ISM Information Sheet 01/8

'The Keys to School Music' - notes on music provision in schools An information sheet produced by the Incorporated Society of Musicians

 

The National Curriculum has made schools central to the provision of music education, of which singing and instrumental performance and composition are integral parts. In theory, the scope is limitless; in practice, the realities of staffing, time, space, and resources, restrict that scope. The ISM intends these notes, which draw on the experience of curriculum advisers, teacher trainers and practising teachers in primary and secondary schools, to assist those responsible for the music curriculum in schools.

Curriculum Policy

Curriculum policy statements and development plans provide ways of setting out a school’s principles, policies and general requirements in respect of the tuition it aims to provide for its pupils.

Governors should therefore expect a curriculum policy statement under the heading for Music which:

1. sets out the broad aims and objectives for the music curriculum in the school;
2. shows how it relates to the National Curriculum, where appropriate;
3. gives an indication of the resources, including staff, curriculum time, group size, accommodation and equipment, needed to implement it.
4. gives an indication of the skills, quality and expectations required of teachers;
5. states what the school regards as the entitlement of individual pupils;
6. states the school’s expectations for extended and extra-curricular activities;
7. states what percentage of pupils are to be taught instruments and how the tuition will be organised;
8. makes a statement about the value that music gives to the school both internally and in relation to the community.

Once drawn up, the curriculum statement will be durable and unlikely to require major revisions. It should be broad enough to accommodate syllabus and content changes within the framework of its general principles.

Whether a school already has a flourishing tradition of music or whether it is preparing to develop its offer for music in order to meet the requirements of the National Curriculum, preparing a curriculum statement gives an opportunity to take stock in the course of planning for the future. In the following pages we take a look at what might be considered under:

Broad Aims and Objectives
- Relationship to the National Curriculum
- Practical Work
- Assessment
- Recording and Reporting Pupils’ Progress
- Examinations
- Extended Curriculum Activities

Resources
- Space
- Time
- The Range of Learning Opportunities
- Equipment
- Books, Scores, Reference Material, Discs,Tapes

The Teachers
- Class Teachers
- Instrumental Teachers
- Primary
- Secondary
- Staff Development

Pupils’ Entitlement

Extended and Extra-Curricular Activities

Instrumental and Singing Tuition
- Pupils: Ages and Selection Criteria
- Music in the Classroom
- Cross-Age and Interest Groups
- Individual Children

The Value to the School and to the Community
- General Education and Ethos of the School
- Community

(a) Broad Aims and Objectives

Music in the curriculum should be an enriching and broadening experience. The music curriculum relates to the development of aesthetic awareness. It provides unique opportunities for aesthetic development and awareness, learning and understanding through the senses, with particular emphasis on aural and functional perception.

Music activities are also valuable because of the transfer of skills and attitudes to other aspects of learning. They enhance the community of the school, the sense of corporate responsibility and the sense of being part of a team whilst, at the same time, individual achievement is recognised. Pupils will be best motivated by participating in a wide variety of music from a range of different cultures and traditions, eg. listening to music of the Western heritage and music used for Bhangra dancing, performing folk music and composing pieces in jazz and pop idioms. Skills and qualities developed in the music making process are highly valued by all employers, including problem solving, decision making, collabarative planning, leadership, evaluating etc.
 

(b) Relationship to the National Curriculum

The National Curriculum provides a framework for planning and assessing pupils’ progress and achievement. A school’s curriculum policy statement should describe how the music lessons provide for abilities, needs and interests of pupils of all ages.

In primary schools the class teachers should play a key role in delivering the music curriculum; in secondary schools, specialist teachers will have the responsibility.

At all levels there are advantages in involving teachers and performers with instrumental expertise and or knowledge of different idioms and styles of music and different cultures, because they provide a breadth which extends the range of music activities available to pupils. These performers and teachers may be found within the school and elsewhere in the community (see ‘range of learning opportunities’).
 

Practical Work
Pupils learn about music by direct involvement, through the activities of performing, composing and listening. These are broadly reflected in the National Curriculum documents as Performing and Composing and Listening and Appraising (the Attainment Targets). Therefore the focus of the curriculum policy statement and the development plan should recognise that music is a practical activity. Music-making acts as a medium through which music education takes place.

