject-specific fields of inquiry.
Many such projects involve collaboration with partners from across the voluntary and higher education sectors at home and abroad. Collaborative research partnerships include work with leading UK Research Councils such as the Arts and Humanities Research Council (AHRC), the Economic and Social Sciences Research Council (ESRC), the Engineering and Physical Sciences Research Council (EPSRC), grant-making foundations and charities such as The Paul Hamlyn Foundation, Royal National Institute of the Blind, the Amber Trust, Soundabout and the Esmée Fairbairn Foundation, Government agencies and departments (such as DfES, QCA) and also the European Union. Sponsorship has also been received from the British Council and British Academy for overseas scholars to visit the School.
Usability of Music for the Social Inclusion of Children (UMSIC)...
The aim of the European Union-funded (Seventh Research Framework Programme [FP7]) collaborative research project 'UMSIC-Usability of Music for the Social Inclusion of Children' (grant FP7-ICT-2007-2) is to develop and use modern music-focused technology to support children's social inclusion.
Whilst intended for all children, UMSIC aims particularly to support, through music, those children who are at increased risk of being marginalized. These include children with social or emotional disorders (or both), those with moderate learning disabilities, and those who are immigrant and with no or limited host country language skills.
There is a growing body of neurological and related research evidence that the promotion of early competences in music and language are interwoven and thus, in UMSIC, music is designed to help children to develop language skills, whilst positively affecting their emotional, social, and intellectual development.
The UMSIC project (2008-2011) is focused on the design, implementation and evaluation of a system that creates a hand-held interactive environment for children to communicate informally with their peers by using familiar modern technologies.
The research collaboration is led by the University of Oulu (Finland), in partnership with the University of Central Lancashire (UK), University of Zurich (Switzerland), University of Jyväskylä (Finland), Systema Technologies (Greece), Lappeenranta University of Technology (Finland), Institute of Education, University of London (UK) and Nokia.
The overall project co-ordinator is Professor Maija Fredrikson (Oulu).
Professor Graham Welch leads the Institute of Education research contribution.
UMSIC project partners
- University of Oulu (Finland)
- University of Central Lancashire (UK)
- University of Zurich (Switzerland)
- University of Jyväskylä (Finland)
- Systema Technologies (Greece)
- Lappeenranta University of Technology (Finland)
- Institute of Education, University of London (UK)
- Nokia
contact information
National Singing Programme...
The National Singing Programme (2007-2011) 'Sing Up' is part of a UK Government initiative to support the development of musical activities under the umbrella of its 'Music Manifesto'.
Included in the intentions of the Programme are that Primary school-aged 'children experience high-quality singing, both within and without their daily school curriculum, on a daily basis' and that 'Every school has a teacher committed to facilitating high quality singing and vocal work for the whole school'.
The 'Sing Up' National Singing Programme was launched in November 2007 and a team from the Institute of Education, University of London, led by Professor Graham Welch, were appointed to undertake a research evaluation of key elements of the Programme. Two prime foci have been identified:
(i) to undertake an initial baseline audit of singing in randomly selected schools and
(ii) to link this baseline data collection to a pre- and post-impact evaluation of particular 'Sing Up' Programme interventions with children and adults (teacher, parents and other professionals involved in promoting singing in community contexts).
project team...
The core research team for the National Singing Programme are:
- Professor Graham Welch
- Dr Evangelos Himonides
- Jo Saunders
- Dr Ioulia Papageorgi
selected project public output...
- Welch, G., Himonides, E., Saunders, J., Papageorgi, I., (2008). The National Singing Programme for Primary schools in England: An initial baseline study overview, February 2008. London: Institute of Education.
- Welch, G., Himonides, E., Saunders, J., Papageorgi, I., Rinta, T., Preti, C., Stewart, C., Lani, J., Vraka, M., Hill, J. (2008). Researching the first year of the National Singing Programme in England: An initial impact evaluation of children's singing behaviours and singer identity. London: Institute of Education. [ISBN: 978-1-905351-09-1]
[download this report] - Welch, G. & Himonides, E. (2008). An overview of initial research data (2007-2008) concerning the Vocal Force component of workforce development under the umbrella of the National Singing Programme Sing Up in England.
- [presentation slides]
Researching the first year of the National Singing Programme in England: baseline data and initial impact evaluation (1. children's behaviours and attitudes 2. 'Vocal Force' workforce development).
