During the last decade several Caribbean countries have focused much of their resources and energy on developing national curricula. Jamaica has been prominent among them with the Reform of Secondary Education (ROSE) project, which developed curricula first for five subjects, and later for four more subjects, among them music. More recently the development of a primary music curriculum and the piloting of a syllabus in music by the Caribbean Examinations Council (CXC) have added significantly to the number of innovations that school music faces. The primary, secondary, and CXC syllabuses focus on the three parameters of music education (performing, audience-listening, and composing) that provide learners with direct experiences of music (Swanwick 1979). By including composing and a broader musical repertoire that speaks to the cultural pluralism of Jamaican society, these curricula espouse an eclectic approach to music education. To implement these curricula, teachers already in the system may need to broaden their musical skills and knowledge. They will also need to change their teaching methodologies, reducing their customary role of musical director to take on more facilitatory roles in the type of classroom processes that foster student decision making and the development of creative thinking.