Description: This paper examines music teaching in English classrooms in the interwar years, a period in which the potential of cultivating the 'aesthetic attitude' was increasingly stressed in order to reinvigorate national culture and purpose and to re-order domestic life and leisure thought to be 'unsettled' as a result of war. Aesthetic subjects, and music education in particular, were seen as important for all pupils, rather than a gifted minority. The central question of the paper is how the physical, the aural, the visual and the intellectual interlinked in the transformation of Music as classroom knowledge and practice in England in the interwar period, and how this relates to conceptual frameworks within the grammars of schooling and educationalisation (Depaepe, 1998; Depaepe et al, 2000: 53). The paper will contribute to the growing understanding of European classroom histories resulting from the use of the visual, material and spatial as forms of analysis. It will use curriculum history as a route into past pedagogical reality (Depaepe et al 2000: 46), coupled with oral history. It will take as examplars the classroom texts of two key music educators, Margaret Donington and Annie Warburton (Donington, 1932; Warburton, 1926, 1938). The purpose of the paper is to examine the approach to aural training, class singing, musical appreciation and composition that they advocated in their highly structured music courses, as well as ways in which pupils were introduced to the grammar of Western music through structured creative work, by learning the language and literature of music, through practical music making, and through musical 'appreciation'. The paper will ask particular questions about ways in which the pupil was moved from the embodied experience of music as movement in the kindergarten to the mental listening in which the older pupil was expected to 'unconsciously listen immediately they look … in fact … [to] look with their ears' (Donington, 1932: 54). It will ask about conceptions of music education, including the rhythmic base of the teaching (Warburton, 1938), with its links to theories of race recapitulation. It will explore whether, and if so how, ideas from progressivism were embedded in the schemes. It will question how Donington and Warburton introduced their pupils to the grammar of Western music and how the physical, the aural, the visual and the intellectual relate in their work, as well as how both women dealt with the splits between emotion and rationality within the Western musical canon. It will add value to current scholarship by exploring how the interaction of these various elements relate to the grammars of schooling and educationalisation. Methodology: The paper adopts a documentary research approach and make use of oral history. Conclusions: The paper adds an 'aural turn' to classroom histories, which have been enriched more recently by explorations of the spatial, the visual and the material. It demonstrates ways in which the physical, the aural, the visual and the intellectual have interlinked in histories of the classroom and points to the importance of the aural to both the grammar of schooling and the grammar of educationalisation.