This presentation was made on Friday 3rd October 2008 at Regent's Park College in London to the National Singing Programme's SING UP Research Group (SURG). For more detail on the content of the presentation, please see the related written report on this website (item 2).
Investigating Musical Performance (IMP): Comparative Studies in Advanced Musical Learning
funded by the ESRC: Teaching and Learning Research Programme under award RES-139-25-0101
The Investigating Musical Performance [IMP]: Comparative Studies in Advanced Musical Learning research project is a two-year comparative study of advanced musical performance which began in May 2006 and is funded by the ESRC under their Teaching and Learning Research Programme (TLRP - http://www.tlrp.org/proj/Welch.html).
The project has been devised to investigate how classical, popular, jazz and Scottish traditional musicians deepen and develop their learning about performance in undergraduate, postgraduate and wider music community contexts. The project is conceived as a multi-site, multi-methods research project that draws equally on the strengths and expertise of the four higher education partners (the Institute of Education, University of London; University of York; Leeds College of Music; and the Royal Scottish Academy of Music and Drama, Glasgow).
Included in the research methodology is a specially-devised questionnaire, linked electronically to a 623 field database, that provides a comprehensive, short-term, longitudinal comparison of participants' (n= 280+) backgrounds, attitudes and approaches to advanced performance learning over a twelve month period. This data is complimented by interviews, individual case studies, focus groups and digital video analyses of studio-based instrumental lessons.
Preliminary analysis of the questionnaire data obtained from the first phase of data collection (July-October 2006) produced evidence of significantly different developmental profiles for classical and non-classical musicians. Classical musicians tended to have begun their engagement with music at an earlier age, and were influenced musically by family history, instrumental or vocal teachers and formal groups. Conversely, non-classical musicians were more likely influenced by well-known performers and informal groups. There was some evidence of the influence of private vs. state-maintained education; of those who had attended independent schools, the majority were classical musicians. Differences were also found relating to participants' beliefs about expertise in music teaching and performance and in their perceived musical self-efficacy and performance anxiety. Whilst classical musicians tended to spend more time practising alone and rated themselves more highly on musicality and expressive skills, non-classical musicians appeared to manage performance anxiety more effectively and experienced more pleasure, overall, from their musical activities.
'Typical' profiles of classical and non-classical musicians were presented at the national TLRP conference (November 2006, Glasgow) and at research seminars in London (Wellcome Department of Imaging Neuroscience, UCL and Institute of Education, both March, 2007), as well as the international Music Education Research conference in Exeter (April, 2007). Presentations highlighted points in the musicians' developmental paths when significant influences and choices may have contributed to the formation of "classical" or "non-classical" musical identities. Important points of similarity and differences were discussed and the implications of these two musical trajectories for teaching and learning were explored.
Related data on differences between instrumental musicians and singers was presented as an invited keynote at the national Finnish Music Educators conference in Oulu, Finland (March, 2007) and informed a keynote at the World Creativity Summit in Hong Long, China (July, 2007).
The research methodology embraces aspects of research approaches adopted in earlier funded research for the ESRC (Hargreaves & Welch, 2002-2003) and AHRB (Welch, 2002-2003; Howard & Welch, 2003-2004). In addition, a funded research link 2007-2009 has been established with the University of Tasmania, funded by the Australian Research Council.
project team...
The award holders are Welch, Duffy, Potter and Whyton and the two-year research project (2006-2008) commenced in April 2006.
- Professor Graham Welch, IoE
- Celia Duffy, RSAMD
- Dr John Potter, University of York
- Dr Tony Whyton, LCM
- Dr Ioulia Papageorgi, IoE
- Dr Andrea Creech, IoE
- Dr Frances Morton, RSAMD
- Liz Haddon, University of York
- Dr Christophe De Bézenac, LCM
selected project public output...
- Creech, A., Papageorgi, I., Duffy, C., Morton, F., Haddon, L., Potter, J., de Bezenac, C., Whyton, T., Himonides, E. and Welch, G. F. Investigating musical performance: Commonality and diversity amongst classical and non-classical musicians. MS submitted for publication
- Papageorgi, I., Creech, A., Duffy, C., Potter, J., Whyton, T., Morton, F., Haddon, L., de Bezenac, C., Himonides, E. and Welch, G. F. Investigating musical performance: The development and prediction of expertise in advanced musical learners. MS submitted for publication
- [more]
project contact details...
