It’s not about genre-it’s about voice 

A few weeks ago I went as a guest of the National Children’s Orchestra to watch the under 13 orchestra perform at The Anvil in Basingstoke. My daughter was performing so it was interesting to be there as a parent as well as someone who works in and is passionate about the music education sector.

There I met a lady who has been a passionate supporter of both the NCO and the NYO. She said that that her reasons for giving so much to these organisations over the years was because they are strong progression routes for musicians, some of whom work their way from NCO to NYO to conservatoires and into professional orchestras.

I hadn’t thought about progression routes like this. I had got distracted by looking for progression routes for kids through school-primary, KS3, GCSE, A Level. Frustrated by the limitations there are for inclusive routes for everyone through music and bored of politicians banging on about ‘the orchestras of the future’ and how that should be the focus of school music, I had started to think that the needs of children like these mattered less perhaps because I feel they are valued more.

I realised too that I had been letting my own frustrations with how things are in the sector cloud how I felt about the work organisations like NCO are doing with the exceptionally talented youngsters who benefit from the musical experiences they offer.

I decided that it was time to face a few truths.

Of course these routes aren’t accessible to all. To reach the impressive standards that these orchestras demand takes years of financial investment in music lessons, instruments and a huge commitment from the children and parents to put in the hours needed. I know because I have 3 children and it’s bloody expensive. Where this may have previously been funded, it isn’t any more. That’s just how it is.

As I sat in the audience I was transfixed. These children, as a huge group of musicians had found their own musical voice. Raw and pure I could see the lines of each melody in the way they moved as they played. I could feel the music rise and fall as they played utterly as one. Every single child was totally immersed in that phrase, that note, that moment. It was spellbinding.

They had crafted something truly unique through a week of living the music together. Playing for hours each day, getting to know each other and the musicians they worked with, building to that performance. My daughter said on the phone that week “it’s not about the music mum, it’s about being together”. She’s right.

I realised that something that can have such a powerful effect on me as is absolutely to be valued. Yes these children are a privileged few. But it doesn’t mean that their musical voice doesn’t deserve to be heard just because it’s a little more crafted and refined through experience, nurture and time.

On the way home I thought back to the other musical voices I have heard over the years. I remembered the sulky year 11 girl, troubled and disengaged from school, singing her GCSE music solo performance at a concert and holding the audience absolutely still as they listened to the challenges in her life define that performance.

The orchestra of mixed ability musicians in my Les Mis band at the school musical who shouldn’t have been able to pull it off but invested so much time, emotion and cared so much that it was better than we could have possibly imagined. The lad who makes everyone cry when he sings because he has such a talent to express the melodies so that you can’t fail to be moved by them.

I saw it last week in a primary school where a class of year 4 working with their class teacher were so engaged in the task that there was a discernible shift in the room from it being about playing the right notes at the right time to the sounds locking into place and making sense through pulse, feel, ensemble.

It’s nothing to do with the genre, the ensemble, experience or investment of money, talent spotting, box ticking. It’s about passion, commitment, engagement, children caring very deeply about is important and meaningful to them and allowing those musical voices whether individual or collective to be heard.

We should value every single one of those voices. It’s crucial that we ensure there are a range of opportunities to hear all of them sound clearly through the talk and strategising that takes place around them or we risk drowning them out altogether.

Musical Futures and me

Today is a personal milestone as I mark the end of my various roles at Musical Futures, an organisation that has been central to my professional life for more than 12 years now.

I have been fortunate to work with incredible people and to have learned so much from others that has informed my thinking, my practice and to learn what has driven me as an educator and a musician. All valuable things I hope to take with me into new directions and challenges that lie ahead.

As things come to an end, it’s always such a great opportunity to reflect, to remember key events or moments that became significant in the journey. So I start with some of those.

I remember spending time in my classroom at Monks Walk with Lucy Green, looking aghast when she explained that to be part of the MF pathfinder pilot I would be allowing year 9 to make choices over repertoire, planning, musical needs and defining their own pathways through tasks.

