Welcome to Issue 2 of Music Hubs & Services Magazine!
We had a great response to our first issue with almost 4000 of you wanting to read what we had to say; not bad for what is, let’s face it, a fairly niche publication!
Once again I’m supremely grateful to all those of who havve contributed to this issue, especially our advertisers whose support has ensured that we can keep the publication free-to-read for everyone.
This issue we have a great range of features from music hubs up and down the country. I would still really like to hear from Scottish and Welsh Music Services though, so if you’re reading this please consider making a submission for our next issue! Articles need to reach us by 31st August for our September issue, and can be sent to admin@musiceducationsolutions.co.uk.
I hope you enjoy reading this issue which contains everything from gospel to brass, research to funding, and practice to pedagogy It’s an eclectic mix, but then so are our music hubs and services, and we wouldn’t want them any other way!
DrLizStafford
HERTFORDSHIRE MUSIC HUB
Buildingalegacyof vocalexcellence
Hertfordshire Music Service’s Gospel Project
In a remarkable initiative to extend musical opportunities for children and young people, Hertfordshire Music Service (HMS) has joined forces with the Chipperfield Choral Society, London Community Gospel Choir (LCGC), Sing Up, and local schools to create a gospel unit This collaboration aims to highlight the value of partnerships in music education and to build a long-term legacy of vocal excellence within the Chipperfield area
The project is designed to ensure that young people, regardless of their background or circumstances, have access to high-quality and sustainable singing provision throughout
the community. By developing this unit alongside Sing Up, HMS has enriched its curriculum by incorporating gospel music, allowing students to explore a genre deeply rooted in cultural and historical significance
The gospel unit offers a comprehensive curriculum that delves into the musical, cultural, and historical aspects of gospel heritage Students are introduced to gospel singing techniques, warm-ups, and song interpretations, with the unit designed to be inclusive and welcoming to students of all abilities. The curriculum includes teaching notes, performances, backing tracks, and
other resources that support the Sing Up model Additionally, the unit continues to expand with new footage of LCGC's teacher training workshops, showcasing advanced vocal techniques and teaching methods
The collaboration between LCGC and local schools exemplifies how partnerships with professional musicians can extend beyond the standard curriculum. With extensive support and funding from the Chipperfield Choral Society, HMS has developed a module that reaches beyond Hertfordshire schools, emphasising the importance of community within both schools and singing These skills are invaluable, extending well beyond the music classroom.
By partnering with professional musicians and educational platforms like Sing Up, students have seen improvements in their communication, confidence, and sense of belonging. The longevity of the gospel unit provides students with a deep understanding of the voice and gospel music, illustrating how these skills can be integrated into the education system. This project serves as a powerful reminder that when music education is infused with history, passion, and soul, it can profoundly change the way young people perceive music within education and their lives
Sharon Durant OBE,
Partnership Manager
for Sing Up says: “For Sing Up, working in partnership with music hubs and other music organisations is invaluable in many ways. It helps Sing Up widen the opportunities and musical resources available to young people, as well as having the potential to honour our commitment to EDI In return, we can offer access to our vast library of resources, which supports widespread singing activity as well as curriculum teaching and instrumental learning, combined with our digital platform and publishing expertise ”
The London Community Gospel Choir has played a pivotal role in this initiative Following a successful year of workshops and presentations, LCGC has continued to lead the gospel project workshops and staff CPD, working closely with students and teachers Their involvement has not only been educational but also immensely enjoyable, fostering a sense of community and collaboration The choir's workshops have enhanced students' communication skills, speech, and motor skills through innovative learning methods, such as memorising lyrics and working on rhythm.
By collaborating with schools, the profile of singing and gospel heritage has been raised which is invaluable for the students and reengages culture and music within the curriculum The workshops have provided a platform for young people to explore singing alongside professionals in a safe environment where they can explore their voices with a potential to continue in the future. The collaboration also strengthens the bonds between both HMS and schools
Hertfordshire Music Service's gospel project is a testament to the transformative power of music education and the enduring impact of collaborative efforts. As this initiative continues to grow, it promises to inspire and nurture the next generation of vocal talent, leaving a lasting legacy of excellence in the Chipperfield area and beyond
THE OHMI TRUST
Supporting disabled children in music making
The launch of a new teacher training course
Teachers keen to ensure full participation of all children in musicmaking are being invited to attend a one-day teaching training course to help assess individual needs. The CPD course, which will be held on 3 April 2025, is being delivered by a partnership of Birmingham City University (BCU) and music disability charity The OHMI Trust It will take place at BCU’s City South Campus in Edgbaston
The latest statistics indicate that 11% of children in the UK have a disability which may not always be obvious. The training helps to identify any barriers that might prevent a child from participating in music-making, including tasks to assess their ability to weight bear and explore their fine and gross motor skills and breath control Teachers are also given the opportunity to familiarise themselves with kit to assess the physical needs of the children
The training forms part of OHMI’s work in inclusive access to music-making and in sharing their years of experience so that local teachers and music services can serve the children in their area
Mark Lowe, Music Inclusion Manager at Inspiring Music (the Music Service for Central Bedfordshire), said, “I was aware of OHMI before I undertook the training but seeing for myself and learning from them was invaluable The training was really accessible and delivered at an appropriate pace, and the most powerful takeaway from the day was the knowledge and confidence I gained to facilitate the physical assessments Together with my new bag of tools, I’ve now undertaken twelve assessments. A really popular instrument amongst schools in our area is the Djembe, a West African drum of significant size Being able to source a stand to hold the weight of the instrument meant that a disabled child, previously unable to participate, was given the opportunity to play this wonderful instrument ”
Rachel Wolffsohn, OHMI’s General Manager, added, “It’s our job to make sure teachers are fully aware of what’s on offer and to match a child with the right instruments and enabling equipment for their particular requirements Our training course gives teachers the practical information they need to better understand each individual child’s needs and the solutions available to support them –whether that be within a Whole Class teaching setting or elite ensemble We’d like to encourage music teachers across the country to take up this training so that more disabled children can participate in music-making ”
Find out more about the course at this link
SUTTON MUSIC TRUST
Future Brass!
BY ANDY BRAGG
Sutton Music Trust, in collaboration with the Philharmonia Orchestra, ran a successful project with four primary schools creating beginner brass ensembles. The project was established to bridge the gap between Whole Class Ensemble Teaching (WCET) and progression through Sutton Music Trust’s Bands and Orchestras, whilst also responding to a significant decrease in brass instrument learning since the COVID-19 pandemic. On Sunday 2nd February, participants came together to showcase their hard work in a performance at the Clore Ballroom
Conducted by Phil White, 2nd Trombone of the Philharmonia Orchestra (PO), and supported by tutors from Sutton Music Trust (SMT), an audience of over 150 enjoyed a varied programme which included arrangements of the Theme from Rocky and Havana. The Future Brass cohort were also joined in the performance by Fellows from the PO This inspired the students to carry on playing!