The importance of Key Stages 1 and 2 are stressed because it is during these years that the foundations and concepts of music are laid, to be built on and extended in Key Stages 3 and 4.

Assessment
On-going monitoring of pupils’ progress should be undertaken by all those involved in the learning and teaching process. This will take a variety of forms: observation, self-assessment, peer-group assessment, discussion with the teacher. Assessment strategies frequently include audio and video recording, which promote a portfolio of pupils’ work.

Elements of assessment should be: skill acquisition, musicianship, musical understanding, attitude, commitment.

Recording and Reporting Pupils’ Progress
It is a legal requirement to record and report pupils’ progress. Assessment of pupils’ progress should be recorded in an appropriate manner, which might include tape-recordings of pupils’ work, school concerts, etc. Parents will wish to know how their children are developing and reports at regular intervals provide for formal assessments to be conveyed by the school. This process can help forward planning for individuals and the school. If this information is retrievable, it will also enable the activities to be shared with a wider audience.

Examinations
In addition to GCSE examinations, the practical tests of local authorities and other agencies, such as the graded examination boards which are on the list approved by the Department for Education, are valid tests of skill acquisition and musicianship, and where they are taken, should be part of the records kept by schools.

Extended Curriculum Activities
In many schools the success of extended curricular activities such as orchestras, bands, choirs, performances of musicals, etc., may be attributed to the scope to draw upon pupils from different age groups, interests and levels of achievement. They are dependent upon secure foundations laid in the classroom.

These activities often culminate in performances which allow parents and the community to hear and assess the children’s musical development. With the development of composing as an activity in the curriculum, many schools present programmes which substantially include pupils’ own musical compositions.
 

(c) Resources

Successful music teaching and activities are dependent on the effective use of resources. These include space, time, the range of learning opportunities, equipment and other materials, the pupil/teacher ration and, of course, the teachers.

Space
Most schools will have to accommodate music activities in existing spaces. Effective use of space will involve the hall, classrooms and other teaching areas and, in addition, specialist music rooms where available.

The nature of the space needs to be appropriate for the activity, eg. throughout the week you could expect to see:

1. Groups of primary school pupils taking turns at music-making activities at a music table in the classroom.
2. Groups of primary school pupils simultaneously engaged in given tasks or activities in the classroom and classroom extension areas or rooms for group activities.
3. Whole class activities such as listening to a piece of live or recorded music (including performances covered in 2 above) or rehearsing a song or instrumental piece for future performance.
4. A designated music room or area, equipped as a music studio or workshop which allows pupils to work individually, in small groups, or as a class.
5. Music activities taking place in extension teaching areas (corridors, cloakrooms, reading areas, the terrace, school reception).
6. The School Hall or other large area (chapel, theatre, gym) being used for corporate activities involving sections of, or the whole, school:
   • young children engaging in a movement activity which enables the teacher to asses their response to music through movement.
   • performance of a show;
   • concert performances by visiting professional performers and composers or the local band, or folk musicians.
7. Access to safe and secure storage for equipment including instruments, audio equipment etc. Some such spaces may have a very specific purpose, such as recording studio, practice room, instrumental teaching room.

Time
In primary schools the time allocated for music activities is likely to be distributed throughout the day or week as the activities are integrated into pupils’ learning. However, there will be occasions when allocated time for specific music activities may be required.

In secondary schools music is taught to class groups. It should be noted that music is a practical subject and class sizes will need to reflect this as with other practical subjects in the curriculum. For examination courses, groups will need to work in smaller units.

An adequate music curriculum will require no less than 1 hour a week for children from Year R to Year 9 and no less than 10% of curriculum time for examination courses.

