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Music Subject Studies

Handbook 2013/14

Music Subject Studies Handbook Page 1

© Teach First Initial Teacher Development Partnership 2013



Contents Contents ............................................................................................... 2

Principles and Aims of Music Subject Studies ................................................... 4

Introduction ........................................................................................ 4

Principles and Aims ............................................................................... 4

Delivery Model ..................................................................................... 5

Using the Handbook ............................................................................... 5

Music Subject Studies and the Teach First Leading Learning Principles ................... 7

Learning Objectives in Music Subject Studies................................................... 8

Summer Institute and Year-Long Learning Objectives ...................................... 8

Music Subject Studies Themes Objectives ....................................................... 9

Place of Music and The Arts in the Curriculum ............................................... 9

Planning for Musical Learning ................................................................. 11

Assessment of Musical Learning ............................................................... 13

Musical Learning through the use of Music Technology ................................... 14

Inclusion and Differentiation in the Music Classroom ..................................... 15

Progression in Music beyond Key Stage 3 .................................................... 16

Teaching a range of musical styles, genres and traditions in music .................... 17

Summer Institute Session Details ............................................................... 18

Further Reading ................................................................................. 20

Appendices .......................................................................................... 24

Appendix 1 - Health and Safety ............................................................... 24

Appendix 2 - Inclusion (EAL, Gifted and Talented, SEN(D), Assessment for All) ...... 25

Appendix 3 - English, Maths and ICT ......................................................... 26

Appendix 4 - Subject Associations ............................................................ 27



Principles and Aims of Music Subject Studies

What is there about music that is educative? It may help if we list some priorities:

Music should provide an education for all pupils. Classroom activities should not lose touch with musical reality - the

materials of music are sounds; students should be working with sounds.

Opportunities for ‘thinking and making’ in music are of paramount importance.

The goal is ‘musical understanding’ – taking delight in the seemingly endless variety of structural possibilities and the sense of finality (wholeness) that tells us a piece is successful.

(Paynter and Mills, 2008: p.91)

Introduction

Welcome to the Teach First Music Subject Studies course. The course is designed to provide you with a depth of subject knowledge so that you can become confident practitioners, able to teach music in an active and stimulating way. Outcomes for pupils are at the heart of this philosophy and tutors aim to do their very best to support you to make an impact on pupils’ musical learning from day one in your classrooms. The Subject Studies course will prepare Teach First music participants to teach music to the 11-16 age and ability range in secondary schools in England. The course will address the knowledge, understanding and skills required of Newly Qualified Teachers (NQTs) of music, as outlined in the Teachers’ Standards (DfE, 2012).

Principles and Aims

The course is flexible in content and changes may be made to sessions in order to address participants’ own subject knowledge needs. University sessions will take the form of workshops, seminars and peer-led discussions, allowing you to develop teaching strategies and resources individually and in groups. You will be expected to address gaps in your subject knowledge as soon as possible by providing a plan of how you intend to proceed. This should be linked to your pre-Summer Institute Subject Knowledge Audit (SKA). Additionally, you will engage in School Centred Learning (SCL) during Weeks 1-4 which will require you to teach music to classes of pupils and develop your practice through focused observation and reflection on the work of outstanding teachers. There is also the opportunity to develop your understanding of the vital role that extracurricular instrumental music making plays in pupils’ music education through your work with the National Orchestra for All (NOfA).



Please remember that the Summer Institute is part of the selection process and that participants who are not demonstrating the knowledge, skills and understanding needed to progress to their placement will be identified as ‘cause for concern’ (see Programme Guide for details). Further formative assessment takes place in the form of subject visits by the music tutor to your school to monitor your progress in relation to subject-related areas of the standards. You will also be engaging with the theory and practice of teaching music at Master’s level by completing your second Written Assignment (WA2) during your training year.

Delivery Model

There will be a practical musical element to each of the National Subject Studies days and you are encouraged to bring an instrument with you to allow you to engage fully in the programme. Instrumentalists will also be expected to engage in singing and body percussion activities and singers will be expected to engage with a range of instruments too. As well as this, you will have the opportunity to lead practical activities and engage in a degree of microteaching in the supportive environment of the Summer Institute. Different pedagogies of music will also be explored daily in sessions. Building on the success of last year’s programme we will be working with a large group of young people who are attending the National Orchestra for All summer school at the National Summer Institute. As well as providing instrumental and singing opportunities for participants, there will be opportunities planned in for you to work with the young people in areas of your expertise.

Using the Handbook

1. For Teach First participants (TFP)- Participants use the handbook to prepare for

Summer Institute Subject Studies sessions by reading appropriate sections in the suggested text books and reviewing progress in relation to the learning objectives.

2. For TFP with Subject Mentor - The subject handbook is a tool for subject mentors to facilitate discussion in mentor meetings and suggest reflections for the journal.

3. For TFP with Professional Mentor - The subject handbook is a tool for professional mentors to understand pertinent issues in the subject.

4. For TFP with Tutor – The subject handbook explains how sessions link to themes; allow tutors to set targets in relation to themes and reflection in journal.