TLRP project website and www.imp.imerc.org
VOXed: the meaningful application of technology in the singing studio
funded by the AHRC, Innovation Award scheme (referenceB/IA/AN8885/APN15651)
The VOXed project, initially funded by the Arts and Humanities Research Council (AHRC) under its Innovation Award scheme (reference B/IA/AN8885/APN15651), was designed to evaluate the usefulness, or otherwise, of the application of real-time visual feedback technology in the singing studio. The basis for the research was a multi-disciplinary approach that drew on voice science and acoustics, the psychology of singing and voice education. Participants were based in two different singing studios, one in the north of England and the other in the south. They catered for two different adult singer client groups, ranging from skilled amateur to advanced professional. An action-research methodology was adopted in which the two participant singing teachers and their adult students were seen as co-researchers in the research activity.
The resultant research data consisted of research diaries, observations and interviews, supplemented by multimedia recordings (audio and video) of actual singing behaviours over time. Data analyses indicate that new technology can impact positively on teacher behaviours and student experiences by providing more meaningful feedback through an enriched pedagogy. This offers the possibility of expanding the professional knowledge and skill base of both groups.
project team...
The VOXed project principal investigators were Professor David M Howard, Media Engineering Research Group, Department of Electronics, University of York and Professor Graham F Welch, School of Arts and Humanities, Institute of Education, University of London
- Professor David Howard (principal co-investigator)
- Department of Electronics
- University of York
- Professor Graham Welch (principal co-investigator)
- Institute of Education
- University of London
- Jude Brereton (research officer)
- Department of Electronics
- University of York
- Evangelos Himonides (research officer)
- Institute of Education
- University of London
selected project public output...
- Towards a Novel Real-Time Visual Display for Singing Training. Presented at the 3rd International Workshop on Models and Analysis of Vocal Emissions for Biomedical Applications (MAVEBA 2003).
- VOXed: Technology as a Meaningful Teaching Aid in the Singing Studio. Presented at the CIM04 Conference on Interdisciplinary Musicology, Graz/Austria 15-18 April 2004.
- Technology in the Singing Studio: Evaluation by Users. Presented at the 2nd International Physiology and Acoustics of Singing Conference. The conference was organised by the National Center for Voice and Speech (NCVS), and took place in Denver-Colorado, from 7 October through 9 October 2004.
- Howard, D. M., Welch, G. F., Brereton, J., Himonides, E., DeCosta, M., Williams, J., et al. (2004). Winsingad: A Real-Time Display for the Singing Studio. Logopedics Phoniatrics Vocology, 29(3), 135-144.
- Welch, G. F., Howard, D. M., Himonides, E., & Brereton, J. (2005). Real-Time Feedback in the Singing Studio: An Innovatory Action-Research Project Using New Voice Technology. Music Education Research, 7(2), 225-249. [ISSN 1461 3808].
- Welch, G. F. (2005). Singing as Communication. In D. Miell, R. MacDonald & D. Hargreaves (Eds.), Musical Communication (pp. 239-259). New York: Oxford University Press. [0-19-852936-8 paperback; 0-19-852935-X hardback].
- Howard, D. M., Brereton, J., Welch, G. F., Himonides, E., DeCosta, M., Williams, J., et al. (2007). Are Real-Time Displays of Benefit in the Singing Studio? An Exploratory Study. Journal of Voice, 21(1), 20-34.
project contact details...
Netvotech: EPSRC Network 'Technology and the healthy human voice in performance' (2005-2007)
with Professor David Howard, University of York
This is a two-year funded research network in voice and technology under the EPSRC Culture and Creativity Programme. It builds on an earlier (2003-2004) £50,000 Arts and Humanities Research Board (AHRC) Innovations research grant on the use of technology in the singing studio (see above). The network's main aim has been to deliver innovative research proposals in the area of technology and the human voice in performance, designed to enhance (i) professional vocal performances (spoken and singing) and (ii) the audience experience during live vocal presentations. The network embraces vocal performers, teachers, ENT consultants, speech and language therapists, vocal hygiene specialists, child and adolescent voice specialists, phoneticians, linguists, voice scientists, engineers, musicians and choral conductors from the UK and overseas.
