This morning I went to a local supermarket and headed for the newspaper stand. As I approached, a song came into my head, from where, I don’t know. It was so strong that I found myself singing it, albeit quietly, as I found my newspapers. The song – See the conquering hero comes by Handel. I was feeling upbeat for some reason. But where did the song come from? I hadn’t consciously willed it and it wasn’t an ear worm. Once it had come I was in full control of it and once I got to the end there was no involuntary return.
The poet Stephen Spender writes:
‘There is nothing we imagine which we do not already know. And our ability to imagine is our ability to remember what has already once been experienced and to apply it to some different situation’ 
I assume that we all have an unconscious life of fantasy feeding our imaginations, including our musical imagination. Well, there it was in my long-term musical memory and awoken by my mood of the moment and being applied to a specific situation.
There’s a lot of talk about musical creativity less about the musical imagination.
John Paynter had something to say about it.
‘Every conscious involvement with music in performing, composing ”and” in listening is the result of an independent imaginative response. It can not be quantified or reproduced exactly a second time. It is personal and individual. No matter how much we analyse the mechanic of a piece of music, or pay attention to what other people tell us about it, music will not ”happen” for us unless we ourselves enter into the particular sound world it inhabits.’ 
Yesterday I enjoyed very much the compositions of the year 7s of the City of London School for Girls performed in the Museum of London where they had been working all day and responding to ‘The City is Ours’ (see http://www.museumoflondon.org.uk/museum-london/whats-on/exhibitions/the-city-is-ours).
There were eight newly created works, none of which I or the girls could possibly have imagined at the beginning of the day. Their teachers I imagine entered into the day without giving much thought to ‘learning’, rather more thought to the subtleties of their teaching and being sensitive to the personhood of their pupils. (I like the idea of teaching without learning. )
What seemed important about the girls’ musical work was its uniqueness, and this means that it is irreplaceable.
Perhaps it’s time to stop, think and cherish the human imagination and its capacity to remake the world. I wonder if today the girls will be experiencing involuntary visits of their Museum Music. I am going to have a silent sing of that song.
 Spender, S. (1982) The Making of a Poem in Creativity (ed) P. E. Vernon, Penguin Books.
 Painter, J. (1982) Music in the Secondary School Curriculum. Cambridge University Press.
 See Gert Biesta’s ‘The Rediscovery of Teaching’, Routledge for the significance of this proposition.