Having met you all at the music assessment centre and reviewed many of your Subject Knowledge Audits, I am really excited to be working with such talented and enthusiastic participants. Music has the power to bring about fantastic changes to individuals and communities; I look forward to supporting you as you embark on Teach First’s challenging vision. Emily Sayers [email protected] Curriculum Lead for the Arts office: 01227 767700 x 2072 Canterbury Christ Church University mobile: 07837 938234 Emily Sayers completed her PGCE at Canterbury Christ Church University in 2003 and worked in two schools in Kent before joining the university faculty in 2007. She has been the Music tutor on the Teach First Programme ever since and also works on the Postgraduate Certificate in Education (PGCE) Modular Programme and School Direct. She has completed research on ‘Instrumental Teachers’ Implicit Learning Theories’ and ‘The Cultural Politics of the English National Curriculum for Music’. Ian Axtell [email protected] Subject Leader for Music Education office: 0121 331 7322 Birmingham City University Ian Axtell began his music teaching career in Coventry in 1984. Having toyed with integrated arts teaching and media studies, he eventually ended up in Birmingham as a Head of Music. Here he took on the challenge of creating a faculty that included the Arts and PE. After a move to Hereford as a Curriculum Area Manager for the Arts and PE he was invited to lead the music team in a local School Centred Initial Teacher Training (SCITT) scheme. He was also offered the opportunity to rebuild a music department within a failing school in Hereford. These activities resulted in Advanced Skills Teacher status in 2002. Ian is now Route Leader for Secondary Music at Birmingham City University where he manages the music team for both primary and secondary music. Ian’s research interests include the use of e-portfolios in secondary initial teacher education (ITE) and exploring appropriate meta-pedagogies in the context of secondary music ITE. Sarah Clarke [email protected] Subject Tutor Canterbury Christ Church University Sarah Clarke is an '09 Ambassador and Head of Music at Burlington Danes Academy, White City. She joined the tutor team at Canterbury Christ Church University in September 2012. Marianna Hay [email protected] Artistic Director and Founder National Orchestra for All Marianna Hay is an ’07 Ambassador and spent three years teaching at Highbury Grove School taking on the role of Director of Music in her third year. Marianna left teaching in July 2010 and was appointed as Director of Development for Music First - a music education charity focused on transforming young lives and communities in Islington that she helped establish whilst still at Highbury Grove. In 2011 Marianna founded National Orchestra for All, running the first course for just under 50 young people at Warwick University last summer. NOfA doubled in size in its second year and Marianna is continuing her role as Artistic Director and Founder of the Orchestra full time.



Music Subject Studies and the Teach First Leading Learning Principles In line with Teach First’s Leading Learning Principles (shown below) participants will be expected to demonstrate high-level skills in communication and reflection throughout the music course. Participants will develop effective planning skills and an understanding of teaching and learning through the music programme. University-based sessions will offer the opportunity for participants to contribute through activities such as small and whole group discussions, microteaching presentations or by leading workshops on researched topics. Such activities may be peer, tutor or associate tutor assessed. Teach First participants in music should make full use of a wide range of musical resources and develop their own collection of suitable teaching materials. These include those available at their schools, from local university libraries and from the subject tutor, peers, ambassadors and associate tutors. Online resources should be approached critically and will often need adaptations/corrections. It is very important that once in school you keep in contact with fellow music participants in order to share good practice and resources. The Leading Learning strand of the Leadership Development Programme will introduce you to five principles of effective teaching and leadership. The Leading Learning principles draw upon lessons learnt from past cohorts’ experience of setting and pursuing ambitious goals for pupil learning. The principles were also informed by research into effective leadership in other contexts in the UK and abroad. During the two years you will spend teaching, you will use these five principles to help you lead your pupils’ learning. These principles will also support your wider leadership development and provide you with skills you can transfer to any sector position. Having a Strong Vision Participants set year-long goals for pupils’ achievement in their classrooms. Sharing the Vision and Collaborating with Others Participants share their classroom goal with others — clearly articulating the path to success — and collaborating with pupils, colleagues, families to realise the vision. Creating a Great Environment Participants create an environment conducive to enabling success and achievement of the vision for pupil learning. Planning Strategically and Delivering Effectively Participants plan strategically and thoroughly over the long term towards the vision and deliver their plans accordingly. Being Reflective and Solution Focused Participants are committed to continuously reflecting on their practice, and to problem solving in order to maximise their impact.



Learning Objectives in Music Subject Studies Introduction to Learning Objectives in Music Subject Studies In music sessions both on- and off-site, participants will have specialist input covering the range of approaches and methods needed to achieve the stated objectives of the course. Recommended formats for lesson planning, schemes of work and evaluations are initially provided for participants to use in their teaching. However, these may be modified by participants as their experience and professional expertise develop and depending upon the expectations of your school. Participants will take part in pupil engagement opportunities during the Summer Institute.

Summer Institute and Year-Long Learning Objectives

To develop knowledge, skills and understanding of:

the development of music as a subject in education and its current status in the secondary curriculum

the nature and development of musical learning strategies for teaching music in the Teach First secondary classroom an introduction to the music National Curriculum – its content and assessment a Subject Knowledge Audit to address individual needs and to introduce

strategies for addressing areas of development workshop sessions to cover subject knowledge issues The role of music technology (or ICT) in musical teaching and learning the management of learning the music classroom planning lessons and sequences of lessons (including planning workshops) evaluating and reflecting on musical teaching and learning developing an understanding of and expertise in leading music outside of the

classroom music as an academic discipline through Subject Knowledge Audit progress

tutorials with mentors in school (and support from tutor). strategies for differentiation e.g. for students with Special Educational Needs

and Disabilities and students who have English as an Additional Language (bilingual learners)

assessing, recording and reporting student attainment in relation to National Curriculum performance descriptors and GCSE/BTEC standards.