“I think the template for the Future Brass project run by Sutton Music Trust is something that can be transposed across a multitude of instruments From the initial CPD with tutors to the final concert at the Royal Festival Hall, the purpose of the project was to encourage the next generation of brass players, and reflecting on that concert, and the reaction it received, I think that aim has been achieved. I feel very lucky to have been part of it ” – Phil White, Philharmonia Orchestra
This performance marked the conclusion of the Future Brass project, and we are excited for the future Participants can choose to learn a brass instrument in school or at our Music Academy, and join the Sutton Youth Training Band
“I have enjoyed the project and loved continuing my trumpet lessons It has built up my confidence playing the trumpet and understanding different notes. I would love to continue my trumpet journey ” - Student
“The lessons were really fun as we did lots of interesting pieces - some of which I recognised I feel I got a little bit better every week! I enjoyed performing in the concert because it sounded really professional with everyone playing together ” – Student
Using this successful template, we are also pleased to offer “Future Brass!” and “Future Strings!” classes for schools for the first time from September 2025 This will build on the success of this project and ensure the continued progression routes for young musicians from Sutton
This project was made possible by Partnership funding from the London Music Fund (Registered Charity No: 1141216), supported by The Karlsson Játiva Charitable Foundation, through the Signatur programme for the advancement of the art of music
THE ROCK & POP FOUNDATION
Pop in Partnership
BY STEVE SAMMUT
A new nationwide study on how reimagining Rock & Pop learning can help Music Hubs deliver the National Plan for Music Education
Here at The Rock & Pop Foundation we have been on a mission to help pupils unlock their musical potential since 1995. We are really proud of our unique rock and pop teaching materials and approach which we have been developing and refining for 30 years, and we now want to see how these could be used to support Music Hubs with delivering their Five Strategic Functions from the National Plan for Music Education.
Through this action research project we want to identify whether our materials and approach can be used by Music Hubs to deliver the same key benefits to them that we have seen across our own organisation If that proves to be the case, we hope that these materials can then be rolled out to Music Hubs nationwide as our way of contributing towards the delivery of the National Plan for Music Education.
The key benefits that we have seen from these materials and approach in our own organisation are outlined below, mapped against the Five Strategic Functions from the NPME
Partnership: The success of our materials and approach in recruiting and retaining pupils has meant that we have developed longstanding partnerships with schools and become a significant and lasting part of the local infrastructure for high-quality music education and music-making
Schools: These materials have enabled us to expand the size of our teaching groups, allowing us to support schools with a low-cost but high-quality specialist tuition offer This has helped the schools with which we work provide a broader range of progression routes and musical experiences for all pupils Schools have responded well to our system of having
one teacher cover all three instruments, as it helps them work round limitations in timetabling and room availability, and reduces the need for waiting lists. Consistently positive feedback from pupils and parents has meant we have been able to establish expanding and enduring relationships with schools, becoming firmly embedded in the musical life of the schools over many years
Progression & musical development: The use of these materials has ensured that our teachers can make efficient use of every minute of lesson time, maximising the amount of learning taking place and accelerating progress even when delivering group lessons of only 20-30 minutes in length Each lesson is also available as a video lesson which ensures that no pupil falls behind, even when absent from school The video materials have also encouraged regular practice & parental involvement in pupils’ learning Our teachers have found that by utilising the videos they are able to flip the learning, allowing them to adopt a more facilitating, coaching style of teaching, enabling them to deal with larger groups more effectively This style of teaching is more authentic for the rock & pop music styles, mirroring what happens in the rehearsal room Pupils respond well to this, resulting in better retention rates. This means more pupils studying for longer, reaching higher standards, being better prepared for graded examinations, and therefore able to access further and higher education opportunities and careers within the industry
Inclusion: The teaching approach promoted by our materials makes it much easier to teach in larger groups, meaning that costs to parents can be kept low without compromising on quality of learning or on progress made This makes rock & pop instrumental lessons more
accessible to pupils from low socio-economic backgrounds Because the materials are designed to be taught by teachers regardless of instrumental specialism, we have been able to reach schools in rural locations who might only have need of an hour or so of teaching on each instrument, as we can send one teacher to cover all the instruments, ensuring that geographic location is no barrier to participation The materials are available in formats that are accessible to all pupils, and are flexible and adaptable to cater for individual pupils’ needs, making them particularly suitable for use with pupils with SEND
Sustainability: The use of these materials within our own organisation has allowed us to create a dynamic and well-trained workforce who are able to teach multiple rock & pop instruments regardless of their own instrumental specialism This has enabled us to limit the need for waiting lists, and take on more pupils overall, ensuring financial stability and allowing us to plan more strategically Operationally, it has been beneficial in simplifying cover arrangements, meaning that income is rarely lost as we are almost always able to provide a suitable cover teacher, who will know straight away what needs to be taught that week as the approach is standardised across all teachers This approach has also helped us to limit our environmental impact by reducing C02 emissions associated with transporting teachers to schools, since we are now sending one teacher into each school for a longer session, rather than having multiple teachers make multiple journeys for shorter sessions each day
We now want to see if these benefits can be replicated nationwide and are looking for music hubs to be involved in trialling the materials and approach with their own pupils
We are looking for music hubs or music services who currently teach contemporary guitar, drums and keys to KS2 pupils in either small group, 1-2-1 or whole class settings. The preliminary meetings and training for the project will take place during the Summer Term 2025, ready for an Autumn Term start, when teachers will use the materials with at least one beginner group for a 10 week period.
We hope to find out what impact the use of the materials have on teaching and learning, and on wider organisational operation. Primarily we want to see what impact there is on pupil progress, engagement, and motivation. We also want to find out how teachers feel the materials have impacted the effectiveness, quality, and style of their teaching. On an organisational level, we hope to discover whether music hubs feel adopting these materials will be of benefit to them in terms of delivering the Five Strategic Functions outlined in the NPME.
At the end of the initial 10 week project, there will be the option for hubs to express an interest in continuing by rolling the initial materials out to more pupils, and introducing the next phase of materials to the pupils who have participated in the study. This will allow us to research the longer-term impact of the approach in terms of the Five Strategic Functions.
If your music hub is interested in participating in this research, please contact our independent researchers Music Education Solutions by email at admin@musiceducationsolutions.co.uk or by phone on 0330 133 4123 for further details.
