Adopting the Musical Play Framework
SURVEY OF UK SINGING TEACHERS
Contribute to a new research study
EMPOWERING EVERY TEACHER
How Out of the Ark are supporting schools
DON’T FORGET THE MUSIC
Memorisation strategies for students
LISTENING BEYOND HEARING
Listening as a springboard for creativity
PAN CLASH 2025
Join the party
Welcome to Issue 3 of Music Hubs & Services Magazine, the only publication created specifically for those working in Music Services and Music Hubs!
As ever I’m incredibly grateful to all those who have contributed to this issue, especially our advertisers whose support has ensured that we can keep the publication free-to-read for everyone.
We are now on the hunt for contributions for Issue 4, so if you’re reading this please consider making a submission for our next issue! Articles need to reach us by 28 February for our March issue, and can be sent to admin@musiceducationsolutions.co.uk.
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In September 2021 work began in researching Music and SEND as part of a project funded by Youth Music. It quickly became apparent that there was a huge amount of learning, research and networking that needed to be done for us to fully understand how we could support pupils, schools and staff effectively Lisa Wilson, the SEND Lead for Staffordshire enrolled on the PGCert in Music for Children with Special Needs and Disabilities: Sounds of Intent at Roehampton University, where research-based learning and networking provided a solid base for our understanding of how to develop this area of teaching and learning As part of the course, research was completed about the important support role of Music Hubs This formed the basis of all subsequent research and development and has in turn led to a wide range of ways that The Music Partnership can support schools, students and staff to feel confident in all aspects of music-making and education We have since been able to support three further members of staff to complete the postgraduate training at Roehampton University with Professor Adam Ockelford
A SEND Music network has now been developed Our meetings facilitate school Music Leads coming together to discuss their music provision and how we as The Music Partnership can offer support The meetings are well attended by Music Leads from both mainstream and special school settings There are three meetings per year that include general discussion-based sessions, an annual SEND Music Conference and a training session delivered by one of our external partners who are experts in the field of music and additional needs. The SEND Music Conference is now in its fourth year, and it has provided an opportunity for teachers to learn, network and develop new skills each year At the last conference, every delegate was given a copy of Professor Adam Ockelford’s latest scheme of work, Count Me In, to use in their settings to hopefully inspire confidence,
knowledge and understanding of the Sounds of Intent framework that underpins all our SEND thinking.
We originally delivered projects in 6 pilot schools across Staffordshire, Stoke and Telford and aimed to try a variety of bespoke ways to support schools: one day workshops, distance support and CPD, team teaching, in-class support, partner work, digital schemes of work and a joint virtual singing project with mainstream schools that was led by a Special School.
With our latest round of Youth Music funding we have been able to have conversations with schools, Pupil Referral Units and Music Therapists that have led us to design and trial a Music and Nurture project where we are: ‘Providing opportunities for individuals to flourish in a supportive musical environment through the adoption of the Musical Play Framework.’
It was clear that we needed to develop a research-based project that bridges the gap between Music Education and Music Therapy By providing a nurturing environment where children can feel safe to explore and experiment with sounds, we give them the opportunity to feel seen, heard and listened to This in turn helps their state of well-being, which allows them to flourish. A huge amount of musical progress was observed as a byproduct of our approach We have worked closely with Dr Rosie Rushton to use her Musical Play framework to underpin our delivery and session structure The children have responded amazingly in the settings that have had a trial project. Planning, communication and ‘in the moment’ reflection is key to the success of this work It has been observed that the children have felt happy, relaxed, confident, excited and heard. They produced some truly remarkable musical outcomes, all of which have been child-led and co-created with adults.
Encourage your young singers to join National Youth Choir this autumn for a musical adventure they’ll never forget! Sign up for an online audition from September 2025
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Introducing SING! from National Youth Choir
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By Joanna Sear
Hello UK singing teachers - I'm Jo Sear, a music education pathway PhD student at RNCM in Manchester
I have a question for you: Have you been asked to teach Popular Music styles to kids aged 11-18 at any point? If so, would you mind completing my online survey about your experiences?