Music Subject Studies Themes Objectives Theme 1

Place of Music and The Arts in the Curriculum

Summer Institute Learning Objective Specific to Theme This theme links to Teach First’s Leading Learning: The Five Principles for Maximising Impact: All participants will: Have started to think about some of the competing ideologies of music education and which will be most appropriate to teach National Curriculum music in Teach First schools. They will have started to get to know the other members of the regional music cohort and shared their own experiences of music education. Be able to plan activities which link to the National Curriculum programmes of study and understand the main recent developments in the National Curriculum for music. Most participants will: Have begun to develop a strong vision of what their ethos of music education will be in school (based on their own experiences and what has been explored in this session) and will have started to develop the relationships necessary to share their vision of music education and adapt it in order to collaborate with others. Have developed the skills to plan musical activities strategically and effectively in line with their own developing ethos of music education. Some participants will: Have a clearly formed and research-based ethos of music education which they can articulate eloquently and discuss and use to interrogate other participants’ opinions. They may also understand the importance of reflection and the idea that music education is not a ‘one size fits all’ model and they will need to adapt their planning to suit the needs of pupils. Be able to use their understanding of the development of the music National Curriculum to inform their critical understanding of the policy landscape and where they position themselves within it. Key Principles While the National Curriculum (NC) document is flexible enough to be interpreted by different ideologies, it has been built on certain assumptions which need to be studied and understood. It is important to understand how the programmes of study have been formed by historical influences on music education. Discussion and practical workshops will be based around the meanings (and their interpretation) of concepts employed and language used in the NC terminology. A demonstration lesson will be analysed in relation to the NC Programmes of Study and as an introduction to the nature of musical learning. Subject audits will be conducted in order for participants to recognise subject knowledge strengths and weaknesses in relation to the music National Curriculum. Participants will develop strategies to address subject knowledge issues where appropriate. This will be a further opportunity for participants and tutor



to familiarise themselves with each other and to discuss any other concerns at the start of the programme. Sources of Information for Effective Teaching Music in the National Curriculum (2007), all key stages and notes, Ofsted’s Music in Schools: Wider Still and Wider (2012), associated good practice videos available online, Musical Futures resource pack. Draft orders for National Curriculum 2014. Key Reading (Masters Level) Chapter 8: Spruce, G. and Matthews, F. ‘Musical ideologies, practices and pedagogies: Addressing pupil alienation through a paraxial approach to the music curriculum’ from Philpott, C. and Spruce, G. (eds) (2012) Debates in Music Teaching, London: RoutledgeFalmer. Chapter 1: Finney, J. ‘The Place of Music in the Secondary School: Ideology – History – Justification’ from Philpott, C. (ed.) (2007) Learning to Teach Music in the Secondary School. Chapter 1: Spruce, G. ‘Ways of thinking about music: political dimensions and educational consequences’ from Spruce, G. (ed.) (2002) Teaching Music in Secondary Schools: Reader, London: RoutledgeFalmer.



Theme 2

Planning for Musical Learning

Summer Institute Learning Objective Specific to Theme This theme links to Teach First’s Leading Learning: The Five Principles for Maximising Impact: All participants will: Be able to plan objectives for the musical learning of pupils, developing a strong vision of progression in music informed by theory and their own experiences. Gain experience in the collaborative planning and delivery of music lessons in collaboration with mentors and other participants. They will receive feedback and encouragement from mentors and participants which will strengthen their vision and encourage collaboration and solution-focused reflection. Be able to plan a sequence of musical lessons strategically with an integrated approach to the National Curriculum Programmes of Study. Understand a range of strategies for creating a great learning environment in the music classroom. Most participants will: Be able to plan objectives and outcomes which integrate performing, composing and listening and understand some of the competing ideologies of music education within which they are teaching. Plan and deliver a successful lesson or part of lesson in collaboration with an ambassador and receive positive feedback and targets to think about for future teaching opportunities. Understand a range of approaches towards medium-term planning and be able to adapt and deploy them strategically in school. Be able to plan the most appropriate strategies for managing musical learning in the classroom, making use of starters, plenaries, mini-plenaries, facilitating discussion, paired work, managing groups of different sizes and individual work. Some participants will: Be able to anticipate the bigger picture and think about how planning objectives links to a long-term view of musical development. This will allow participants to think strategically about the knowledge, skills and understanding that they are encouraging pupils to develop. Take the opportunity to start developing a wider network of support and gain a practical understanding of how to create and maintain a great environment in a music lesson. They will reflect on their experiences and set themselves ambitious goals for the forthcoming year. Demonstrate secure pedagogical understanding and devise creative units of work which think about including all learners and reflect the aims and outcomes of the National Curriculum for music. Have a clear idea of the expectations they are going to enforce within their classrooms and to start planning for their implementation. Key Principles This session will use practical engagement to discuss a range of ways in which we might generate learning objectives for our lessons. To a large extent the sorts of objectives we choose for our lessons are a good guide to our assumptions about the nature of musical learning, the relative worth of various forms of musical knowledge and the potential activities which we think might bring about musical development. We can broadly define three types of musical knowledge: knowledge about music (facts), knowledge of how to participate in music (skills) and knowledge of music (implying an understanding relationship). Are all of these of equal worth? Must one