It terrified me, I was the teacher, how could the students possibly be able to achieve anything if they were given too much freedom? I knew only one approach to music teaching-the one I had experienced for myself outside the classroom as a classically trained clarinet player, dependent on notation and very under confident with leading or delivering practical workshops as a music leader. Lucy’s book “Music, Informal Learning and the School: A New Classroom Pedagogy” (click for details) is a fantastic summary of that work that was just the start of 10 years of trying to get it ‘right’ in my classroom!

Lucy completely understood the classroom context and how teachers needed to adapt to make sure the pilot was a success. We enjoyed unpicking what we had seen the students achieve in the lessons and recently spent some time over Skype discussing the difference between haphazard and holistic learning and how one student from that very first pilot class made it onto the X Factor. This came as no surprise given that through MF he was able to express himself very successfully through singing and performing!

I have had endless edu-banter with David Price over so many issues, from the value of social media in the education community to the challenges of increasingly target-driven changes in our schools. Most recently we spent some time over breakfast on a glorious Australian summer day discussing the current edu-twitter debates over teacher led learning and direct instruction vs PBL and student centred approaches, a conversation that I look forward to continuing in the future.

I have worked with driven, creative and passionate people like Abigail D’Amore, who brought real balance and clarity to some of the big and hugely ambitious ideas we had for driving Musical Futures forward and who played such an important role in grounding MF in its pedagogical roots. Abi was also central to building the organisation as it now stands, independent in its own right having successfully transitioned from a fully funded project to an organisation now looking to a new future in the capable hands of Managing Director Fran Hannan.

Most recently I have loved co-developing the MF Just Play resources and training programmes with Ian Harvey and Ken Owen at Musical Futures Australia. It has been so valuable to look at the whole of MF through fresh eyes with them and with their teachers.

We have worked together to refine and plan and deliver new ideas and approaches and it has shown me that Musical Futures truly does have relevance anywhere that there are teachers looking for new ways to engage their students with music. Kids are kids, teachers are teachers and music is music. Let’s find a fit for everyone regardless of context.

They also taught me that it’s OK for training days and classroom music to be fun, that fun doesn’t make the intention any less rigorous or meaningful, just a far more enjoyable experience for everyone!

But of course along the way I have met and worked with so many teachers in schools and dedicated folk in the UK Music Ed sector that I think sharing part of my MF story as I will do below is by far the best way to thank everyone for the support and friendship I have found across my time with MF.

Musical Futures has been a massive personal journey for me, first as a practitioner having to completely redesign my identity as a musician and a teacher, then as I travelled and visited schools and worked with teachers to really try to understand what Musical Futures is when it is translated into practice at the chalk face.

I have also been trying to understand how and why it impacts on the lives of thousands of students and teachers across the world and how it can continue to change and adapt to the needs of those who are looking for ways to keep music relevant and meaningful for students in schools.

When I left Monks Walk in the summer of 2015, in my leaving speech, my line manager asked staff whether they had any idea of Musical Futures actually is.

Nobody could answer.

He had designed a poster that summed up what he thought my interpretation and use of Musical Futures in my classroom was. He described it as ‘a parallel solar system’ where everything is noisy and practical and chaotic and creative and the words he chose really summed up what Musical Futures had become in our school

Fun, Challenging, Inspirational, Groundbreaking, Inclusive, Excitement, New Experiences, International.

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I was so happy that over the years of observations, discussion, disagreement, negotiation, banter, partnership, collaboration and so much more that this was the impression he had formed of it. It was a lovely way to leave.

Musical Futures can be all those things. But how do you know when you walk into a class that it’s Musical Futures in inspiration or design? Is there a definition, a description or something that remains consistent no matter how and where it’s applied?

I’ve been visiting MF schools over the past 7 years or so, but back in October 2015 I led a tour of MF Champion schools accompanied by a group of teachers from Australia, New Zealand and Canada that really gave me the opportunity to reflect on this.

