‘The research highlighted the tensions between different conceptions of the purpose of music education and in particular the nature of the curriculum.’ 
This is just one of several valuable discussion points made in the report of research carried out over a three year period into the relationship between informal learning and musical progression. It is the case of Musical Futures Champion Schools. (I recommend subscribing to the British Journal of Music Education and reading the article in full.)
For the teachers involved progression was expressed in terms of pupils
Demonstrating higher levels of attainment
Developing a wider range of musical skills
Developing a good understanding of a range of musical genres
Having mostly exceeded my expectations when it comes to improving their musical skills
Fulfilling their musical potential
For the pupils the development of their musical skills was expressed in terms of
Becoming a better musician
Learning to listen to music differently
Doing thing things as well as others
Feeling confident in music lessons
Having good musical skills
Having achieved a lot in music lessons
Thinking they are a musical person
‘Overall, teachers reported that Musical Futures had enhanced the progression of their students and increased take up at Key Stage 4. In some cases this had led to changes in the qualifications on offer with an emphasis on those which were vocational rather than academic. This created some tensions in catering for the needs of different groups of students who had a range of different musical skills.’ 
But back to the top and those tensions between different conceptions of the purpose of music education and in particular the nature of the curriculum.
The statements above provide examples of purpose and I select three which I think are popular and immensely attractive, and sound sensible reasons for engaging in the practice of music, and self-evidently so. 
Fulfilling musical potential ; being musically skilful; becoming a musician – often expressed as achieving a musical identity.
But are these sufficient in the name of a music education claiming subject status in the school curriculum and sponsored by the state?
And perhaps as important, are they sufficient in the light of the national conversation about the purposes of education in general and the place of music in the school curriculum? Much of that conversation revolves around issues such as knowledge and culture.
Hence the question that is needed:
What does it mean to be musically educated as part of a general education for all children and young people to age 16? 
And which I suggest might form the starting point for conceptualising both the nature of music as a subject of the school curriculum and the character of that curriculum.
And so two further questions:
To what extent should the purposes of music education address the nature of music as a human practice historically and contemporaneously manifest in the world? (Ontology)
What kind of knowledge and ways of knowing should a music education be most concerned with? (Epistemology)
Perhaps the point to make is that rarely are such questions aired let alone discussed. And in the words of John Paynter:
‘Understandably, the tendency has always been for us to skip the philosophy and go straight to the ‘’meat’’: the ‘’things to do’’. 
The BJME paper ‘Can the adoption of informal approaches in school music lessons promote progression?’ is to be welcomed. And it must be acknowledged that the issue under consideration was ‘progression’. But the research does provide a vivid case of a current curriculum conundrum and so offers a source for ongoing debate about purpose and the nature of curriculum.
But is such a debate welcome? Will we continue to start, as John Paynter put it, in another place?
A look at popular conference programmes (e.g. Music Expo, Music Mark) would suggest that we will.
The existential struggle for recognition, the competition for scarce resources, the gadarene scramble for declaring what works, the uncritical adoption of promotional slogans and the exigencies of liquid modernity together easily crowd out and silence possible debate or much hope of taking time out to address purpose.
Such is the way of the world and of music education.
Ah! But we do have the British Journal of Music Education.
 Hallam, S., Creech, A. and McQueen, H. (2017) Can the adoption of informal approaches to learning in school music lessons promote musical progression? British Journal of Music Education, 34:2, 127-151.
 ibid, p. 127
 The development of musical skills is the way many music teachers express their core endeavours.
 ‘Fulfilling potential’, a term much cited by politicians as a short cut for all manner of things. I don’t know about you but I hope my potential is never fulfilled.
 I am labouring the point that discussing the purpose of music education in general is distinct from discussing its purpose for all children and young people up to the age 16 as part of a general education.
 Paynter, J. (1982) Music in the Secondary School Curriculum. CUP: Cambridge. p. 14.