come before another in the learning process? Most lessons will contain objectives aimed at each of these knowledge types. The types of objectives we choose will often provide us with the criteria for their achievement, e.g. retention of a fact ‘about’ music. We can plan lessons around one or several of these and yet any one activity might deliver a whole series of objectives. An important theme will be the writing of objectives which have clarity but which are also true to the nature of music. Sources of Information for Effective Teaching Teach First Community Website for lesson plan/unit of work pro formas, National Curriculum for Music (2007), Ofsted’s Music in Schools: Wider Still and Wider (2012), associated good practice videos available online, Musical Futures resource pack, QCA units of work, NAME resources. Key Reading (Master’s Level) Chapter 4: Cain, T. (2007). ‘The National Curriculum for Music’ from Philpott, C. (ed.) Learning to Teach Music in the Secondary School. Chapter 3: ‘The Parameters of Music Education’ from Swanwick, K. (1979) A Basis for Music Education, London: Routledge. Chapter 3: Philpott, C. ‘Musical Learning and Musical Development’ from Philpott, C. (ed.) (2007) Learning to Teach Music in the Secondary School. Chapter 4: ‘The Model in Action’ from Swanwick, K. (1979) A Basis for Music Education London: Routledge. Chapter 7: Spruce, G. ‘An Integrated Approach to Lesson Planning’ from Philpott, C. (ed.) (2007) Learning to Teach Music in the Secondary School. Chapter 7: ‘How not to teach music musically’ from Mills, J. (2005) Music in the School Oxford. Chapter 8: Philpott, C. ‘The Management and Organisation of Learning in the Music Classroom’ from Philpott, C. (ed.) (2007) Learning to Teach Music in the Secondary School. Chapter 6: ‘Group co-operation, ability and inclusion’ from Green, L. (2008) Music, Informal Learning and the School: A New Classroom Pedagogy Aldershot: Ashgate.



Theme 3

Assessment of Musical Learning

Summer Institute Learning Objective Specific to Theme This theme links to Teach First’s Leading Learning: The Five Principles for Maximising Impact: All participants will: Understand the key features of effective assessment practice in music and be able to plan for their implementation in music lessons. Most participants will: Have the skills to develop robust assessment strategies which communicate the level and nature of pupils’ experience in relation to the National Curriculum. Some participants will: Plan for opportunities to build effective assessment practices into their medium- and long-term planning by thinking about establishing effective baseline assessments and constructing success criteria which are differentiated and relate to pupils’ learning in music. Key Principles Assessment has always been a difficult area for arts education and this is especially so since creative work has become a statutory requirement in the National Curriculum. The arts are not easily carved into parcels of assessable facts and skills. How do we assess creativity? How do we assess the development of musical understanding? How do we assess the development of response to music? Clearly it is easier to assess knowledge ‘about’ and knowledge ‘how’; we can devise simple tests in a variety of circumstances to do this, e.g. Associated Board theory and practical exams. The more complex aspects of musical learning do not always lend themselves to formal ‘testing’. Can creativity be formally and combatively examined? What can a ‘grade’ say about a composition? Summative criteria are notoriously difficult to devise. In which case, what is the role of informal - formative styles of assessment? These issues will dominate a session which will attempt to lay the foundations for both a manageable and musical system of assessment, recording and reporting. Key themes will be the notion that to teach is to assess and the importance of ‘fitness of purpose’. The session will give participants the chance to practice a range of assessment methods in relation to students’ appraisal, performing and composing. Sources of Information for Effective Teaching DfE exemplification materials available online, Ofsted’s Music in Schools: Wider Still and Wider (2012), associated good practice videos available online. Key Reading (Master’s Level) Chapter 15: Philpott, C. ‘Assessment in Music Education’ from Philpott, C. (ed.) (2007) Learning to Teach Music in the Secondary School. Chapter 9: ‘Developing criteria for assessment’ from Fautley, M. (2010) Assessment in Music Education. Oxford. Mills (2005) chapter 11, Philpott (2007) chapter 3, Spruce (2002a) chapter 9, Swanwick, K. (1994) chapter 6.



Theme 4

Musical Learning through the use of Music Technology

Summer Institute Learning Objective Specific to Theme This session links to Teach First’s Leading Learning: The Five Principles for Maximising Impact: All participants will: Have familiarised themselves with appropriate music technology hardware and software in the classroom and developed ideas for activities and units of work. This will help them apply the resources available in schools strategically. Most participants will: Understand the opportunities and challenges related to using music technology meaningfully in the classroom and be able to audit their own skills and effectiveness. Some participants will: Demonstrate an excellent understanding of music technology and its application in the classroom. They will use their expertise to support the group and their colleagues in school and develop strategies to apply their subject knowledge to the curriculum of their school. Key Principles ICT in the music classroom more specifically refers to the use of equipment and programs especially designed as a tool for making and receiving music. All participants will have the opportunity to develop skills using contemporary hardware and software which are appropriate for both school and the world of commercial music. Participants will become familiar with MIDI (Musical Instrument Digital Interface) technology, sequencing, score writing, sound files, the internet, electronic keyboards and recording. An important theme will be the use of technology to support musical learning for students. We will also consider the problems of ICT in music education, e.g. the technical barriers to creativity and how these might be overcome. Sources of Information for Effective Teaching www.numu.org.uk, www.teachingmusic.org.uk, www.name.org.uk, www.jamstudio.com, http://audacity.sourceforge.net, www.zamzar.com, www.singup.info/songbank/, www.nyphilkids.org, www.bobbymcferrin.com, www.noteflight.com, www.musicalfutures.org.uk, Ofsted’s Music in Schools: Wider Still and Wider (2012), associated good practice videos available online. Key Reading (Master’s Level) Chapter 11: Savage, J. ‘Those who can, play; those who can’t, use Music Tech? How can teachers knock down the walls between music and music technology?’ from Philpott, C. and Spruce, G. (eds) (2012) Debates in Music Teaching, Routledge. Chapter 12: Savage, J. ‘Pedagogical Strategies for Change’ from Finney, J. and Burnard, P. (eds) (2009) Music Education with Digital Technology Continuum. Chapter 13: Crow, B. ‘Music-related ICT in Education’ from Philpott, C. (ed.) (2007), Learning to Teach Music in the Secondary School. Ashworth, D. (2005). Electrifying Music: A Guide to using ICT in Music Education available from www.musicalfutures.org.uk