What I found is that Musical Futures doesn’t look or sound the same in any of the schools I’ve seen. It feels like Musical Futures, I know Musical Futures is there, but I have struggled to pin down how that actually translates into practice.

Our visitors also seemed to find it hard to define what made the lessons, departments and teachers ‘Musical Futures’ lessons, departments and teachers. Other than that they and I had said they were and that they use the MF approaches and resources in much of what they do, my question remained. What does ‘an approach’ actually look like when it’s applied in practice?

The key principles of MF are pretty clear so should I expect to see all of those in every lesson? Students working with friends, learning aurally, the teacher as facilitator? I saw many of them, but not all of them and not all of the time and as you would expect

I saw things that I thought worked really well and things I was less sure were effective. This was down to the interpretation, personalisation and moulding of the approach rather than the approach itself.

To find the answers to the million questions I had, I started by trying to identify what everything I saw in the schools and lessons had in common and I had some great discussions with the others in the group as we drove from school to school.

The first very impressive observation was the engagement, concentration and focus of the students we saw. More than that though, when we talked to them it became clear that they really care about their music work and the department, their teachers and the value of music in their schools.

Perhaps they feel some ownership over this (MF asks that learning starts from students’ own musical passions and interests) and so it becomes particularly important to them.

But can we or should we accredit this solely to MF?

Good teaching/relationships/structures/content=engaged students.

Perhaps MF helps or allows teachers to think about what they teach, why and how and the result is that compelling engagement I have seen everywhere I’ve visited. I needed to unpick this some more.

The second thing was the amount of music in the lessons. It was everywhere. I’ve made a list of the moments that stood out to me the most:

Whole-class workshopping with tuned percussion and classical instruments at Harrogate Grammar

Find Your Voice vocal work that has inspired a choir of over 60 students, boys, girls and staff at Fred Longworth.

It was in the sessions we led with the students, a class of year 8 at Monks Walk breaking down grooves using class percussion and in the Shake it Off workshop with 60 year 5 and 6 children at St John’s Primary school and finally at The Music Learning Revolution

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At Benton Park it was a class of year 7 singing and playing enthusiastically and musically together while we joined in for a mass jam of Rocking all over the world.

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It was the On Cue project at Morpeth where 80 students from 3 schools came together with facilitator Adam Sanders and created a piece from scratch which they then performed at The Music Learning Revolution at the end of the week.

It was the year 8 at Wymondham Academy turning round to the group next to them and asking to hear what they had done as the rest of the class worked on in their groups.

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At Flegg it was a lunchtime club that looked and sounded so like a MF lesson as students went off into groups to copy and play songs they had chosen that we couldn’t tell when lunchtime finished and lessons started.

At Willingdon it was the year 8 boy telling me that since their new (MF Associate) teacher had started at the school, everything had changed. He could play bass now but he never thought he would be able to play anything.

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At Steyning Grammar it was a 6th form Uke group playing informally with their teacher

And throughout the tour itself, we sang on the bus, we played music together and the moment that moved me most of all was in a pub where the teachers got up and played one at a time and together. I thought how unbelievably lucky their students are to have musicians of such quality teaching them. This reduced me to tears as they played truly from the heart and I realised that I was on a bit of a journey of my own, transitioning from being in the classroom at the heart of making music with my students to opening this world to so many more young people and their teachers through my new role with Musical Futures.

Can Musical Futures take credit for any this? Music lessons where the majority of time is spent making music? That “you just feel it” moment in the workshop at MLR where we sang and played and bonded through music?

And what about the tour itself? Bringing people together through music, forming friendships through a shared drive to find new and best practice to take back into classrooms underpinned by shared Musical Futures aims?

I decided to ask someone I thought might have an answer for me. Jonathan is an ex student of mine. A classically trained pianist and self-taught guitarist, he came through my school at a time where MF was slowly embedding into the department and music is his passion.