The network has a website www.netvotech.org and has held various one-day voice technology workshops in York and London, as well as international network meetings at the 2005 Pan European Voice Congress in London and the 2006 III Physiology and Acoustics of Singing Conference in York. Related presentations have been made to the Australian Voice Association (Sydney, 2005) and to graduate students at the Beijing Conservatoire (2006).
project contact details...
Musical Futures: Informal Learning in the Music Classroom
funded by the Paul Hamlyn Foundation, the DfES and the Esmée Fairbairn Foundation
The project focused on the school music classroom at Key Stage 3. It developed and evaluated new teaching and learning strategies drawn from the informal learning practices of popular musicians. Pupils directed their own learning in small friendship groups, selecting their own music and attempting to play it by ear from the recording. Teachers stood back and observed, with the aim of understanding and empathising with the goals that pupils set for themselves; they then acted as guides and musical models rather than instructors. As the year went by, pupils were given more structured materials, then returned to their relatively unaided strategies, composed their own music, worked as bands with community musicians, and applied the learning strategies to classical music.
The teachers agreed that overall motivation, enjoyment and cooperation increased above, and in many cases well above what would normally be expected; and that in general skill-acquisition was greater than expected and greater than normal. Pupils at all extremes of the ability spectrum were considered to benefit, as were those who took additional instrumental lessons. Most particularly, many pupils who had previously been regarded as either unable or unwilling to participate in music lessons, or who were identified as disaffected within the school generally, shone as enthusiastic group leaders and able musicians.
Over ninety per cent of the pupils said that they preferred the project's approach to that of the 'normal' curriculum (their word, not ours). The teachers unanimously agreed or strongly agreed to the statement: 'Using informal learning practices in the classroom has generally changed my approach to teaching for the better'. The strategies were not intended as an alternative, but a complement to traditional approaches.
The project formed part of the national 'Musical Futures' initiative. Its teaching strategies, materials, and a documentary film are downloadable from www.musicalfutures.org. The strategies and materials include practical advice for teachers and audio resources; the film shows footage of pupils and teachers engaging in the project and talking about their responses. The project has been recommended by the government's Music Manifesto, and the DfES has made it available to all schools through its website www.dfes.gov.org. At the time of writing, over 2,000 people from schools and other sites have downloaded the materials. A detailed, more academic account of the findings will shortly be available in Lucy Green: Music, Informal Learning and the School: A New Classroom Pedagogy (Ashgate Press).
project team...
- Professor Lucy Green (IoE)
- Abigail D'Amore (IoE)
- John Witchell (Hertfordshire Music Service)
- David Price (Musical Futures)
selected project public output...
Authored books
- Green, L. (Forthcoming), Music, Informal Learning and the School: A New Classroom Pedagogy, London and New York: Ashgate Press; ISBN: 978-0-7546-6242 6 (hardback)
- Green, L. (2002). How Popular Musicians Learn: A Way Ahead for Music Education, Hampshire, England: Ashgate Publishing Limited.
Short monograph
- Green, L. (2005), Meaning, Autonomy and Authenticity in the Music Classroom, (an inaugural professorial lecture); Institute of Education, University of London
Research-based curriculum materials
- Green, L. with Walmsley, A. (2006), Classroom Resources for Informal Music Learning, Teachers' Pack, (with Abigail Walmsley); downloadable from www.musicalfutures.org, Personalising Music Learning Teachers' Resource Pack, Section 2; available in hard copy from the Paul Hamlyn Foundation, 18 Queen Anne's Gate, London SW1H 9AA
Journal articles
- Green, L. (2006) 'Popular music education in and for itself, and for "other" music: current research in the classroom', International Journal of Music Education, special issue on popular music, Vol. 24, no. 2, pp. 101-118, ISSN: 0255-7614
- Green, L. (2005), 'The music curriculum as lived experience: children's "natural" music learning processes', Music Educators' Journal (USA), special issue on curriculum innovation, Vol. 91, no. 4, pp. 27-32 (also available in Börje Stålhammar (ed) Music and Human Beings-Music and Identity Sweden: Universitetsbiblioteket, pp. 15-27)
- Price, David (2006). Personalising Music Learning, Paul Hamlyn Foundation.
- Price, David (2005). Transforming Musical Leadership, Paul Hamlyn Foundation.