Theme 5

Inclusion and Differentiation in the Music Classroom

Summer Institute Learning Objective Specific to Theme This theme links to Teach First’s Leading Learning: The Five Principles for Maximising Impact: All participants will: Understand the context within which pupils with individual learning needs are integrated in schools and have the skills to investigate department and school systems to plan for their inclusion in lessons. Most participants will: Will understand the complex nature of individual learning needs in music and incorporate their understanding of pupils’ individual needs into their planning and assessment records. Some participants will… Plan for opportunities to build effective inclusion practices into their medium- and long-term planning by understanding how to personalise the learning for all the individual pupils involved. Key Principles This session will examine the ways in which individual needs can be addressed in the music classroom. Teachers will need to make sure that the content of their lessons is appropriate for their students, e.g. that it is relevant and at a suitable level. They will also need to ensure that the teaching and learning styles employed allow access to musical achievement for all students, recognising that students learn in different ways. Lastly, teachers will need to make adaptations to their lessons which allow access for students with, for example, visual impairment. Sources of Information for Effective Teaching National Curriculum statement on inclusion (2007), Philpott and Plummeridge (2001) chapter 15, Swanwick (1988) chapters 4 and 5, Swanwick (1994) chapter 5. DfE (2011) Support and Aspiration: a new approach to special educational needs and disability. Savage (2007) Supporting Gifted and Talented students in Music, Ofsted’s Music in Schools: Wider Still and Wider (2012), associated good practice videos available online. Key Reading (Master’s Level) Chapter 14: Wright, R. ‘Addressing Individual Needs and Equal Opportunity in the Music Curriculum’ from Philpott, C. (ed.) (2007) Learning to Teach Music in the Secondary School. Chapter 3: ‘Different Types of SEN’ from Jacquiss, V. and Paterson, D. (2005) Meeting SEN in the Curriculum: Music. London: David Fulton.



Theme 6

Progression in Music beyond Key Stage 3

Summer Institute Learning Objective Specific to Theme This theme links to Teach First’s Leading Learning: The Five Principles for Maximising Impact: All participants will: Understand the way that different qualifications fit into the National Qualifications Framework and how to plan for pupils to achieve KS4 qualifications in music. Most participants will: Be able to plan integrated music lessons which develop and extend pupils’ musical learning at KS4. Some participants will: Be able to plan enjoyable integrated sequences of lessons which enable pupils to achieve their potential in their chosen qualification. Key Principles This session will examine approaches to teaching GCSE music, criteria for assessment and question styles. Is it possible to plan a coherent course which moves from KS3 through to GCSE/BTEC level using the activities of listening, appraising, performing and composing in order to make study as integrated and musical as possible? How can we teach GCSE/BTEC musically? An important theme will be continuity and progression of knowledge and learning styles between phases. The different ‘flavours’ of each examination specification will also be studied along with comparisons with other specifications. Sources of Information for Effective Teaching GCSE and BTEC specifications – aims, objectives and assessment criteria from Edexcel, AQA, OCR, WJEC, IB etc. Key Reading (Master’s Level) Chapter 5 + 6: Haughton, J., Spruce, G., Philpott, C., Price, C. and Lewis, M. ‘Music at Key Stage 4’ and ‘Music at Post-16’ from Philpott, C. (ed.) (2007) Learning to Teach Music in the Secondary School.



Theme 7

Teaching a range of musical styles, genres and traditions in music

Summer Institute Learning Objective Specific to Theme This session links to Teach First’s Leading Learning: The Five Principles for Maximising Impact: All participants will: Develop pedagogical skills and knowledge of music from another culture. Most participants will: Understand the importance of cultural authenticity and be able to plan effectively for the use of music which is unfamiliar to them in the classroom. Some participants will: Have developed their own personal rationale for teaching the National Curriculum for music through a variety of styles and to feel confident in developing pupils’ cultural and musical understanding in their lessons. Key Principles During the formation of the National Curriculum there was much debate over the inclusion of world and pop music. On one side protagonists felt that western children should study western music and the ‘best’ music at that (meaning ‘Western classical’). The counter argument celebrated the enriching and liberating power of alternative traditions. These issues need careful thought and reflection from the music teacher. If we do teach music from other cultures in the classroom, do we try to be as authentic as possible or are there universal musical processes which can be tapped into? How do we identify these universal processes? Is it possible to be fully authentic in the music classroom? This session will be run through practical workshops, such that participants can build a repertoire of skills and knowledge in particular genres and understand the possibilities for their use in the classroom. Sources of Information for Effective Teaching See Further reading in appendices. Key Reading (Master’s Level) Chapter 13: Floyd, M. ‘Relevance and transformation: roles for world musics’ from Spruce, G. (ed.) (2002), Teaching Music in Secondary Schools: A Reader, London: RoutledgeFalmer. Philpott, C. (2007) chapter 2 and 9, Philpott, C. and Plummeridge, C. (2001) chapter 11, Spruce, G. (2002b) chapter 14. Chapter 18: Adams, P. ‘Beyond the Classroom 2: Collaborative Partnerships’ from Philpott, C. (ed.) (2007) Learning to Teach Music in the Secondary School. Chapter 5: ‘Enjoyment: making music and having autonomy’ from Green, L. (2008) Music, Informal Learning and the School: A New Classroom Pedagogy Aldershot: Ashgate.