In the 6th form he came into lessons with younger students and helped them musically. He was also a Music Leader at a local primary school, supporting the teacher with music lessons with much younger children. They loved him.

You can hear from Jonathan in this video describing his musical experiences at school. In answer to the question ‘What is Musical Futures’ he said,

It’s an ideology, a group of people coming together because they want to make things better for themselves and their students

This is exactly what we were doing on our tour of schools. Looking for ideas, answers, we discussed and pulled apart everything we saw and reflected on everything we do and could do and might do. Have a read of what Michael Newton, one of our overseas visitors made of his own experiences and how MF has inspired him to

be fearless

I talked this over with then MF CEO Abi to see what she thought. She had met with Peter, Head of Music at Morpeth School and told me how he had found Musical Futures to be

a catalyst for change

in his school. That’s absolutely what it was for me at Monks Walk. It took me to that parallel solar system that my line manager described and helped me start to make sense of it through evaluating my own musicianship and approach to being a teacher, my beliefs and values as a musician and an educator.

Musical Futures is more than an approach and it’s not just a downloadable resource. It’s not a 6 week ‘MF inspired’ project or a rock and pop scheme of work for year 9.

The Just Play workshops that have been running in the last 2 years in the UK, Australia and Asia are filled with people who tell us they had been inspired by a great musical experience in the workshops to go back into their classrooms and make something happen.

So to everyone who went on part of this journey with me, thank you. I’m sharing just a few of the photos that sum up for me what Musical Futures is all about. Musical Futures really is all those things my line manager says it is. But most of all it is the most inspirational and exciting personal journey that really can change everything.

Make something happen, instigate change? It’s a hell of a ride……

Music education in the UK-a perspective from afar

My favourite quote from this guest blog by Ian Harvey from Musical Futures is a call to action that all of us in the sector can and should contribute to!

“Stop whinging, start reforming and re-thinking the music education space, toss out some of the traditions along with the ’this is the way we do things around here’ thinking that is the real cause of what is holding you back from the thing you most want to achieve – that every student has access to a quality music education.”

Musical Futures: Just Play

Guest Blog by Ian Harvey, Director of Musical Futures Australia and written in response to THIS article published in The Guardian, December 2015

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Yes every child should have access to music education, to learn an instrument and benefit from the multitude of aesthetic, social, intellectual and personal outcomes that making music brings.

But how are you going to solve the problem? Regular articles give oxygen to the issue but what actually changes? Here in Victoria we have a story to tell that might surprise you.

Our State government this year effectively included music as part of every child’s schooling under its mantra of ‘every child, every opportunity’. Behind the catchy line all students attending our 1,600 state system schools, should by 2018 have access to a quality music education – just like the students do in our private schools where music is a key demonstrable of a school’s depth…

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Professional development for teachers MATTERS

In the summer I attended the Teach Through Music final conference and was part of a panel debate about professional development for teachers. There was plenty of discussion around the barriers to teachers coming out of school to attend events for example:

  • Schools don’t have the budget to pay for cover to allow teachers out
  • Schools won’t pay for teachers to attend training
  • Many schools are bringing teacher development ‘in-house’, whole school INSET, one-size-fits-all.
  • It takes so long to set cover, organise everything then catch up after that it increases workload and adds to stress so it’s easier to not go
  • Teachers aren’t aware of what is on offer to them and those that offer things don’t know how to reach teachers to let them know

Halfway through the session I noticed that with a couple of exceptions, discussion was being led mainly by representatives from music organisations. For some reason, the teachers in the room weren’t engaging with this discussion, it was happening around them. There were many questions directly to teachers in the room, yet very few responses from teachers were forthcoming.

I spent a long time afterwards trying to work out why.

-Is it because of a disconnect between organisations trying to provide support and development opportunities for teachers? Are we all aware of each other, what our aims are, what we do? There are so many organisations in our fragmented sector now, are we drowning each other out losing the teachers along the way? How can we work better together?