- Walmsley, A. (2005) 'Musical Futures', Classroom Music, Vol. 2, no. 3.
project contact details...
www.musicalfutures.org, l.green@ioe.ac.uk
Sounds of Intent: assessing, recording and promoting musical development in children with profound and multiple learning difficulties
funded by the QCA, the Esmée Fairbairn Foundation, the RNIB and the Amber Trust
The 'Sounds of Intent' research project was set up in 2002 jointly by the Institute of Education, University of London with the Royal National Institute of the Blind. It grew out of earlier research undertaken by the same team which examined the provision of music in special schools in England (PROMISE).
The aim of Sounds of Intent is to investigate and promote the musical development of children and young people with severe, or profound and multiple learning difficulties ('SLD' or 'PMLD').
The framework of musical development is based on research with three main elements:
- Observational data of children with profound learning difficulties experiencing or engaging with music have been gathered by expert practitioners through videotape recordings and fieldnotes. These have been analysed for responses or actions that seemed to be representative, exceptional or indicative of attainment or any progress that they believe to be worthy of note. The findings have subsequently been presented to and discussed by the research group, which has met on a termly basis. Emerging ideas have been synthesised by the lead researchers, and used to inform and critique the developmental model which has evolved iteratively in response to new findings and suggestions from the group. As further data have been gathered, these have been analysed in relation to the model, completing a cyclical process of empirical and theoretical work.
- The analysis and emerging model have been informed by psychological research pertaining to 'typical' early musical development, including listening, producing and responding to music and musical sounds from the period of foetal development through to the first three years of life.
- The model has been informed also by a theory of music cognition that is being developed by one of the researchers, which suggests that mature engagement with music entails the (typically subconscious) attribution of derivation to its constituent sounds, whereby one is felt to generate another or others through imitation. This applies both to structural understanding (through which music 'makes sense') as well as aesthetic response (which includes music's apparent capacity to express or represent emotion). The theory has been used to predict the order in which the musical abilities it implies are likely to evolve in children (irrespective of their learning difficulties).
project team...
- Professor Graham Welch, IoE
- Dr Adam Ockelford, RNIB & IoE
- Sally-Anne Zimmermann, RNIB
- Dr Fern Carter, IoE
- Evangelos Himonides, IoE
selected project public output...
- Ockelford, A. (2000). Music in the Education of Children with Severe or Profound Learning Difficulties: Issues in Current UK Provision, A New Conceptual Framework and Proposals for Research. Psychology of Music, 28 (2), 197-217.
- Ockelford, A., Welch, G. F., Zimmermann, S.-A., Himonides, E. (2005). Sounds of Intent: Mapping Musical Behaviours and Development in Profoundly Disabled Children. Proceedings of the Fourth International Research In Music Education Conference (RIME), 5-9 April 2005, University of Exeter.
- Ockelford, A., Welch, G. F., Zimmermann, S.-A., Himonides, E. (2005). 'Sounds of intent' - mapping, assessing and promoting the musical development of children with profound and multiple learning difficulties. Proceedings of "VISION 2005" conference. 4-7 April 2005. London: Royal National Institute of the Blind. Elsevier: International Congress Series, 2005, vol. 1282, pp. 898-902.
- Ockelford, A., Pring, L., Welch, G. F., &Treffert, D. (2006). Focus on Music: Exploring the musical interests and abilities of blind and partially-sighted children with septo-optic dysplasia. London: Institute of Education/RNIB. [pp71] [ISBN 0 85473 723 5]
- Welch, G.F. (2006). The musical development and education of young children. In B. Spodek &O. Saracho (Eds.), Handbook of Research on the Education of Young Children. (pp. 251-267). Mahwah, N.J.: Lawrence Erlbaum Associates Inc. [0-8058-4720-0 0-8058-4721-9]
- Welch, G.F., Ockelford, A., Zimmermann, S-A., Carter, F-C., &Himonides, E. (2006). Sounds of Intent: Initial mapping of musical behaviours and development in profoundly disabled children. In M. Baroni, A.R. Addessi, R. Caterina, &M. Costa. (eds.). Proceedings, 9th International Conference on Music Perception and Cognition. (pp. 274-275). Bologna: Bononia University Press, University of Bologna. [ISBN 88-7395-155-4]
- Welch, G.F., Ockelford, A., Carter, F-C., Zimmermann, S-A., &Himonides, E. (2007). Sounds of Intent: Mapping musical behaviour and development in children and young people with complex needs. Ms submitted for publication.