I recently launched this survey regarding UK singing teachers’ experiences of teaching Popular Music (PM) styles at secondary school age (KS3 and KS4)/sixth form or further education college level (students aged 11-18 years)
This project is especially relevant to teachers who have been classically trained or music theatre trained and are being asked to teach PM styles too as part of their work.
You could be (or have been in the past) a peripatetic/private/choral teacher of these students, or all three - we just want to hear from you about your experiences and training backgrounds. It will only take you 10- 15 minutes to complete
The survey is online NOW and will close on 31st October 2025 The online link to the survey is here: https://app.onlinesurveys.jisc.ac.uk/s/ rncm/a-survey-of-uk-singingteachers-experiences-of-popularmusic-st
**PLEASE NOTE: On this occasion, we are only looking for teachers currently based in UK countries (England, Scotland, Wales and Northern Ireland) to take part in this survey **
In the ever-evolving landscape of music education, one truth remains constant: teachers are at the heart of every child’s musical journey Yet, for many teachers, delivering music lessons can feel daunting, especially for those without a formal music background. At Out of the Ark, we have always believed that every teacher can be a confident music educator, given the right support and resources Through supporting non-specialists, developing innovative products and platforms like Sparkyard, and building collaborative partnerships with Music Hubs and Services, we can transform not only teaching practice but also the lives of young learners.
From the very beginning, Out of the Ark has championed the non-specialist teacher Founded in 1990, Out of the Ark quickly became the UK’s foremost publisher of nativities, musicals, and songbooks for primary schools, providing high-quality, accessible resources that have inspired generations of teachers and children Our extensive catalogue has become a staple in classrooms across the country, used by thousands of teachers – regardless of their musical background With songbooks like Songs for EVERY Assembly and My World: I Love Music, and songs like Spring Chicken and Harvest Samba, we have brought the joy of singing and performance into everyday school life for three and a half decades
Our work with School-Centred Initial Teacher Training (SCITT) programmes is rooted in the belief that all primary teachers are specialists: specialists in teaching and in understanding the children they nurture every day. Through our SCITT partnerships, we have helped to increase the amount of time dedicated to music within training programs, giving trainee teachers more opportunities to explore the power of singing and song-based learning We help create primary school teachers, who not only teach music but also use songs and singing as powerful tools across the curriculum
Our approach encourages new teachers to consider not only how to teach music, but also how music can be woven into other areas of the curriculum – enriching every subject using songs and creative activities As a result, trainees leave their programmes with a practical toolkit of musical resources and a greater appreciation for the role music can play in every classroom
We know that many primary teachers may not see themselves as ‘music specialists’, but we celebrate the unique expertise they bring to
the classroom Our mission is to support them with resources that truly empower them to develop their use of songs and singing, and to become confident, creative music educators By demystifying music teaching and providing practical, accessible tools – such as step-bystep lesson plans, audio tracks, and video demonstrations – we help teachers discover the joy and impact of music, regardless of their musical background
The impact of this support is profound When non-specialist teachers feel confident, their students benefit from richer, more engaging musical experiences Moreover, schools can embed music more deeply into the curriculum, ensuring that every child has the opportunity to sing, play, and create When music seeps into a school in this way, when it really gets into the bones of a learning environment, it opens the way for specialist music educators, such as those working for a Music Hub, to be able to work at their best, and creates the pathways to being a musician that all children deserve
A pivotal moment in our journey came with our 2017 Singing Schools Project in partnership with Professor Susan Hallam This initiative set out to place singing at the heart of school life, working closely with teachers and pupils to explore the transformative power of song The project revealed just how impactful regular, high-quality singing could be – not only for musical development, but for wellbeing, pupil and teacher confidence, and community cohesion
One of the most inspiring outcomes was seeing the many unique ways teachers began their journeys as music educators. Often it started with a single song that gradually grew into something much larger, until their lessons and schools were filled with vibrant, highquality singing.