-Are teachers getting too much thrown at them, are they clear what each hub or organisation does, who they can talk to and why they might want or need to engage?

-Are we asking the wrong questions? Rather than asking why teachers can’t come out of school for professional development, should we be asking what do you want and need to develop as a music educator, a musician, a teacher, a professional? And possibly more worryingly, is training for assessing without levels, getting better grades at GCSE and A Level, How to teach Edexcel Unit 2 composition etc. actually what is needed to become more effective practitioners and ultimately ensure that all students get a better musical experience in the music classroom?

It feels like the actual practice of teaching and developing as a teacher, standing in front of a class and making music with them, has been so swamped by everything else teachers have to do that professional development has shifted a long way down the list of priorities for a busy music teacher in the UK.

Last year I even started to find teaching my lessons an inconvenience, because I had so many other things I needed to get done. At the end of every lesson I’d have at least 10-15 new emails all wanting me to do things immediately and after a full teaching day the thought of catching up with this caused a lot of additional stress. I had to work hard to make sure this didn’t distract me from what I was there to do-teach.

I find this situation really sad and I’m angry about it too. Teachers are entitled to training and support, to develop themselves professionally and to have some choice over what this might involve. To build on the initial training they received, to stay up to date with latest developments in the profession, to network and share ideas with other teachers (and by this I don’t mean downloading an Elements of Music scheme of work from a Face Book group).

I would like to see teachers feel able to demand that they get this entitlement. As with everything, in an ethos nationally where professional development for teachers doesn’t seem to be massively valued, heck you don’t even need any training these days to become a teacher, maybe teachers might need to work just a little harder to stand up and keep pestering until their needs are acknowledged.

Why not:

  • Use the appraisal system-identify training needs, articulate how this will fit into a longer term plan for the department
  • Identify how many students will benefit and how you will show the impact the training has had on them, you and the department.
  • Line training needs up with school aims-inclusion, attainment, engagement in music, use the right language in bids to attend training events.
  • Research what’s out there, as demand falls away there are fewer professional development opportunities around so chose the one that will have the most impact on the most students and make sure it’s sustainable.
  • Have some outcomes in mind, know what you want from a course and make sure you get it.
  • Share with others! If you find something and it’s great, shout about it. Let’s drown out those requests for help with what to teach at an interview lesson with some of the fantastic things that can happen when you have just a little time to focus on you, your teaching and your classes, meet like-minded people and remind yourself why you do what you do every day.

I’m leading quite a few workshops over the next year. It would be great to have these full and buzzy with teachers who are getting out there and claiming the professional development and support they deserve. I’ll see you there.

Confident Kitt

My second school visit this week was to Wymondham to visit Musical Futures Teacher Kitt. I was looking forward to seeing how he’s been getting on in his first Head of Music role. Kitt spent his second placement at Monks Walk and he has always been committed to embedding Musical Futures approaches, pedagogy and ethos into his teaching, giving it a personal twist to suit his own teaching style and musical values.

In both schools I visited this week, I was impressed not just with the engagement of the classes we watched but also the consistency of expectations and musical competency the students showed. They all participated, performed, shared, played informally to each other, talked about the work and stayed on task. For the majority of the lesson they were engaged in musical activity whether this was warm ups, rehearsing in groups or listening to each other. There was no written work in either lesson, no painful Q and A about the elements of music, however there was clear musical progress made and no question at all that they were learning-I could feel it, see it, hear it. It was in the conversations between the students during group work, the nodding of heads in time to the pulse, recognisable musical outcomes, ensembles coming together.

This week I saw Musical Futures teachers with a very clear understanding of what they were teaching, how they wanted to facilitate learning and why this made sense in the context of their personal musical values, their departments and tailored to suit the demographic of their students. But I also saw how embedded Musical Futures is into every year group, it’s definitely not a “MF-style 6 week rock and pop project” in these schools!