Summer Institute Session Details

Date Learning Objectives Associated Themes

(London = Weds 26 June)

To establish a group identity, understand the music subject course and get to know the range of expertise in the group. To conceptualise assumptions about good practice in music education and understand the role of ‘theory’ in building a personal philosophy of music education. To understand the historical context of music education and the competing ideologies which have informed music education over the last 30 years including the main events in the development of a National Curriculum for Music. To understand the structure of the National Curriculum for Music and how integrated musical learning can take place in the Teach First classroom.

1, 2, 6

(London = Thurs 27 June)

To begin to understand the necessary lesson planning to achieve musical objectives. To develop an integrated approach to the National Curriculum Programme of Study (PoW) for music. To gain experience of planning musical lessons using the skills developed on the course so far.

1, 2, 3,

(London = Tues 2 July)

To understand the cycle of plan, act, reflect in relation to musical teaching and improving your own practice. To experience teaching music based on the previous day’s planning and receiving feedback on planning and teaching. To reflect on the morning’s teaching experience and effectiveness of lesson planning so far.

1, 2, 3

(London = Tues 16 July)

To understand what makes a good sequence of music lessons. To develop ways of using the National Curriculum in order to plan individual lessons and schemes of work. To develop an integrated approach to the NC PoS.

1, 2, 3, 6

(London = Weds 17 July)

World Music in the Classroom To develop an understanding of the teaching and learning potential of world musics. To work collaboratively with a specialist workshop leader to explore the possibilities of a Samba unit of work.

1, 2, 7

(London = Thurs 18 July)

To understand the forms and purposes of assessment in music education. To be able to critically examine some tests of musical ability. To understand the relationship between assessment and musical development. To understand the controversial issues in relation to assessment in arts education, e.g. the assessment of creative work. To understand assessment in relation to the National Curriculum levels and the exemplification materials. To understand ways of recording and reporting in music education.

1, 2, 3, 4, 5



Date Learning Objectives Associated Themes

(London = Wed 24July)

To conceptualise how all children develop musically. To understand the implications of theories of musical development for learning in the classroom. To begin to develop strategies which facilitate the development of all students in the music classroom.

1, 2, 3, 5

Thurs 25 July

To understand the difference and relationship between activities and strategies. To be able to develop approaches to the management and organisation of whole class work. To understand the nature of activities for the delivery of objectives through small group / individual work. To be able to develop approaches to the management and organisation of small group work.

2, 5

Fri 26 July To understand the structure and assessment procedures of the KS4 courses and examinations for music. To understand how to plan for an integrated approach to the development of listening, appraising, composing and performing skills at KS4.

1, 2, 3, 4, 6

Mon 29 July)

AM: WA4 Presentations PM: Impact Conference

1,

Tues 30 July

To understand what counts as music technology in the classroom. To audit personal skills in music-related ICT. To begin building personal skills in music-related ICT. To develop strategies for the use of ICT in the music classroom. To understand the assumptions underpinning the use of ICT in music education and the potential advantages and disadvantages.

2, 4

Weds 31 July

AM: Subject knowledge action planning PM: Rehearsals for NOfA concert 6pm: NOfA concert

1, 2

Thurs 1 August

To explore models of informal learning and pupil voice in music and the arts by addressing participants own areas of subject knowledge of development in their own way (with support from tutors).

1, 2, 4, 7



Further Reading

(A) Article - (B) Book - (J) Journal - (R) Report - (W) Website – (T) Teaching Resource B Abbs, P. (ed.) (1989). The Symbolic Order. London: Falmer.

Bray, D. (2000). Teaching Music in the Secondary School. Oxford: Heinemann. Calouste Gulbenkian Foundation (1982). The Arts in Schools (2nd Edition). London: Calouste Gulbenkian Foundation. Carey, J. (2005). What Good Are the Arts?. London: Faber and Faber. Elliot, D.J. (1995). Music Matters. New York: OUP. Evans, J. and Philpott, C. (2009). A Practical Guide to Teaching Music in the Secondary School. Oxford: Routledge. Fautley, M. (2010). Assessment in Music Education. Oxford. FMS and NAME (2002). A Common Approach 2002 – An instrumental/vocal curriculum. Essex: Faber Music Ltd. Glover, J. (2000). Children Composing 4 -14. New York: RoutledgeFalmer. Green, L. (1997). Music, Gender, Education. New York: CUP. Green, L. (2008). Music, Informal Learning and the School. Hampshire: Ashgate. Hallam, S. (1999). Instrumental Teaching. Oxford: Heinemann. Hallam, S. & Creech, A. (eds) (2010). Music Education in the 21st Century in the United Kingdom: Achievements, analysis and aspirations. London: (Institute of Education, University of London). Harris, D. (2006). Music Education and Muslims. Stoke-on-Trent: Trentham. Harris, R. and Hawksley, E. (1990). Composing in the Classroom. Cambridge: CUP. Jacquiss, V. and Paterson, D. (2005). Meeting SEN in the Curriculum: Music. London: David Fulton. Kyriacou, C. (1991). Essential Teaching Skills. Cheltenham: Nelson Thornes. MANA (1995). Instrumental Teaching and Learning in Contex., MANA. McPherson, G (2006). The Child As Musician, A Handbook of Musical Development. Oxford: OUP. Mills, J. (1991). Music in the Primary School. Cambridge: CUP. Mills, J. (2005). Music in the School. Oxford: OUP. NACCCE (1999). All Our Futures: Creativity, Culture and Education. NACCCE: DFEE. NAME (2000), Composing in the Classroom – The Creative Dream, High Wycombe: NAME. NCC (1990). The Arts 5-16. Oliver and Boyd. Odam, G. (1995). The Sounding Symbol. Cheltenham: Stanley Thornes. Philpott, C. and Spruce, G. (eds) (2007). Learning to Teach Music in the Secondary School. London: Routledge. Philpott, C. and Plummeridge, C. (eds) (2001). Issues in Music Teaching. London: Routledge Falmer. Philpott, C. and Spruce, G. (eds) (2012). Debates in Music Teaching. London: Routledge. Plummeridge, C. (1991). Music Education in Theory and Practice. London: Falmer. Savage, J. (2006). Meeting the needs of your most able pupils: Music. London: David Fulton. Spruce, G. (ed.) (2002a). Teaching Music in Secondary Schools. London: Routledge Falmer. Spruce, G. (ed.) (2002b). Aspects of Teaching Secondary Music. London: Routledge Falmer. Swanwick, K. (1979). A Basis for Music Education. Slough: NFER – Nelson. Swanwick, K. (1988). Music, Mind and Education. London: Routledge.