Some started with a routine or signal song to manage transitions, to welcome children to school, or to send them home safe and happy at the end of the day Others used fact songs to reinforce learning in subjects like science or maths. Many used songs to celebrate special occasions or bring the school community together
By providing a huge breadth of songs and resources, we enabled more teachers to find their own unique entry point into developing the role of music in their teaching.
Crucially, the Singing Schools project also highlighted the need for ongoing, accessible support for teachers We proved that when teachers had the right resources and encouragement, they could sustain a vibrant culture of singing long after the project ended. These insights were in part what inspired us to develop Sparkyard, our digital platform –designed to make high-quality songs and curriculum resources available to every school, every day
Sparkyard builds on the legacy of the Singing Schools project, offering a vast library of Out of the Ark songs, along with lesson plans and interactive tools that empower teachers –specialists and non-specialists alike – to deliver engaging music-filled lessons with confidence. It’s a living example of how listening to teachers and responding to their needs can drive meaningful innovation in music education
With Sparkyard, teachers can search for songs by topic, curriculum area, or keyword, making it easy to find the perfect resource for any lesson The platform’s ‘Song of the Week’ feature encourages regular singing and introduces new repertoire, while ‘Curriculum Links’ found attached to many songs help teachers integrate music into subjects like English, Maths, and PSHE Feedback from
teachers emphasizes the accessibility and breadth of content, and the way Sparkyard supports both planned lessons and spontaneous musical moments
Alongside our tried and tested songs, Sparkyard also contains a comprehensive music curriculum, designed to help every teacher deliver high-quality music education with confidence, no matter their background in music Recognizing that teachers come with varying levels of subject knowledge and experience, the Sparkyard Music Curriculum is carefully structured to provide step-by-step support, while remaining flexible enough to meet the unique needs of every school community
The curriculum is organized into progressive skills that cover all key areas of the National Curriculum for Music, including singing, listening, composing, and performing Each lesson has clear learning objectives, detailed lesson plans, and a wealth of supporting resources such as audio tracks, video demonstrations and printable materials This structure ensures that teachers always have a clear pathway to follow, building their subject knowledge and pedagogical skills as they go One of the standout features of the Sparkyard Music Curriculum is its adaptability Schools can choose to follow the curriculum as a complete, ready-made scheme, or they can select and sequence lessons to create a bespoke curriculum that reflects the interests, abilities and context of their pupils Whether a school wants to focus on singing assemblies, integrate music with other subjects, or celebrate local musical traditions, Sparkyard provides the tools and resources to make it possible
To further support teacher development, the curriculum includes guidance on musical concepts, vocabulary, and teaching strategies, helping non-specialists grow in confidence
and expertise over time By combining structured progression with genuine flexibility, the Sparkyard Music Curriculum enables every school to deliver a music education that is both ambitious and inclusive – one that nurtures creativity, builds confidence, and ensures that every child can find their voice through music
No teacher is an island The power of partnership is central to our philosophy at Out of the Ark Over recent years, we have forged strong relationships with Music Hubs across the country, working together to provide highquality support and resources for teachers at every stage of their careers.
Music Hubs serve as vital connectors, bringing together schools, teachers, musicians and communities. Through our collaborations, we have seen how Hubs can amplify the impact of our resources by offering tailored training, mentoring, and opportunities for teachers to share best practice A cornerstone of this collaborative approach is our Hub Ambassadors scheme We train Music Hub educators to fully understand our approach: the ethos behind, and the impact of, Out of the Ark songs and resources Combined with their deep understanding of their local needs, these Ambassadors are uniquely placed to support their schools in getting the most out of a Sparkyard subscription, offering tailored advice, training and encouragement
By bridging the gap between national resources and local needs, our Hub Ambassadors help ensure that every school can unlock the full potential of music in their community These partnerships are not just about delivering resources – they are about building communities of practice where teachers feel valued, supported and empowered to innovate.