MUSIC MARK
The £160m “black hole” in music education funding
In May 2024, we commissioned an independent think tank, Demos, to cost the English National Plan for Music Education. This research would allow us to understand the full costs associated with the government’s National Plan and therefore the real level of support needed for providers to deliver the plan
Demos has revealed that the government has inherited a “black hole” in its budget for music education amounting to a £161 4m shortfall Researchers found that the National Plan for Music Education was short of £32 3m per year
to cover the costs of regional Music Hubs –partnerships of music services, music departments, venues, clubs and other organisations A total of £161 4m in new and hidden costs is needed over the next five years to ensure the future of music education
According to figures from UK Music, the industry generated £7 6bn for the economy in 2023, including record exports revenues of £4 6bn The industry supported the equivalent of 216,000 jobs in this period
Sir Keir Starmer has vowed to make music
education a priority for his government and “reverse the degrading of creative arts and music”. The Prime Minister was a scholar at the Guildhall School of Music as a child and plays the piano, violin, flute and recorder Culture Secretary Lisa Nandy has accused previous governments of turning areas of the country into “cultural deserts” and recently pledged to “turbocharge” the creative industries
The report draws on original survey data, Arts Council England data and workshops with Music Hub leaders, school leaders and others. The report details a range of challenges facing music educators across the country, including:
Inflation causing cost challenges across the board, including pressures on staff salaries and increased venue hire
A shortage of specialist music teachers
Accountability measures, such as the EBacc (English Baccalaureate), seeing music and the creative arts squeezed out of schools
A lack of appropriate local venues, limiting performance opportunities for children and young people in certain parts of the country
The report presents a series of recommendations to make this ambition a reality:
Boost funding to help Music Hubs deliver music education for all by meeting their £32 3m annual cost – just 0 03 per cent of the total UK education spend Liberate Music Hubs from restricted funding and reporting constraints, with greater flexibility on how the Capital Grant can be used
Restore the essential place of music education in schools, dialling back accountability measures that squeeze the arts out of music education and offering more generous bursaries for music education specialists
Mobilise support from the wider music sector and industry
Rejuvenate “cultural deserts” through targeted local investment, simplified funding arrangements, and an investment in community spaces, including venues
Bridget Whyte, CEO of The UK Association for Music Education – Music Mark, said: “This independent report confirms what we at Music Mark have been saying for some time and reinforces much of the evidence I gave to the Education Select Committee last May The ambition within the new National Plan for Music Education is welcomed, but the reality is that the funding given to the Music Hub network to deliver that ambition for all children and young people in their area is not enough.
“The Hub partnerships can and do generate income locally, but government investment needs to be realistic and keep pace with inflation and pupil population growth Unless there is a realistic revenue grant, the ability to continue to address spiralling staff, venue, equipment and transport costs whilst meeting the aim of musical opportunities being available to every child cannot be realised.”
Kadiatu Kanneh-Mason, the author and music education advocate, said: “Music education should not be an expensive luxury reserved for the few, but a right deserved by all children Music develops creative intelligence, intellectual and social confidence, teamwork and wellbeing
“My own children benefitted hugely from the music education they received in their state primary and secondary schools, and they are devastated by the reduction of funding. Access to music depends on investment and without it, the majority of our school population are losing the value and the necessity of music-learning ”
Thepower ofpractice onthepath tomastery
Exploring strategies for helping students develop true mastery of their instrument.
The important connection of hobbies, interests, and leisure activities to human wellbeing have been well documented in recent years. An article published recently by Sir Anthony Seldon in the International Teacher Magazine entitled ‘Taking care of yourself’, talks about the importance of making time for hobbies and interests: something you love to do - whether it be sport, music, dancing, acting, knitting or cooking! Living through a global pandemic has certainly highlighted the importance of these types of activities, in addition to physical exercise and the need for social interaction required for a balanced and healthy lifestyle
While hobbies and interests are without question a great way to pass time and take our minds off stressful situations, they can also play a much greater role in shaping lives, relationships and even careers.If you were to think of a famous and successful athlete, musician, or artist for example, you might well ask ‘How did they achieve that level of success?’ or ‘What does it take to reach that standard of excellence?’ and ‘How can I be as good as them?’ As educators we want the best for our students and, ultimately, we want all of them to succeed in their chosen pathway We should encourage them to aim high and seek to gain mastery of the thing that they love to do most in the world: to find their passion But what does it take to master your craft? What are the essential ingredients needed to become world-class?
Unfortunately, there is no guaranteed recipe for success. We know it takes hard work, focus, effort and determination – the metaphorical blood, sweat and tears - but what does that actually mean, and what does it look like in practical terms? By looking at the successes and research carried out across a range of disciplines, we can start to gain some insight into what works well a lot of the time and how we can best guide our students towards achieving world-class results
Start
Early and Seek Opportunities!
It is generally agreed that starting early is a key factor in humans achieving great things. There are many examples of this from across many different fields, such as the sports, music, arts, literature, and science worlds. In addition to this, there are other elements that play a key role in achieving mastery Support, encouragement, expert mentoring, or coaching are obvious, but opportunity is also a major factor, whether by design or by chance
In his book ‘The Talent Code: Greatness isn't born It's grown’, Daniel Coyle talks about the artist Michelangelo and how he could ‘handle a hammer and chisel before he could read and write’ In his youth Michelangelo was an apprentice to the great Ghirlandaio, and as a result he was able to work on a range of highend commissions and projects. He started out copying and imitating the work of other great artists of the time and learned the basics from experts who helped him refine his skills over several years under quite gruelling circumstances This enabled him to master his craft and become an expert sculptor and painter Coyle points out that Michelangelo was ‘a promising but little-known artist until he produced the Pietà at age twenty-four People called the Pietà pure genius, but its creator begged to differ ‘If people knew how hard I had to work to gain my mastery, said Michelangelo, it would not seem so wonderful at all ’ It was a struggle and a labour of love, but through the combination of a large amount of dedicated time, great personal effort, repetition and expert tuition, Michelangelo was able to produce world renowned work as a master craftsman
Deep Practice Makes Perfect
What is not always clear is the process behind works of such magnitude. Michelangelo may have been a genius, but he still had to study the details for a long time, learn from the best, and most importantly repeatedly practice refining his skills No matter the discipline, the biggest thing these people have in common is the significantly large amount of dedicated time given to refining and reworking their craft. As Coyle states ‘they all spent thousands of hours inside a deep-practice hothouse, firing and optimizing circuits, correcting errors, competing, and improving skills ’ The important thing to note here is that it is not only the amount of time spent practicing or rehearsing, but the ‘what’ you are practicing The term Deep Practice refers to targeted and specific practice relating to new and undeveloped areas of someone’s abilities, as Coyle puts it ‘operating on the edges of your ability, where you make mistakes – makes you smarter’.
When learning a musical instrument, many students worry about making mistakes. Mistakes are a big part of the learning process, and in lots of ways they are what aid improvements By slowing down and pushing through the difficult passages, then revisiting them regularly, the connections start to become clearer Students who confront mistakes and persevere will develop their performing skills, leading to a greater mastery of the music and handling of the instrument The mistakes are a good thing and should be celebrated!