The range of learning opportunities
There are services and resources that can be drawn on to help provide tuition on instruments or in singing, some of which may not have been considered specifically with regard to the music curriculum, because of their less formal or independent structure. Similarly there is a range of contributions that children coming into schools will be able to contribute, from different sources:

• private tuition
• tuition given by instrumental teaching services, agencies or trusts
• self-tuition and peer group activities
• tuition given by school staff who are not specialists in music
• participation in choral and vocal groups
• music-making in community and religious groups
• the enthusiasm of those who have not yet had an opportunity to learn

If schools were to make an audit of local music provision they would be likely to include a list of providers within homes, schools and the community:

• parents/private teachers
• specialist teachers in schools
• support services administered by LEAs, trusts, agencies etc.
• professional musicians in education
• church choirs, temple music groups and other religious groups
• amateur musicians who also teach
• amateur musicians in the community
• commercial sources such as music shop studios
• community arts centres
• community music companies
• regional arts staff

The networks of local provision spread beyond schools and the community to regional networks:

• LEA orchestras, bands, choirs, ensembles
• projects involving professional musicians
• regional auditions for national events

Regional networks extend into national networks:

• National Children’s Orchestra
• National Youth Orchestra
• Saturday morning schools at music colleges
• National Wind Band
• National Festival of Music for Youth
• National Choral Competition
• National Youth Music Theatre
• events and courses offered by a wide range of special interest associations
• residential courses
• European music groups and overseas exchanges.

A school can draw on these resources by acting as an information bank, an agency, an organiser, a provider, a co-ordinator, a manager.

In order to achieve this, teachers will need to provide the bridge between pupils and these groups.

Equipment
The voice is the prime resource for music and teachers will base much of their work around singing. Songbooks and musical scores will be a minimum requirement for this activity. There is also a need for background tapes/publications and media programmes to support primary class teachers.

It will be essential for schools to provide a range of acoustic and electronic instruments and audio equipment, in order to deliver the music curriculum.

Young children need to explore the properties and qualities of sound, sound-making objects and materials and instruments requiring simple techniques eg:

• untuned percussion (such as tambourines)
• tuned percussion (such as xylophones)
• instruments designed, constructed and evaluated by pupils
• a range of acoustic instruments to permit performing and composing in a wide range of styles
• electronic instruments/recording techniques - use of Information Technology

As children develop musical skills and understanding, instruments requiring more sophisticated techniques will be needed eg. electronic keyboards, recorders.

As children progress from Key Stage 1, use of more sophisticated instruments will, in many cases, require teaching from a specialist.

In secondary school, the requirements of the National Curriculum and the increasing number of pupils engaged in music examination courses will determine the levels of provision, eg. instruments used in ensembles such as steel bands, brass bands, chamber groups; and solo instruments such as accordion, piano, guitar.

In some instances an instrument may be a resource shared among a number of pupils, classes, or institutions. School resources may be supplemented by instruments and objects children bring from home and pupils encouraged to use them in the classroom.

Pupils who have learnt, during the early stages, with an instrument provided by a school, may find that their parents later acquire an instrument of their own.

Schools make a considerable investment in musical equipment therefore it will be essential to consider its care and storage. Storage needs to be secure, at the same time giving easy access to pupils and teachers, eg. storing individual instruments or groups of them in compartments in purpose-built units.

It is important to ensure that instruments are well-maintained. This care includes regular tuning of pianos.

Schools are required to conform to Health and Safety Regulations. In the process of applying them, schools will need to include such aspects of music provision as appropriate, eg. all electrical equipment should be regularly checked, and properly maintained and used; there should be no trailing wires; no sharp edges on old percussion instruments; disinfection of recorders/wind instruments used communally/shared.

(The Health and Safety at Work Act 1974, available from HMSO Bookshops, includes all those employed in education. It also describes the general duties of persons concerned with premises to persons other than their employees.)

Books, Scores, Reference Material, Discs, Tapes
These form part of the essential study and classroom materials for the music curriculum. Some of t hem may lend themselves to supporting other curriculum areas.

A school should not in any circumstances reproduce copyright music or any other material without establishing that they are not infringing the law. The position for schools is set out in ‘The Code of Fair Practice’ (revised edition 1992) published by the Music Publishers Association Ltd, Kingsway House, 103 Kingsway, London WC2B 6QX tel. 020 7831 7591, fax. 020 7242 0612.
 

(d) The Teachers

Developing and maintaining a reputation for successful learning, performing and composing of music can take a long time and this might influence governors in thinking about the nature of the contract they offer. Nothing of value will be achieved by using inexperienced and unqualified teachers under ad hoc arrangements.