Swanwick, K. (1994). Musical Knowledge: Intuition, Analysis and Music Education. London: Routledge. Swanwick, K. (1999), Teaching Music Musically. London: Routledge.

J British Journal of Music Education, CUP. Music Teacher Magazine, Rhinegold. International Journal of Music Education, ISME/Sage. Music Education Research, Taylor and Francis.

T Hurry, P., Phillips, M. and Richards, M. (2001). Heinemann Advanced Music. Oxford: Heinemann. BTEC in a Box (2006). BTEC First Music/Performing Arts. Edexcel. Bennet, R. Cambridge Assignments in Music (various titles), Cambridge: CUP. Covering many aspects of NC and GCSE content including Music Worldwide, Performing and Responding, History of Music, Popular Music, etc. Cole, B. (2006). The Pop Composer’s Handbook. London: Schott. Allen, P. (2002). Composing Matters. Cambridge: Heinemann. Philips, M. (2002). Edexcel GCSE Music. Cambridge: Heinemann. Murray, A., Smith, A. and Crow, B. (2002). ICT Activities for Music 11-14. Cambridge: Heinemann. Harvey, E. (2006). Jazz in the Classroom. London: Boosey and Hawkes. Hiscock, C. and Brock, K. (2007). Opus Teaching File. Cambridge: Heinemann. Hiscock, C. and Metcalfe, M. (2000). New Music Matters 11-14 and 14-16. Cambridge: Heinemann. Gibson, B. (2001). Performing Matters. Oxford: Heinemann. Youth Music (2005). Singbook London: Faber. Allen, P. (1997). Singing Matters and Developing Singing Matters. Cambridge: Heinemann. Chillcott, B. and Hunt, P. (2005). Songstream 1 and 2. Oxford: OUP. Hunt, P. (2000). Voiceworks – A Handbook for Singing and Voiceworks 2. Oxford: OUP. Benham, H. (2009). AS/A2 Music Harmony Workbook. London: Rhinegold. Ashworth, D. (2007). Electrifying Music. London: Paul Hamlyn Foundation.

W Teaching Music - http://www.teachingmusic.org.uk Music Mark – UK Association for Music Education http://www.musicmark.org.uk Edexcel - http://www.edexcel.com Current National Curriculum (from 2007) - http://www.education.gov.uk/schools/teachingandlearning/curriculum Draft National Curriculum for Music (from September 2014) - https://media.education.gov.uk/assets/files/pdf/m/music%2004-02-13.pdf Music Theory Web - http://www.teoria.com Oxfam Education - http://www.oxfam.org.uk/education/resources/global_music_lesson_plans/ JamStudio.com - www.jamstudio.com/Studio/index.htm Online Guitar Tuner - www.howtotuneaguitar.org Copyright Licensing Agency (CLA) Home Page - www.cla.co.uk Copyright Information - www.ipo.gov.uk Audacity: Free Audio Editor and Recorder - http://audacity.sourceforge.net Virtual keyboard (useful for interactive whiteboards) www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks2/music/piano/index.htm Zamzar – online file conversion - www.zamzar.com San Francisco Symphony Kids - www.sfskids.org Sing Up - Song Bank - www.singup.info/songbank/ Ricci Adams' Musictheory.net - www.musictheory.net O-GENERATOR – free demo - www.o-music.tv New York Philharmonic Kids website - www.nyphilkids.org/main.phtml