10,000 Hours
Authors like Malcolm Gladwell and Matthew Syed have highlighted examples from across different disciplines where experts in their field have studied and practiced not for weeks or months, but for many years to gain high levels
of expertise. Syed says in his book ‘Black Box Thinking: The Surprising Truth About Success’ that ‘It is well known that experts with thousands of hours of practice can perform with almost miraculous accuracy ’ He quotes research detailing how experts ‘have slowly but surely built-up intuitions that enable them to perform with remarkable accuracy’. Closely linked with this is what researchers are calling the 10,000-hour rule. Malcom Gladwell talks about this in his book ‘Outliers: The Story of Success ’ Gladwell sites studies in the early 1990s by psychologist K. Anders Ericsson, who in conjunction with the Berlin Academy of Music, monitored and tracked beginner violin and piano and students over a number of years. All students started at roughly the same age (five years old) and practiced on average around three hours per week. The differences in progress started to be seen from around the age of eight, when those who wanted to be the best in their class upped their practice levels from three hours to six hours per week at age nine, eight hours per week by age twelve and sixteen hours per week at age fourteen and higher. By the time the elite students on this trajectory had reached age twenty they had reached around the 10,000 hours of practice time.
The students who did not put in the additional hours still performed to a very high standard on their instruments, gaining enough skill to perform with large orchestras or become very proficient musicians or even music teachers, however, none of them achieved what is regarded as the elite level of mastery or made it to the top performing spots. Gladwell also points out that Ericsson’s study did not identify any ‘natural musicians’ who achieved master level without putting in a vast amount of practice hours Therefore, we should conclude that there are no ways around it, to be the best the only
way is to practice, practice and practice some more Gladwell rather elegantly sums it up when he says, ‘Practice isn’t the thing you do once you’re good. It’s the thing you do that makes you good ’
We can all agree that 10,000 hours is an extraordinary amount of time to dedicate to anything and it is an extremely challenging number for anyone to meet by themselves without support. Parental encouragement, along with specific guidance from expert tutors and teachers is vital To put the 10,000 hours in context, it is approximately ten years of highly focused and targeted practice, hence the need for an early start!
There are many factors on the way to mastery: the time and dedication needed, support and encouragement, high quality tutoring and teaching, access to the right tools and of course, opportunity Michelangelo may still be a little-known artist had he not had the opportunity to refine his craft, work with the right tutors, have access to the tools needed and the chance to display his work Similarly, Mozart was considered a child prodigy, but without his father’s encouragement he may not have had the guidance, tools or opportunity to develop his skills that enabled him to produce such an outstanding body of work
Why do it?
Aiming for mastery is hard and time consuming, so why do it? What are the benefits? In her book ‘The Music Advantage: How learning music helps your child's brain and wellbeing’, Anita Collins cites what psychologists call the ‘big five’ personality traits associated with learning a musical instrument as openness, conscientiousness, extroversion, agreeableness and neuroticism. She talks about Dr Kathleen Corrigall’s research which states that conscientiousness
and openness to experience are significant qualities developed in musicians in particular Corrigall suggests that this could be because ‘learning to play a musical instrument could be facilitated by conscientiousness, which involves self-discipline, organization, and achievement-orientation, and/ or by openness-to-experience, which describes the tendency to have an active imagination’ While working independently is important for developing mastery, outstanding musicianship comes from working and performing with other musicians Ensemble performances are extremely important to the overall development of a young musician as it not only enhances listening and communication skills but, according to Corrigall can, ‘enhance social interactions via appropriate neural and chemical activity’ The psychological safety of being part of a group helps to increase confidence levels amongst students and is therefore an important aspect of becoming a better performer The social aspects of forming friendships and making connections through ensembles can have an overall positive impact on mental health and well-being, something we want for all our students and what some would say are crucial in our current times The good news is that rehearsal time also contributes to the 10,000 hours and the journey towards mastery, which in turn are developing the traits of openness, conscientiousness, extroversion and agreeableness, hopefully while having fun with your tribe!
So, the next time students complain about extended rehearsals and long hours of practice, it’s only so they can become masters of their craft!
NewNationalCentre forArts&Music Education
What can we expect from this new body, and should we be concerned?
BY DR LIZ STAFFORD
The government’s recent announcement of their intention to establish a new National Arts Education Centre has certainly got everyone talking, despite very little being known about what this might look like in practice. It’s difficult, and might be considered unwise, to venture an opinion on a proposal that is so scant on detail at present. Conversely one might argue that this is the perfect time for our voices to be heard, before the government heads hard and fast down a path that cannot be turned back. So, what do I think about this proposal?
Well, firstly it’s always welcome to see a government recognising the importance of the arts in education, especially after a decade where the EBacc has pushed these subjects firmly into the role of second-class citizens. Arguably, though, just getting rid of the EBacc would be a more significant step towards restoring arts subjects in our schools and have more impact on more children and young people than this proposed centre might Why? Because as I have said many times before, the only way you can guarantee children’s entitlement to arts provision is within the curriculum How ever many well-meaning extra-curricular initiatives you fund, there will always be barriers to some (even the majority of) children accessing these; cost, geography, transport, clashes with competing activities, lack of motivation and/or interest… If we truly want to reach every child then the only way to do that is through the statutory curriculum I therefore very much hope that I have correctly interpreted the signs from the Curriculum Review Interim Report also
recently published, that the EBacc may finally be painfully creaking its way out of our system
Speaking of curriculum though, one of the intentions of the new centre is to provide online training for primary and secondary teachers. As the leader of a company that has been providing online training for music teachers since 2014, clearly I have a vested interest here, and it’s only fair that I state that up-front before passing judgement! As you might imagine, I have many thoughts on this particular aspect. While I am not an expert on what other arts subjects training is available out there, I do know that the market for music training is so saturated that it may as well be 100% liquid at this point! I wonder whether launching yet another provider of training into the music education sector is the best use of government funding? It would potentially be better to signpost to existing provision, but then I would say that, wouldn’t I?!
The original NPME (2012-2020) involved a very short-term trial of additional music education training modules in Primary ITT. The fact that this initiative was dropped almost as soon as it got going is to my mind the single biggest failure of the plan, because it is the aspect that could have made the most widespread, equitable and permanent improvement to music education across the country. If we trained our teachers properly to deliver music (and all the other foundation subjects) in the first place, we would not be spending more and more money plastering over the cracks in our schools. It is not the fault of the teachers that they may be illequipped to teach music and other arts subjects (or MFL for that matter!), it is the fault of the system that doesn’t provide them with the requisite training before releasing them into the wild. If we trained teachers properly from the start would we even need a National Arts Education Centre? Or at the
very least, what additional benefits could such a centre bring to the system if it didn’t have to focus on basic teacher training?
Something that you might not expect me to say as an online training provider myself, is that if this centre really wants to make an impact on teachers’ professional development, then I’m not sure that online is necessarily the right medium. Clearly the accessibility angle of online training can’t be beaten, and teachers really value the flexibility and affordability of online training However, it lends itself best to knowledgetransfer rather than skills building Anyone who has tried to run an online training session, either live or asynchronous, will tell you how difficult it is to support teachers to develop practical musical skills in an online learning environment. The main barriers to delivering high-quality music teaching in primary schools are teacher confidence and teachers’ own level of musical skill, and these are extremely challenging to support through an online offer Before you can effectively support teachers with their pedagogic knowledge, you need to support them with developing their own personal musical skills and understanding, otherwise they cannot put that pedagogic knowledge into practice effectively.