The challenges facing music education are real, but so too are the opportunities. By investing in teachers – celebrating their expertise, supporting their growth, and listening to their needs – we can create a future where every child experiences the joy and benefits of music
We invite everyone involved in music education – school leaders, Music Hubs, teachers, and partners – to join us in championing continuous musical support for educators. Together, we can ensure that every teacher, regardless of their musical background, feels empowered to bring music to life in their classroom.
At Out of the Ark, our story is one of partnership, innovation, and unwavering belief in the power of teachers By supporting nonspecialists, learning from projects like Singing Schools, and building platforms like Sparkyard, we are helping to shape a brighter, more musical future for all Every teacher is a music teacher – and with the right support, every classroom can sing.
Ourbespoke music-hub partnerships allowus to develop solutionsaligned with your specific needs, helping to promote singing in schools and offering the support that schools Best Price Guarantee - Your schools will all be entitled to claim a 30% discount on their Sparkyard subscription. need to develop their curricular and co-curricular music.
How will Sparkyard help your music hub achieve its objectives?
Gives access to over from Out of the Ark
Supports co-curricular music, 1000 age-appropriate songs
Includes a broad and flexible music curriculum integrating singing into every lesson
Gives access to innovative features such as collections and home-sharing
We are partnered with Fancy becoming one of them? Get in touch with Pete to see how we can support you: pete@outoftheark.com over 50 music hubs and services.
Memorising music: freedom, fear, and finding strategies that work
Before reading this article, I encourage you to think about your own experiences of memorising and performing music Do you have certain strategies which work for you? Were you ever taught how to memorise music? Is it difficult, or easy for you? How do you feel whilst performing from memory? Do any particular episodic memories spring to mindtraumatic/ecstatic? Whilst performing classical music without the score was popularised during the romantic era, musicians have deeply personal responses to doing so, some positive, claiming they are more free to express themselves, and some negative to debilitating (outside of the classical world, Barbara Streisand took a long break from live performances after a memory lapse during a show in 1967 caused her severe anxiety) In which case should this fairly standard expectation remain so for those who find it stressful and not musically helpful? Admittedly, there are scenarios in which memorisation is more necessary than others - nobody wants to witness a singer in an opera or musical theatre production rustling about with a score any more than they would want to see an actor in a straight play reaching for their lines - but for the soloist or conductor who prefers to have the security of their sheets to hand, who is the audience to dictate otherwise? In fact, when audience members were asked if they preferred a performance with or without the score they opted for the “no score” version, but this resulted purely from a visual enjoyment perspective - very few people (even highly trained individuals) are able to tell from audio only whether or not the performer is playing from memory (Williamon, 1999) Conversely, consider the Aurora Orchestra who have famously been playing entire symphonic works from memory since 2014, and how passionately the players describe a unique sense of trust and enhanced communication, despite a feeling of “nakedness”, when they play without pages As we are starting to see, it’s not for everyone - when asked why he
didn’t conduct from memory, the well known German composer Otto Klemperer replied, “because I can read music”, which really is a fair enough point!
So, for some, benefits of playing from memory include further scope for performance expression and communication, and for others, the notion of performing by heart is pure torture There are, however, some all round positives to at least learning music from memory (whether or not it is ever actually performed in this way). “Encoding” is the term used for the initial input of material to the memory, from which it then takes a journey through and into short term, long term, and working memory storage systems From the earliest onset of even reading or hearing a piece of music, the encoding process begins The more consciously the material is encoded, in conjunction with strategies outlined below, the deeper the learning, knowledge, and understanding of the piece of music by the performer Learning pieces from memory can contribute to schemas which may be required or useful at a later stage Overall musicianship can be assisted through memorisation of music Practically speaking, the need for a page turner is abolished when performing from memory!