The range and diversity of pupils’ interests and their needs for different skills may be met through teachers who provide a range of specialist skills. Schools will have to make a decision over the range of instruments they will offer and this will need to be related to the skills of the teacher(s) they propose to engage.

It is important that an expert in the field be invited to join an appointing panel in order to offer a view on the candidates, if there is a lack of expertise and understanding of music education.

Class Teachers
Schools will need to recruit teachers with musical competence and confidence. In primary schools such a teacher will be required to lead and co-ordinate within the subject area and enthusiastically support others in teaching it.

Many music teachers make a commitment beyond their contractual obligations. However, where schools, as a matter of policy, require teachers to undertake extra-curricular activities, extra payment for this or time in lieu should be negotiated, dependent on their role or allowance.

Instrumental Teachers
The skills of instrumental teachers should enable them to offer appropriate challenges to the pupil, and to sustain motivation through periods of skill development. It is essential that instrumental teachers are able to relate the skills that they are developing in children to the musical concepts being developed by the class teacher are generally the most effective, particularly in all schools.

The structure for delivering instrumental teaching should be secure in order that the quality of teaching and learning can be sustained. Service agreements with LEAs, agencies and contracts with individual teachers should be maintained and periodically reviewed. (The ISM advises members about their conditions of employment.)

Where possible, there should be a career structure for instrumental teachers, with opportunities for career development and promotion. Appraisal should involve one-to-one discussion with senior staff about career development.

A teaching team could be set up to deliver the National Curriculum in Music and to meet other statutory obligations as follows: 

Primary/Special
Music Curriculum Co-ordinator

1. Plans and organises whole school activities and ensures organisation and content of curriculum;
2. ensures instrumental teaching is incorporated in the school music; encourages; enables;
3. plans the range of opportunities to be available;
4. co-ordinates communication among the headteacher, parents, other teachers, pupils;
5. represents the subject at management level;
6. supervises staff development;
7. is responsible for deployment of the budget;
8. is responsible for maintenance of school instruments.

Classroom Teacher

1. Has the most information about pupils and the strongest links with parents;
2. is the strongest communicator in home/school liaison;
3. is in daily contact with pupils;
4. collects instrumental tuition information and uses what has been taught;
5. involves the instrumental teacher as a partner;
6. delivers the national curriculum;
7. records and reports progress, co-ordinating the reports from instrumental teachers.

Instrumental Teacher

1. teaches individuals or groups within the classroom context and in closed units where appropriate;
2. plans and prescribes repertoire in consultation with classroom teacher and curriculum co-ordinator;
3. advises the school on purchase and maintenance of instruments;
4. makes assessment of instrumental development and keeps records of pupils’ development in conjunction with the class teacher.

Secondary
The above roles are filled by equivalent staff in secondary schools:
- Head of Music/Music Department: co-ordinates the curriculum
- Tutor/Subject Teacher: combine the duties of the classteacher
- Instrumental Teacher: work is the same as in primary schools.

Staff Development
All teachers should be given responsibilities for their professional development throughout their career. This will mean them being able to take advantage of opportunities for in-service training.

The level of in-service training required for music will depend upon the musical experience and skills of the staff. There should be a range of in-service provision for the support of teachers which includes one-day and continuing courses in a variety of formats: school-based, cluster and residential and accredited/examination courses and artists in residence.

Needs for teachers of music will have to be related to all other aspects of professional development in school, so planning over a period will ensure that the needs of the school are met.

These comments apply to all teachers including instrumental teachers.
 

(e) Pupils’ Entitlement

School are required to ensure that all pupils in Key Stages 1-3 have an entitlement to music activities as outlined in the statutory orders for the National Curriculum. Schools should expect to make provision for pupils after the age of 14, who wish to pursue their music studies to a higher level. To quote from the National Curriculum DES Circular 3/92 (24 April 1992) para 8, last sentence: ‘The Secretary of State considers that all pupils should offer some form of aesthetic ... continue with the subject after 14.’

Entitlement must cover all musical activities, ie. performing, composing, listening and appraising. Entitlement must cover continuity progression and development, with adequate assessment procedures. Entitlement must cover musical experiences drawn from different cultures, times and traditions.