It may just be that enough thought hasn’t gone into the training offer from the government’s side yet to identify this problem, but I am concerned that it is another indication of the doubling down on ‘knowledge rich’ that we’ve seen from the DfE in recent months If knowledge is the only important thing in arts education (which our whole sector knows is very much not the case), then it is perfectly logical to think you can give teachers all the development they need through an online offer. Of course, music hubs are working towards establishing their network of Lead Schools to enhance
their existing CPD provision, and the centre is going to oversee the work of music hubs There is therefore the perfect opportunity to look at the training offer for music as a whole, so that online offerings can be supported locally with face-to-face support In fairness to the government, just because they haven’t told us that this is the intended plan, doesn’t mean it isn’t the intended plan, so perhaps we can give them the benefit of the doubt on this one; although no similar infrastructure system is available for the other arts subjects that the centre will oversee, so perhaps not!
This train of thought leads me to wonder about how this centre will interact with the existing infrastructure for arts education? The relationship between the DfE, ACE and Music Hubs has not always been easy to say the least. I’m sure there will be significant concern amongst hub leaders about how the relationship with this centre as their new ‘boss’ will develop What will the place of subject associations be once this new centre has been established? Given the direction of travel back towards the limited definition of education as knowledge transfer, and knowing how problematic that is, it’s important that our subject associations remain robust in their defence of our sector, giving those of us with more knowledge of how music education works best a voice to counter problematic policies and pronouncements from government. Will schools and teachers stop engaging with them when there is a more ‘official’ feeling overarching body that they feel obligated to take advice from? Perhaps I am worrying over nothing here, after all the entire education sector voted with its feet the last time the (previous) government established a centralised body to dictate how schools should teach; Oak National is on its way out by default with only the quietest of whimpers.
Where I think this centre could make a significant positive impact is in the drawing together of all the disparate strands of the arts education sector to create a true picture of all the activity on offer for children and young people Music Education has a real case of ‘initiativitis’ at present, with multiple different organisations constantly reinventing each others’ wheels and declaring their new projects to be the thing that is finally going to ‘save’ music education. For schools and parents this is confusing at best, and at worst contributes to the patchiness of provision where children and young people are offered opportunities seemingly at random Music Hubs have done excellent work of mapping the local offers, but there is definitely a case for a national picture to be developed, and ideally quality assured, so that we can map out a comprehensive approach to music education across the country which makes best use of the limited funding available
Given all the above, I suppose my overriding concern is whether the establishment of this centre will result in another top-slicing effect, where funding that could have gone to schools, music hubs and arts organisations working on the ground to directly benefit children and young people, instead gets swallowed up in the bureaucracy of an overarching establishment which does not add equivalent additional value to the system as a whole. Only time will tell.
The Independent Society of Musicians are currently gathering views from across the sector on the new National Centre for Arts & Music Education. Share your views here.
The Art of Coaching
A former Music Service Head shares his journey towards a new career in coaching
I’m a coach. Honestly. Funny how it all came about, but I’m now a coach I started out as a music teacher in a Glasgow secondary school over 40 years ago. I was only 20 years old when I first faced a class and received a salary for doing so I wasn’t really ready for some of what I faced, but hey I thought, life ain’t a bowl of cherries and it’s a job. Teacher training college never mentioned dodging projectiles
The Head Teacher, on my day one said to me ‘Don’t worry about teaching Mr Cameron, just survive’. So I did. I played in a pop band outside of work and I used to bring in my Moog synth and other keyboards to my classroom in an effort to inspire the troops. We sang lots of songs, the boys would belt out ‘Football Crazy’ as if they were at a Rangers v Celtic match I took comfort in construing this as enthusiastic engagement. We listened to ‘Night on Bare Mountain’ and the ‘1812 Overture’ using Roy Bennett’s ‘Listening to Music’ series. And we clapped teas, coffees, coca-colas and even cream sodas After a couple of years of this noisy fiery baptism I was summoned to the Education Offices in Glasgow. There I met a follicly challenged (impressive Kojak lookalike) gentleman, an Education Officer in a very large oak-panelled room with a vast, tremendous desk asking me if I’d be willing to transfer to a school on the south side of the river as I was ’surplus to requirements’ due to a falling roll I thanked him profusely, wondering if there was something I could sign before he changed his mind.
My next school (for 4 years) was a joy I was part of a team of 3 music staff Students were generally polite and motivated. We had school bands and produced some fabulous musical theatre shows Having started out in such a tough setting, this was now fulfilling. I’m still in contact with some pupils from this school, one a leading session saxophonist,
another an X Factor star. My career had finally taken off in a positive direction The subsequent years with local authorities included spells as Principal Teacher and as Head of two Music Services, in Glasgow in the 1990s and with Dumfries & Galloway from 2003-16. In Dumfries I was also a QIO (Quality Improvement Officer) with various generic responsibilities which included preparing school pre-inspection reports, organising head teacher appointment panels and conducting disciplinary investigations
And I had a fabulous time devising and delivering a world-first instrumental lessons programme via video conferencing before we had the availability of broadband. We taught primary-aged kids in remote schools brass lessons over video-link from 2005 on a weekly basis Warwick University conducted the evaluation of our work and gave us a 5 star report This work was included as a Case Study in the UK National Plan for Music published in 2011. We were very much forerunners of the online music teaching we see everywhere today, significantly nudged forward in that direction due to the Covid pandemic.
In 2006 I took the opportunity to share our work at the ISME conference in Kuala Lumpur, Malaysia I met various music educators from around the world here and one, Matti Ruippo, a lecturer from Finland became a good friend Fast forward to 2015, Matti invited me to share our online video teaching programme in person at a conference in Finland. And in Orivesi, Finland over the breakfast table I met and started a collaboration and friendship with Fredrik Posse, one of the co-founders of Soundtrap, an online recording studio, now used in schools across the world In 2016 I formally joined the Soundtrap team as Education Adviser, and soon after found myself working for Spotify after they acquired Soundtrap
Working with Spotify took me all around the world I’ve met with teachers in Sweden (where Spotify is based), USA, Germany, Netherlands, Australia (several times), Thailand, UAE, South Africa and all across the UK But In March 2023, the Soundtrap/Spotify fun came to an end for me. I, and many others in the company, had our contracts terminated What would I do now?