GarageBand Loops - www.thegaragedoor.com/loops/open.html Federation of Music Services - www.thefms.org Bobby McFerrin - www.bobbymcferrin.com Noteflight Online notation software - www.noteflight.com Musical Futures resources and research into informal learning models - www.musicalfutures.org.uk Numu – version of myspace aimed at students - www.numu.org.uk Incredibox – online mixer/game - www.incredibox.com/en/#/application Studio One Free – free music sequencer - http://studioone.presonus.com/free/ Animoto – make short videos for your classes - http://animoto.com/ Jing – screen capture software to help you make tutorial videos for your students - http://www.techsmith.com/jing.html Soundcloud - platform for uploading and streaming music - https://soundcloud.com Online loop-based sequencer - http://www.beatlab.com/ Free public domain sheet music (Out of copyright – be aware that international restrictions may apply) - http://imslp.org/ Choral Public Domain Library - http://www3.cpdl.org/ Downloadable audio/video converter http://www.ffmpegx.com/ This application allows you to route through your PC/Mac from one application to another - http://cycling74.com/soundflower-landing-page/ Similar application to soundflower above http://jackaudio.org/ Excellent digital audio workstation and sequencer - http://www.reaper.fm/ Recording, editing and mixing platform - http://ardour.org/ Wells Cathedral School’s Interactive Gamelan - http://www.imusic.org.uk/modulegamelan.asp Wells Cathedral School’s Interactive African Drumming - http://www.imusic.org.uk/modules.asp London Symphony Orchestra Discovery website for teachers - http://lso.co.uk/getinvolved/



Appendices

Appendix 1 - Health and Safety

The following links provide access to up-to-date advice about health and safety in the music classroom. The Department for Education Advice below explains your responsibilities as an employee and the Health and Safety Executive Advice supports you to comply with the regulations. http://www.soundadvice.info http://media.education.gov.uk/assets/files/pdf/h/dfe%20health%20safety%20advice%20181212.pdf

http://www.hse.gov.uk/noise/index.htm

http://www.hse.gov.uk/services/education/index.htm



Appendix 2 - Inclusion (EAL, Gifted and Talented, SEN(D), Assessment for All)

Here are a variety of resources to help you support the inclusion of pupils with particular learning needs: Savage, J. (2006). Meeting the needs of your most able pupils: Music. London: David Fulton. Green, L. (1997). Music, Gender, Education. New York: CUP. Jacquiss, V. and Paterson, D. (2005). Meeting SEN in the Curriculum: Music. London: David Fulton. McPherson, G. (2006). The Child As Musician, A Handbook of Musical Development. Oxford: OUP. Hammel, A.M. and Hourigan, R.M. (2013). Teaching Music to Students with Autism. OUP USA. Teacher Guide to Music and Dyslexia: http://www.bdadyslexia.org.uk/files/music_teacher_guide_music_and_dyslexia.pdf Hourigan, R. and Hourigan, A. (2009). ‘Teaching Music to Children with Autism: Understandings and Perspectives’, Music Educators Journal 2009, 96, p.40 http://mej.sagepub.com/content/96/1/40.full.pdf Ofsted good practice case study: http://www.ofsted.gov.uk/resources/music-schools-wider-still-and-wider-good-practice-case-study-whitefield-schools-and-centre Drake Music organization - Drake Music breaks down disabling barriers to music through innovative approaches to learning, teaching and making music. http://www.drakemusic.org/ Sounds of Intent framework - The aim of Sounds of Intent is to investigate and promote the musical development of children and young people with learning difficulties. http://soundsofintent.org/index.php?option=com_content&view=article&id=1&Itemid=9%20



Appendix 3 - English, Maths and ICT

There is a wide body of research evidence that musical learning can support pupils’ development of literacy, numeracy and ICT. The resources below are intended to get you thinking about how to support pupils to develop these skills through musical activities in your classroom. These are summarised in Susan Hallam’s article – The Power of Music:

http://www.laphil.com/sites/default/files/media/pdfs/shared/education/yola/susan-hallam-music-development_research.pdf

Ofsted’s Professional Development Materials for Music published in 2012 have this to say on the matter:

‘It is always important that teachers promote pupils’ literacy and numeracy skills, and reading in particular, across all areas of the curriculum. However, where good musical teaching and learning take place, the development of pupils’ musical skills and understanding is the primary consideration. Literacy and numeracy skills should always be considered, but also always as appropriate to and in support of the musical learning.’ Musical development and literacy: Kraus, N. and Banai, K. (2007). ‘Auditory-Processing Malleability : Focus on Language and Music in Current Directions’ in Psychological Science 2007, 16, p. 105.

http://cdp.sagepub.com/content/16/2/105.full.pdf+html

Welch, G., Saunders, J., Hobsbawm, A. and Himonides, E. (2012). Literacy Through Music: A research Evaluation of the New London Orchestra’s Literacy through Music programme:

http://www.imerc.org/papers/nlo/nlo_final_report_lite.pdf

Musical development and numeracy: Nrich: Count The Beat! Resources:

http://nrich.maths.org/5478

Whitehead, B.J. (2001). ‘The effect of music-intensive intervention on mathematics scores of middle and high school students. Doctoral Dissertation’. Capella University, Dissertation, Abstracts International, 62(08), 2710A.

Rauscher, F.H. (2009). ‘The impact of music instruction on other skills’ in Hallam, S., Cross, I. and Thaut, M. (eds) The Oxford Handbook of Psychology of Music, pp. 244-252. Oxford: Oxford University Press.

Geoghegan, N. and Mitchelmore, M. (1996). ‘Possible effects of early childhood music on mathematical achievement’, Journal for Australian Research in Early Childhood Education, 1, pp. 57-64.

Cheek J.M. and Smith L.R. (1999). ‘Music training and mathematics achievement’. Adolescence, 34, pp.759-761.



Appendix 4 - Subject Associations

A list of relevant Music Subject Associations and other useful contact addresses: Title Address Telephone Website Music Mark (The UK Association for Music Education)

Suite 23 Tulip House 70 Borough High Street London SE1 1XF

0207 864 9985 www.musicmark.org.uk

ISM (Incorporated Society of Musicians)

ISM 10 Stratford Place, London W1C 1AA.

0207 629 4413 www.ism.org

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