Many schools provide, through extended and extra-curricular activities, opportunities for the enrichment of the music curriculum. Pupils undertake these activities outside the normal curriculum time.
 

(f) Extended & Extra-Curricular Activities

Coherent grouping for many musical activities can only be organised outside the framework of the timetable. Bands, orchestras, choirs and ensembles usually involve pupils from different age groups in the school.

Where it is a school’s intention and policy that these groups should operate, they form part of the extended curriculum.

However, where they operate through the goodwill of teachers or are organised locally/outside the school and are an addition to the entitlement, they may be regarded as extra-curricular.
 

(g) Instrumental

Music education will have a widespread impact on the following:

Pupils: Ages and Selection Criteria for Instrumental and Singing Tuition
Class music-making is considered to be a pre-requisite for instrumental tuition and an entitlement for all pupils. Selection of pupils to receive specific tuition should be by means of class music activities which involve instrumental teachers.

All children will have access to skill development and musicianship through a particular activity, most probably recorder, keyboard, singing and a selection of other instruments. All pupils will be able to focus on skill development in these areas and for some this will mean instrumental or vocal tuition in groups. Appropriate account will need to be taken of age and physical capacity.

Motivation is essential. Qualities to look for are:

• some sign of musical engagement;
• a heightened interest; wanting to sustain the activity;
• the possibility of home and school support eg. for practicing.

All interested pupils should be given the opportunity to sample the provision available so they are able to be involved in the decision making.

Music in the classroom
The learning acquired on an individual basis is a resource for the class because it adds a dimension to the class music-making to have:

• a skilled performer sharing expertise with the class;
• the first-hand experience of live music made available for others;
• the resource of tonal colour available;
• the musical skills of group work;
• the social skills of group work.

Cross-age and interest groups
Pupils taking part in activities that cross age and interest groups will:

• have the experience of ensemble activity;
• experience working in vertical grouping (through liaison established between primary and secondary schools);
• experience working in groups of mixed achievement;
• develop the musical skills needed for group work;
• develop the social skills of group work.

Individual children
Individual children will:

• gain access to instrumental skills;
• progress in their musical development;
• gain from the special experience of learning in a small group;
• learn self-discipline/decision making.
   

(h) The Value to the School and to the Community

There is much to be gained in planning to share pupils’ activities with a wider audience.

General education and ethos of the school
Music performance is a focus for whole school activities in the arts and for multi-disciplinary activities: lighting, sound, publicity, printing, costume-making, make-up, scenery construction and painting, budgetting, opportunities for leadership and involvement in large-scale events.

There are opportunities also for off-site experiences, representing the school.

As members of an audience pupils have opportunities to develop critical appraisal and to experience live performances.

Overall there are the social skills of group activities; the nurturing of enthusiasm and interests which will carry on into adult life; the satisfaction of team effort and achievement, meeting deadlines and targets; the development of organisational skills. All these can provide a means to encourage a maturer attitude to race and cultural differences and to promote international and intercultural understanding.

Community
How is the community received by the school and how is the school received by the community? Pupils’ interaction with the community is a preparation for adult and working life; music in school now, provides adult music-making later, thereby laying the foundations of continuing education. Musical events can provide an extra resource for the community and a basis for developing sociability. Sharing resources and activities aid the transition from post-16 school life to the adult world, encouraging pupils to be participating adults.

 

Refer also to Information Sheets:
02/11 Accompanists: Fees
02/13 Private Tuition: Fees
02/14 Visiting Teachers in Schools (instrumental, singing, music): Rates
03/7 Part-time Teaching: Accepting the Job - Free for members (login), non-members can purchase online.
03/8 Part-time Teaching: Contract Advice - Free for members (login), non-members can purchase online.

Available to Members Only: (members must logon to order these online)
M2/6 Professional Conduct with School-Aged Pupils

 

Links:
Information Sheets Index
Members' Information Sheets Index (login required)
Join the ISM
ISM Homepage

© ISM, 10 Stratford Place, London W1C 1AA, T. 020 7629 4413, F. 020 7408 1538, E. membership@ism.org, W. www.ism.org