Since 2016 I’d been travelling the world, meeting people, engaging in meaningful, purposeful conversations. I knew I enjoyed working with people and hopefully helping people develop and flourish in their careers So I decided in early 2023 to become a coach. As you do. I searched for online coaching courses, checked out reviews and podcasts and decided quite quickly that this was what I should do. Sign up, take the plunge What’s the worst that could happen? Yes, I might regret investing money in a course, but I’m sure I’ll find it interesting and challenging even if I don’t go forward with a coaching career
From April to October 2023 I engaged in 2 full days a month of coaching training and learning, resulting in being awarded a Diploma in Coaching and Positive Psychology The skills I’d gained throughout my years of working in the education sector were the bedrock of my capacity to coach others The coaching diploma gave me additional skills and confirmed for me that this was something I’d love to be involved in.
I met Nel in the summer of 2023 at my local health club In conversation it became apparent she was a course leader and mentor for an online Masters course in Educational Leadership I asked her if she had any students on her course that might benefit from coaching Almost immediately Nel said that her student George (not his real name) was lacking some confidence and was unsure
about his next steps. She said that she’d check with him and see if he might be interested in coaching As I was still a student on my own learning journey, I said I’ll not charge him if I could work with him It will be part of my required hours to coach people to gain my qualification. And may be of help to him also.
I was introduced to Nel’s student George online. We had a ‘chemistry’ session where we got to know each other a little and gauge from his perspective and mine if this is a discussion we might take forward in a coaching format He was keen to try this We hit it off, and I looked forward to working with him. He shared his reasons for undertaking a Masters course and I listened as he described how he was in a place where he felt he was a bit ‘stuck’. He was happy in his role as Deputy Head but felt he had more to offer. ‘Is this it?’, he had thought to himself He’d been in the same school for his whole career and had got to the point where he needed to think carefully about his next move
In our first coaching session, I asked him about his goals in life. Personally, professionally He wasn’t sure, but had been keen on the idea of becoming a Head Teacher. In our first meeting I listened intently to his reflection on how he currently viewed his life What was his present reality? What would he really like to do in life? What would be fulfilling? If he could wave a magic wand, what would life look like? He didn’t have answers yet for these questions and I gave him as much space and time as I could to see where his thinking might go The next part of this is probably best described in his own words:
‘After completing my Master’s degree, I found myself at a crossroads in my journey as a school leader That’s when I was introduced
to Alan, a leadership coach. Alan excels in establishing a strong and positive rapport with his clients, which immediately put me at ease. Through our coaching sessions, he employed various techniques that facilitated deep self-reflection, providing valuable insights into my practice and skillset. With Alan’s expert guidance and support, I gained the confidence to make informed career decisions and have now secured my first Headship. I look forward to continuing to work with Alan as my new journey begins’
I continue to meet with him on a monthly basis 18 months on from our first meeting He is now happy to pay me for this service! I have several clients I see over an extended period of time; many people are looking for a coach who perhaps works with them for 3 - 6 sessions So, what might you expect in a coaching session? And what is ‘coaching’?
Coaching is a managed conversation, with the coach responsible for that management. Coaching is focused on personal growth and professional development with a clear aim in achieving goals, changing behaviours, shifting perspectives, and overall selfimprovement
Every person and every situation is unique. However, many people have the same feeling at certain moments in life of being ‘stuck’ Often individuals will say they’re not sure as to how they might move forward in a positive direction At times like these, a personal coach can be very helpful in listening intently to the individual seeking to make positive choices, take positive actions and gain new insights
There are many different coaching theory and approaches that can be adopted In my training, I learned about Neuro Linguistic Programming, Cognitive Behavioural Coaching, Person-Centred Coaching,
Psychodynamic Approaches to Coaching and Solution-Focused Coaching However for me, my coaching approach can best be described as unlocking people’s potential to maximise their own performance
We all like to be heard, or to be seen. The Zulu greeting ’Sawubona’ literally means "I see you." More than just a polite phrase, it carries a deeper meaning in recognising each person's true worth and dignity It conveys, "I see all of you your experiences, your passions, your pain, your strengths and weaknesses, and your future” In coaching individuals I endeavour to give people a safe and reflective space. I aim to listen at least 80% of the time and ask questions directly in response to what the person I’m coaching is sharing. Coaching sessions can be of varied lengths. A typical structure for a 45 minute session will often start with some small talk e g about the weather, which can help to build rapport. Typically this will be followed by a formal introduction outlining and confirming contractual arrangements, a confidentiality reminder and the coach asking if they may take some notes. The coaching session often then begins with a question like ‘What would you like to talk about today?’
When the client has shared their thoughts in relation to the goal it is very important to paraphrase and summarise what the client has said A good question at this point could be ‘Was that an accurate representation of what you said?’ Paraphrasing the information the client has provided needs to be reflected back accurately in order to ensure that the coach has fully understood all the key aspects the client has shared The second reason for this is to allow the client to reflect on their own words through hearing their own narrative spoken out loud by the coach This can have a profound effect on the client, often providing a new perspective on their
thinking. A key skill required for effective coaching is the ability to listen well You can always tell if someone isn’t really listening to you, it’s an uncomfortable feeling is it not? Too many people don’t listen with the intent to understand, they listen with the intent to reply!
As a coach, you should give full and undivided attention to the client in genuine interest and curiosity. If the client takes a few seconds (or longer) to respond to a question, the coach should hold the space for the client allowing them time to reflect and respond when they are ready The coach should demonstrate open body language, at times mirroring the client’s own body language, matching their energy and showing empathy. Empathetic listening would include listening for feelings, not just what is being said. A successful and effective coaching session will create results for the client
A good coach will ask great questions at the right moments and be present at all times through listening actively, showing empathy and communicating non-verbally through good use of body language. Powerful questions can assist the client in triggering clarity and reflect on what they really want. The best type of questions to ask are openended These questions should not just lead to a simple yes, or no Open questions could include ‘Why are you thinking this?’, and ‘How does that make you feel?’ It is important to ask questions directly stimulated by what the client is saying, always adopting a clientled approach Suggestive questions, and ideas for solutions should not be offered to the client. An example of a good question to conclude the session could be ‘Would you like me to hold you accountable on this step you propose to take?’
I’ve gone into a fair bit of detail as to what a successful coaching session might look like It is by no means exhaustive My experience as a manager in Music Services and as an education leader and manager has helped me become an effective coach But I’m always learning and trying to improve. And listening much more than talking is definitely a key to success in coaching If you'd be interested in learning more or you might be interested in a coaching session yourself, visit this link: www cameroninternationalcoaching com
BY DR LIZ STAFFORD
TakingtheLead
How can hubs effectively solve the key issues facing school music provision?