- Sounds of Intent: Mapping musical behaviour and development in children and young people with complex needs. Presentation Slides (Language and Music as Cognitive Systems Conference, Cambridge 11-13 May 2007).
project contact details...
The Nature and Development of the Female Cathedral Chorister
funded by the AHRB [now AHRC]
The purpose of the research was to clarify and understand better how the musical culture of a cathedral choir impacts on the musical development and performance of its female choristers with regard to an 'appropriate' sound. In particular, the proposed research sought to explore how the female choristers' experiences (including rehearsals and performances) shaped their musical behaviours and identities.
In accordance with the intended research methodology, three short intensive visits were made to Wells Cathedral in Somerset during the twelve-month period of the award. The prime elements of the research methodology were qualitative (through observation, semi-structured interviews, analysis of printed materials (such as music and service schedules)) and quantitative (different sets of acoustic recordings of singing behaviours in (a) the interview setting (a vacant practice room in Wells Cathedral School), (b) rehearsal spaces (the Cathedral Undercroft, Cloister and Nave), and (c) performance at Evensong. A senior research colleague with significant experience in the application of music technology provided assistance with the recordings and with the (ongoing) acoustic analyses.
Opportunity was taken during each visit to speak to individuals and small groups of female choristers, as well as significant adults, such as the cathedral organist and adult male singers from the choir (the 'Vicars Choral'), plus others with responsibility for the general welfare of the choristers (such as the Head of School). The participant choristers represented two overlapping populations because the research visits spanned two school academic years (2001/2002 and 2002/2003) and there is always some change of chorister personnel at the end of each summer term.
Across the year, (i) fifty-two individual female chorister recordings were made, each following an established protocol (see below); (ii) 23 hours were spent observing choristers singing in rehearsals, services and individually and (iii) an additional 15.5 hours was spent in interviews.
The research formed part of a unique, ongoing longitudinal study of female chorister development at Wells, now (2009) in its 10th year.
project team...
- Professor Graham Welch, IoE
- Professor David Howard, University of York
selected project public output...
- Welch, G.F. (2006). Singing and Vocal Development, In G. McPherson (Ed.) The Child as Musician: a handbook of musical development. (pp. 311-329). New York: Oxford University Press. [ISBN 0-19-853032-3]
- Welch, G.F. (2007). Addressing the multifaceted nature of music education: an activity theory research perspective. Research Studies in Music Education, 28, 23-38.
project contact details...
A Survey of the Views of the UK Academic Community on the Standing and Future of the UK Doctorate in the Arts and Humanities
funded by the AHRC
In the Arts and Humanities Board's 2002 review of its postgraduate programmes, it was noted that the sector had concerns about "the nature and quality" of the UK PhD in the arts and humanities and that there had been a number of significant developments relating to the UK doctorate which the Board needed to address. These developments included growing attention to the role of training in the doctorate; new types of doctorate including the New Route PhD and the Professional doctorate; the growth of practice-led doctorates; and international developments such as the Bologna process.
In response to the recommendation of the review, the Board established a working group to consider a wide range of issues relating to the nature, scope and structure of doctoral study in the arts and humanities in the UK. The aim of the group was to undertake and publish a study reflecting on these issues and to develop a set of recommendations for the Board on how the AHRB should respond to the findings in the report. AHRB funding for doctorates was largely allocated through an annual open competition, with around 550 new awards made each year. A further 30 new awards were allocated each year as Project Studentships attached to larger research projects through the Board's Research Grants scheme.
As part of the group's consultation process, the Institute of Education, University of London was commissioned to survey opinion on current practice and possible futures of the arts and humanities doctorate in the UK.
Chair of the ARHC Doctoral Working Group was Professor Christopher Carey (UCL)
project team...
- Professor Graham Welch
- Evangelos Himonides
project report...
- Welch, G. F. & Himonides, E. (2005). A Survey on the UK Doctorate in the Arts and Humanities. Report for the Arts and Humanities Research Council (AHRC). London: Institute of Education. [ISBN: 1-905351-02-X]
project contact details...
email: e.himonides@ioe.ac.uk, telephone: +44(0)20 76126599, fax: +44(0)20 76126741