In just 5 weeks at Wymondham, Kitt has gone into his new role with a clear vision. Desks have gone, new equipment prioritised, ordered and set up, other staff supported to bring in MF approaches with all year groups.

This is what we have been looking for

But I was most impressed by what happened at the end of the day. MF Australia director Ken and I delivered a practical session after school to 6 local primary school music co-ordinators, a music hub representative, a woodwind teacher from the school who stayed unpaid because she was interested and 2 6th form girls who thought they might like to be primary school teachers.

We worked through a couple of the Musical Futures: Just Play resources and at the end discussion started about how this group could make Just Play possible for their schools. What really seemed to resonate with the group was that because JP is scaffolded for generalist teachers it has the potential to be sustainable, for the primary children in feeder schools to then progress through to an established and secure Musical Futures experience that really does build on what they can already do and have learned. Imagine what impact a shared cross-phase approach or pedagogy as opposed to a transfer of information between year 6-7 could have.

Credit to Kitt for pulling this group together and generating such interest in only 5 weeks in the job and for engaging his classes impressively quickly in a new approach, so different from what they were doing before.

I love the idea of local clusters of schools coming together to design, create, drive and sustain an Musical Futures cross-phase approach that works for them. I’m hoping that I’ll be back in Norfolk soon to work with teachers who are doing it for themselves.

Fabulous Fiona

With the release of yet another report that outlines the problems with music education in England, I still feel we aren’t hearing enough about how we could be addressing them. I’ve asked in a previous post about who might be able to help teachers to find some solutions, but as yet I don’t think we are much closer to solving this.

In the next few weeks I’m visiting Musical Futures schools across the UK and I’m interested in what teachers are doing at the chalk face in response to some of the challenges they are facing.

This week, my colleague Ken from Musical Futures Australia and I drove out to Norfolk so visit Fiona. 15 years into her job at Flegg High School, she has built a vibrant and musical department. However being unable to recruit a part time member of staff and increasing financial constraints means that she has found herself alone in the department.

Fiona is pretty honest about the challenges that frustrate many music teachers at this time. But she has found an answer. It’s her. She teaches every lesson (except where they are timetabled together when a cover supervisor helps as she goes between a GCSE and Btec class), she runs all the extra curricular groups including those which build on work done in lessons-the year 7 and 8 music clubs, choir, ensembles and more. A decline in the numbers of primary children learning traditional instruments hasn’t stopped her supporting a team of visiting instrumental teachers and concerts and performances continue as usual.

But as Ken pointed out, this just doesn’t seem fair.

So to all the Fabulous Fionas out there who recognise that unless they step up and do more than ever before, music will be at risk in their schools, thank you. The musical opportunities you bring to your students just couldn’t happen without you.

Music Music everywhere…..

Music really is everywhere. Today as I stepped out of Haggerston station on my way to visit a school, I could hear piano music. It turned out that the mobile coffee stall right outside plays classical music as staff serve commuters and the music echoes through the station. Later as I had coffee with a friend visiting from America we were talking about the American Band model and how the university where he works has a band of over 150 students. Many of them ‘take band’ in school, they continue at university and so a tradition is established and the fact that the band plays at all the sports fixtures means it’s firmly embedded in the culture of the establishment.

As we talked, loud music was playing in the cafe, this time contemporary urban music setting the tone for a central London coffee bar. As we looked out of the window we observed how many people walking past were wearing headphones. Train carriages full of commuters are pretty quiet these days as we lose ourselves in our own world of personalised sound that’s delivered straight to our ears via our headphones. Talking last week to a 6th form student about how he uses digital platforms to support his music making, he said that he often uses the recommendations that pop up on Spotify, You Tube or Sound Cloud  and he follows these through to discover more and more new sounds. Music really is everywhere and it’s more accessible than ever.

But there’s one place where you don’t hear a lot of music.

I am talking generally here and my focus is on secondary schools so apologies to schools that do play music in corridors or embed it into school life. And judging by how often my primary-aged children come home singing, I know they are making music at various point across the week. But my experience of secondary schools has been very different.