We’re already halfway through the first year of the “new” music hub system in England, and, to some it might seem that the main meaningful changes of the great reorganisation have been solely administrative. Hubs are out there supporting the same schools with broadly the same issues as ever, but with new initiatives such as Lead Schools gradually rolling out, it may be a good time to take stock of how and why we address the key issues in schools, to see if our interventions can be more effective
We have an obsession in the sector over ‘non specialists’ teaching music as if that were not in fact the norm for all subjects at primary school, where everybody’s ‘specialism’ is, in fact, education! However, it can’t be denied that there are unique challenges to teaching music as a generalist which require support to overcome if the teaching is going to be effective With more and more secondary schools now having to resort to either partial or full non-specialist provision at KS3 thanks
to the recruitment and retention crisis, thought needs to go into solutions for this issue at secondary as well as primary level. Lead schools could be a good support here, through a mixture of demonstration lessons, team teaching, mentoring, and INSET, but only if they are carefully trained to deliver these elements with the understanding that all schools and teachers are different and require bespoke support I’ve lost count of the number of times I’ve seen teachers promoting the ‘just do it like me’ approach with seemingly little understanding that not everyone is like them Supporting other teachers is a particular skill, and just because you are a brilliant music teacher yourself, does not necessarily mean that you are automatically able to help other teachers develop their own practice. Hubs would be wise to carefully consider approaches to training their Lead Schools to avoid inadvertently alienating, confusing or annoying other schools in a well-meaning attempt to support them
Many schools lack the budget and space for effective resourcing, and with the Capital Grant available, hubs have a real opportunity to support this need by purchasing the resources that schools need and rotating them round on a hire or loan basis By having a centrally held bank of instruments that schools can request throughout the year, hubs can support the development of curriculum breadth across all their schools, ensuring that pupils are introduced to a wide range of different musical traditions in an authentic manner Of course even hubs struggle for space, but with some careful planning it should be possible to make sure that these resources are effectively always out of the building moving from one school to another without returning to clutter up space at hub HQ! Hubs will gain extra brownie points from schools if they can organise the transport of the instruments themselves, and there will be generally better buy-in from schools to the idea if all they’ve got to do is request some resources and wait for them to turn up!
Another challenge that has been, and probably always will be facing schools is the many competing priorities squeezing the timetable, compounded at secondary with accountability measures steering pupils away from further study at KS4 and beyond The stock response to this is that we need to ‘advocate’ for music, but let’s face it we’ve all been doing that for decades and it has made very little difference! Perhaps instead hubs could look at an incentivisation process for schools who prioritise music? It’s been fairly standard practice for hubs who do direct delivery (ie. music service model) to offer a discount or freebies to primary schools who purchase ‘continuation’ from whole class ensemble programmes, but it’s less common for incentives to be offered to secondary schools Now might be the time to consider whether we can cajole schools into
committing to music at KS4 and beyond by making a current GCSE cohort the key to unlocking some kind of benefits or additional services from the hub? I realise this will need to be paid for, but it might be possible to do this through existing projects, just reframing these as ‘first refusal’ for schools making active steps to prioritise music? Of course this would need careful thought to make sure that the flip side wasn’t other schools getting worse and worse at music through a lack of support, and giving up on it entirely! But I am confident that there is a happy medium between the two that would encourage more schools to get involved
For many secondary schools, viability of numbers is the hurdle that KS4 provision may fall at Again, we can advocate and bang on about the average GCSE class size for music being a lot smaller than for other subjects, but schools have to balance their books, and their timetables I remember Music Mark posing the question many years ago of whether hubs should offer GCSE music (mainly because I commented my thoughts on it on Twitter and was shouted down by someone who was unreasonably angry about the idea, had thought it was my own suggestion and when corrected said something along the lines of ‘shame on you Music Mark,’ which was quite the overreaction for pre-Musk Twitter!) and I think this is definitely something worth consideration Many of our conservatoires already offer out of hours GCSE and A Level provision, so it may just be a case of signposting towards that if it is geographically within reach, but if not hubs could consider hosting GCSE and A level courses as part of music centre or similar activities to ensure that pupils can access the qualifications they need
Even when schools do have viable numbers they may not have a specialist teacher
available to run the course. I have had the great pleasure of working with Jersey Music Service over many years, and have seen the benefits first hand in their providing both support staff services and full teaching for GCSE courses at various schools who found themselves in need of a teacher (you can imagine the rigmarole of trying to recruit someone from across the sea at short notice!) Even for hubs who don’t offer direct delivery or don’t have qualified secondary teachers working on their teams, their new Lead Schools network should presumably help identify suitable teachers who might be able to be ‘on loan’ to other schools for the purposes of covering GCSE classes, or schools who might take pupils in for GCSE classes if the schools are both in agreement? Even way back in the 90s, I was able to remain at my own school for three of my A levels, whilst travelling up the road (admittedly in the highly awkward situation of being driven on my own by the caretaker in the school minibus!) to take A level music at another school It can be done if schools are willing, and hubs are well placed to encourage these types of partnerships.
If you ask secondary schools what their main issue is at KS3, they will undoubtedly tell you ‘transition.’ Primary schools, although less affected by the consequences, are also irked about this issue, often feeling that secondaries are ‘not interested’ in finding out what they’re doing with music (or indeed any other subject outside English & Maths), and instead just assume that they’ve done nothing With strategic functions specifically around Schools and Partnerships, hubs have the chance to play a real role here with something as simple as providing joint Network Meetings with primary and secondary in the same room Lead Schools could also build up a picture of provision in their areas, and share this information between relevant primaries and secondaries,
facilitating conversations that will smooth the transition process for everyone
Speaking of networks, it’s long been recognised that secondary teachers feel professionally isolated, particularly when they are working as one-person departments. The Lead Schools network could again play a crucial role over and above the Network Meeting approach already established in most hubs. Lead School practitioners could be the mentors and support systems for oneperson departments, acting as a sounding board, providing regular advice, and being a critical friend Once they get to know each school they could also facilitate ‘buddy’ arrangements for peer sharing support between schools, gradually expanding the network of support on which one-person departments can draw.
As both hubs and schools tackle the challenge of doing more with less (in real terms) funding, it’s important to make support offers and interventions as targeted and effective as possible for the benefit of both parties. The new Lead Schools network provides opportunities for effective partnership working in this regard, and I look forward to seeing how this comes to fruition in different parts of the country. Perhaps you might like to write us an article on the impact of these across your hub area for our next issue?!
BY PHILIP AIRD
Unlockyour teachingpotential
Introducing ESTA’s MA in Practical Teaching
For instrumental music teachers, the journey of professional development is ongoing The ESTA MA in Practical Teaching, delivered in collaboration with the University of Chichester, provides a unique opportunity to refine and expand teaching approaches in a way that is both deeply practical and academically rigorous Designed for working teachers, this fully accredited Master’s degree balances flexibility with real-world application, equipping educators with the skills and knowledge to enhance their teaching and, ultimately, their students’ learning. It’s also very affordable!
One of the most significant advantages of the ESTA MA is its accessibility. Recognising the demanding schedules of music teachers, the course is delivered online, with a single residential study week at the University of Chichester This structure ensures that teachers can continue their professional practice while engaging in meaningful study. Throughout the course, participants engage with a range of core teaching principles, from refining pedagogical strategies to exploring new methodologies The programme is structured across several key modules, each designed to strengthen different aspects of instrumental teaching.
