We are the Specialist Schools and Academies Trust (SSAT), an independent, not-for-profit membership organisation dedicated to raising levels of achievement in secondary education.We have a membership of over 5,600 schools and organisations. We are a registered charity.What we doWe work with headteachers, teachers and students to encourage them to develop and share new and effective teaching and learning practice, and to improve schools to raise standards and levels of achievement. In practice, headteachers and teachers design, lead and deliver our work, and continue to develop what we do

2010 The Future

Transition

Recommendation 19With their local authorities, primary andsecondary schools should agree a jointpolicy for bridging children’s transitionfrom Key Stage 2 to Key Stage 3.

Transition

“Making More of Music” – An evaluation of music in schools 2005/2008

Weaker practice: In contrast, while in many of the schools visited, pupils enjoyed singing, all too often therewas insufficient attention to improving the quality of the singing or sufficient increased challenge.

Singing was an area of relative weakness. It was good or outstanding in only two in 10 schools and was inadequate in over three in 10. In the latter, it was not that the quality of the students’ singing was poor but, rather, that no singing took place at all.

‘Making more of music…’ Ofsted 2009

• “Weak continuity in all aspects of music provision affected the progress pupils were making”

• Better continuity is needed across Key Stages 1 to 3, so that teachers have sufficient knowledge to ensure expectations are high enough and pupils can build on previous work; continuity across the primary and secondary schools was virtually non-existent”

• Effective partnerships between primary and secondary schools were extremely rare. Virtually no information was being shared at the point at which pupils transferred to other schools except, at most, some information about which pupils learnt musical instruments.

‘Making more of music…’ Ofsted 2009

The best secondary schools recognise the need for better continuity at transition. The most effective option was to develop continuing links between the schools, so that teachers got to know the pupils by sharing work. This is best done over time, but a single project at the end of Year 6 also gives helpful information, provided the work is planned jointly and discussed fully.

A workforce that is responsiveto the musical needs and intentions of the students

2010 – The Big Musical Bubble

Ring-fenced funding for music and Wider Opps

Sing Up!

Building schools for the future

CPD programme

Instrument fund

In Harmony

Music Partnership Projects

Find Your Talent

Making More of Music

Year of Music

Transforming Transition

2012 .... Or 2022?2012 .... Or 2022?

An understanding of the value sustained music education

Music at the centre and not at the periphery

A National Curriculum in Music where “Music” is the only word on the page

PositiveWell informedClearInclusiveEncouraging Creative Musical

SUCCESS FACTORS FOR MUSIC IN SCHOOLS and a SUCCESSFUL

TRANSITION

• Commitment of Headteacher and Senior Management

• Leadership by Music or Arts Coordinator

• Achieving whole school support

• Recruiting staff committed to music

• Financial investment

Key Transition Questions1. What strategies do you have for passing on what you do to

receiving secondary schools?

2. How does your work co exist with other music

providers?

3. What strategies could you implement?

4 What is the impact of the enhanced music provision in primary schools?

5 How can you ensure sustainability?

THE VISION =

JOINED UP MUSIC PROVISION

W.Richard JonesNational Specialism Coordinator Music and Performing Arts

Specialist Schools and Academies Trust16th Floor, Millbank Tower

21-24 MillbankLONDON SW1P 4QP

 Tel: + (0)20 7802 2300Mobile: 07834 866 990

Home Office Phone/Fax 01748 823163

Key Transition Questions1. What strategies do you have for passing on what you do to

receiving secondary schools?

2. How does your work co exist with other music

providers?

3. What strategies could you implement?

4 What is the impact of the enhanced music provision in primary schools?

5 How can you ensure sustainability?