It’s common in most schools for headphones to be banned, students are very creative at hiding them but there’s often a tell-tale white lead tucked under their collar or hanging from their sleeve as they use music to challenge school rules. In secondary schools, it’s rare to hear music played in assembly or in the corridors or canteen at break time unless somebody happens to be practicing in a public space. But mostly this is confined to the music department where it seems the sole responsibility for the music education of our students lies.

Wouldn’t it be amazing if, just like in real life, schools were open to music coming out of the music department and spreading across the school? if just like literacy, numeracy and more, cultural and arts education became the responsibility of everyone. Could we bring music into lessons and assemblies, building on the strong tradition of primary school music assemblies, singing assemblies and more? If primary teachers are expected to be able to deliver some form of music learning despite limited training and support, is there any reason why secondary teachers can’t do the same? Break time busking, music in the canteen, samba bands or taiko drummers at sports fixtures-music could really bring a school to life!

But that’s not what the #mufuchat question is asking. What is the place of classical music in the classroom? Is classical music the main genre through which music should be taught? Our exams system certainly seems to support this view. Taking GCSE and A Level music is a heck of a lot easier if you’ve had a private instrumental lesson or two! And westernising other musics in order to mark understanding of them (can you hear dynamics in this piece of gamelan music anyone?) is another thing that I’m not sure we have got right yet.

So when I think about the debate about which music should be taught in schools and how, I keep coming back to the same questions, which as usual I don’t have all the answers to!

  • Is it really possible to replicate the experience of a one to one instrumental lesson where you can learn repertoire, theory, technique and relevant notations with 30 students and a few keyboards or computers? Where is the classroom pedagogy for teaching music and are different pedagogies, approaches and teachers needed for music of different genres? Who decides on the content, the approach and how do we know it’s any good?
  • How important is authenticity? I remember playing Pachelbel’s Canon to a class as they came in and heard an excited voice ask “Woah Miss are we going to play violins?” Well I didn’t have any violins and if I had I didn’t have the knowledge or skills to teach 30 year 8s how to play that piece on them in a classroom setting. We explored it vocally and with ipads. We unpicked how the melodies were constructed and knitted together, but it didn’t feel very authentic to me. I felt that their experience of the music had been a bit one-dimensional and I felt really guilty when I saw that child’s face fall when I said we wouldn’t be playing violins (but if his parents wanted to pay, he could have some lessons).
  • What about progression? My daughter did a year of First Access brass in year 5. At the end she could get a few notes from a trombone and performed with the class at an assembly. But she didn’t know how to hold it properly and without some serious work she wouldn’t have progressed much further because she simply didn’t have the technique to produce more sounds. if I’m being honest, the performance at the end of the year wasn’t great and I reckon that time and money could have been spent a bit more sustainably elsewhere, perhaps on training for classroom teachers on how to link music to topic work or on some instruments that the children were likely to find in their secondary school.
  • What about the reality? I’m talking secondary here. One hour each week, if we are lucky for three years. What is a realistic expectation, bearing in mind the diversity of experiences year 7 will have had in primary school before they get to secondary school? Can we ever expect to replicate those years of one to one instrumental lessons in these circumstances? Is theory, notation, instrumental skills to a level required to take A level music ever really attainable just in the classroom?

So I keep coming back to this blog that I wrote last year about breadth vs depth.

And does classical music belong in the classroom? Of course it does. But not just in the music classroom.

And I don’t feel it’s the responsibility of music teachers to bring on the next generation of classical musicians or listeners. I think music teachers need to open minds, facilitate the necessary skills and understanding to appreciate that music is music, you’ll like some, you won’t like others and that’s OK. How they choose to do this is up to them and if they are successful then pretty soon music will spill out of the music department and wash through the whole school and who knows what might happen next? Maybe some of those commuters with their headphones on are listening to Bach.