Teaching Strategies for Instrumental Teachers
In this module, teachers critically reflect on their current teaching methods. Why do we teach the way we do? How can we step outside our comfort zones to explore new approaches? By examining the historical development of instrumental teaching, participants assess which methods remain effective today and which may require adaptation. Teachers are encouraged to challenge traditional practices and develop innovative strategies that better serve today’s learners. Key themes include:
Understanding current teaching methods
Diagnosing learners’ needs
Motivation and aptitude in learning
Assessment strategies
Whole-class, small-group, and one-toone teaching dynamics
How Children and Young People Learn to Play Instruments
Effective teaching requires an understanding of how students learn This module explores different learning theories and how they apply to instrumental teaching. Participants analyse their own teaching methods, using video recordings to assess student engagement, teacher interaction, and lesson structure. The goal is to create a more student-centred learning environment, encouraging creativity, independent learning, and deeper engagement. Key topics include:
Learning psychology and cognitive development
The impact of cultural and social factors on learning
Teacher-student interaction analysis
Developing a balance between teacherled and student-led learning
Developing a Teaching Curriculum
This module clarifies the difference between a curriculum and a syllabus Teachers often
default to using exam syllabi as curricula, which can limit broader musical development Here, participants design their own one-year curriculum tailored to their specific teaching contexts Many choose to focus on beginner stages, while others tackle the critical intermediate level, where student retention is often a challenge. The practical application of this unit has led to real-world improvements, with some participants’ curricula being adopted by schools and music hubs as guiding frameworks for new teachers Key focus areas:
Personalised curriculum design
Short, medium, and long-term lesson planning
Holistic teaching approaches beyond technical development
Selecting appropriate repertoire and resources
Reflective teaching practice
Teaching Instrumental Technique
This highly practical module focuses on core instrumental techniques and how to teach them effectively Teachers explore different strategies for instructing key technical skills, ensuring they have multiple methods to cater to diverse learners A major component of this unit involves analysing video recordings of students and determining how best to approach their technical development Assessment includes creating a short, highquality instructional video and teaching a real lesson based on the technique studied Topics covered:
Posture and instrument positioning
Developing bowing and left-hand techniques
Addressing common challenges such as vibrato and sautillé bowing
Creating structured warm-ups and technical exercises
Teaching Individuals
A deeper dive into the psychology of learning, this module examines motivation, self-belief, and how to tailor teaching methods to individual students Teachers explore traditional and innovative pedagogical approaches and critically assess their own repertoire choices to better suit the needs of different learners Skills developed: Planning and articulating teaching strategies
Comparative analysis of learner progress
Using research to enhance teaching methods
Understanding individual learning styles
Creative Repertoire
This module encourages teachers to think beyond standard repertoire, exploring how creative approaches can enhance technical and musical development. Participants analyse traditional teaching pieces and develop new teaching materials using various styles, including classical, jazz, and pop. Key elements:
Composition and arrangement for teaching purposes
Integrating creativity into instrumental lessons
Adapting repertoire to suit student needs
Dissertation – The Teacher and Student Learning Process
The final stage of the MA focuses on research and reflection, allowing teachers to study the learning process from both student and teacher perspectives. Participants undertake lessons as students themselves, experiencing first-hand the challenges their pupils face They then apply this understanding to their own teaching, refining their methods through observation and self-analysis By the end of the dissertation process, teachers emerge with a deeper awareness of how students learn and how their own teaching can evolve to be more effective
Why Choose the ESTA MA in Practical Teaching?
Accredited and Respected – Delivered in partnership with the University of Chichester, ensuring high academic standards
Flexible Learning – Online delivery with a single residential week, making it accessible for working professionals
Immediate Practical Benefits – Teachers apply their learning directly to their practice, with real improvements in student progress
Supportive Community – Join a network of like-minded educators committed to excellence in instrumental teaching
What Our Students Say
“This course has enabled me to thoroughly reflect on approaches to string teaching and improve my own teaching skills whilst studying for a specific qualification ” –Rachel Hall
“This course has helped me improve my teaching further through self-reflection and sharing ideas with a lovely team of mentors and colleagues. It’s been just what I needed at this point of my teaching career!” – David Novalbos Muela
“It’s such a unique course, I’d been looking for relevant professional development opportunities for a while and this was the first which seemed specifically tailored to me as a cello teacher. The tutors are inspirational, and I have made great friends from all over the world All of us share the same passion for teaching string instruments!” – Danielle Jones
For those looking to deepen their understanding, refine their methods, and advance their careers, the ESTA MA in Practical Teaching offers an invaluable opportunity. Find out more and take the next step in your professional journey at ESTA Education
Music Hub Partnership Package
At Music Education Solutions® we have extensive experience of working in partnership with Music Hubs, standing side-by-side with them through all the ups and downs of education policy since 2012! Our core team have all worked as teachers, managers, or senior leaders within music hubs so we are uniquely placed to understand and support your needs
Since the reorganisation of hub geographies as part of the new National Plan for Music Education (2022) we know that budgets are tighter than ever, and hubs are trying to do more, over larger areas, with (in real terms) less funding Our partnership offer for the academic year 2024-25 reflects this, and provides you with a simple, valuable package at no cost to your music hub
We can provide your hub with a marketing pack to email out to schools which includes a unique discount code offering schools in your hub area a significant discount on our webinars and online courses Under our partnership data-sharing agreement, we can provide the name and school of anyone who signs up using the discount code, enabling you to count them in your engagement figures. We can also provide other relevant information such as whether the course content references the Model Music Curriculum, Music Development Plans, or any other metric against which you need to provide data to Arts Council England
Email admin@musiceducationsolutions.co.uk to find out more.
BBC Young Composer 2025-26
BBC Young Composer, the BBC’s biennial competition for aspiring composers aged 12 to 18, has officially opened its 6-month application window
Launched in 1998, BBC Young Composer seeks to discover, nurture, and showcase young musical talent from across the UK, and since its inception has provided a platform for hundreds of young creators to pursue their musical and professional ambitions
The BBC welcomes passionate musicmakers from all backgrounds, genres, and levels of technical ability, and applicants can use any instruments or compositional methods they prefer
Entries will be judged in three categories:
Lower Junior (ages 12-14), Upper Junior (ages 15-16), and Senior (ages 17-18), and compositions will be evaluated on their originality, creativity, and compositional ideas 6 winners will receive a place in a tailored development programme where they will be mentored by a professional composer and work on a composing project, which will culminate in a live performance or broadcast opportunity with the BBC Concert Orchestra Recent alumni have gone on to secure major commissions with the BBC Proms, BBC Radio 3, BBC Radio 4, and the BBC Concert Orchestra
The deadline to submit entries online is 4pm on Thursday 25th September 2025 The winners will be announced on the BBC Young Composer website by 8th December 2025
For more information on how to enter, and extra composition resources for both teachers and young people, please visit bbc.co.uk/youngcomposer.