What’s the problem, then? I would suggest that one answer to that, is the reality of performance There is empirical evidence to suggest that introducing an audience to somebody performing a given task impacts the accuracy and quality of the memorised (musical or otherwise) material being performed Musicians suffer more than dancers and actors with performance anxiety, with music performance anxiety (MPA) affecting between 25% and 75% of performers When presented with stress of this nature, physiological effects e.g. quickening heart rate, sweating, and shaking, have a detrimental impact on performance/memory,
and can be blamed for memory lapses using the “distraction theory”. Another theory for “choking” (“choking refers to performance decrements under pressure circumstances”, (Baumeister, 1984)), is that it occurs internally and can also be attributed to overthinking actions which should be automatic This can be known as self-focus theory, explicit monitoring theory, and reversion effect - overarousal and self consciousness give way to errors It would seem sensible to balance out the apparent paradox of performance mental state, which is what Geeves et al (2014) attempted through the development of their Applying Intelligence to the Reflexes model (AIR). In AIR, mindless muscle memory, learnt implicitly, is actually carefully considered pre and during performance resulting in the performer remaining mindfully present throughout The implicitly learned and memorised pieces rely on an element of automaticity which is favoured by novices, and is in fact the least secure method of encoding, presenting the performer with enhanced vulnerability to choking hazards and memory lapses. The trick seems to be to employ a variety of declarative or conceptual learning (“I know how the piece is constructed”) and implicit or procedural learning (technical automatisms, muscle memory) in equal measure So, how can we teach our students these skills?
“ by far the best way of attaining an excellent musical memory is to be born with it” - Hughes (1915). Not a particularly insightful quote from a paper written over a hundred years ago about memorisation for pianists! Although in the same article, Hughes does at least acknowledge that musical memory and learning is a multi-faceted affair, relying on the ear, the eye, and the reflexes In addition to these physical components, intellectual elements are required Here are some tips about understanding memorisation strategies and how to teach them to students
Memorising structure:
This helps consolidate understanding of the piece as a whole, aiding “mapping” during rehearsal and performance
Analyse the piece away from the instrument For younger students this could include jigsaw activities or map drawing When memorising passages try and identify harmonic progressions which can be used as a hook to navigate more intricate sections. Try starting to play from any given bar to show you know what’s next (be especially aware of passages which are similar but not identical to each other!)
For more advanced students, try playing in a different key, or transcribing (sections of) the piece.
Developing performance cues: Self-chosen mental landmarks help link memory to structure, technique, and expression
Ask your student to consider specific elements such as “where will you breathe”, “what is the mood here”, and mark these on the score during the rehearsal/memorisation stage Where possible, ensure these are meaningful to the performer e g they choose the mood, suggest the fingering etc
Chunking is one way we can remember more by remembering less i e rather than a list of individual numbers, can you recognise a phone number or numeric pattern, and we do it all the time when we read words (rather than recalling a bunch of unrelated letters).
Identify bars, phrases, or sections of the piece to focus on, and gradually add the surrounding sections (don’t forget to work backwards as well as forwards!)
Relate passages where possible to broader known musical concepts e.g. this section follows the circle of fifths, or for younger students, “this bar is an ascending C major scale”. This is also useful for memorising arpeggiated passages e g in solo instrumental works by Bach.
Muscle memory:
Automatism is a necessary aspect of playing from memory, where you trust that your body knows what to do, and recall becomes almost mindless
Link sections of pieces to appropriate technical exercises.
Play through the whole piece, or sections at a painfully slow tempo.
Play separate hands for keyboard, or separate lines for other solo instruments which may play more than one line simultaneously.
In case of strings, separate bowing and fingering
Practise away from the instrument (this can include tapping fingering out on a table or similar, or rehearsing the piece in your mind)
Narrative strategies:
Providing your own context can be useful for memorisation and understanding. If there is already a story associated with the piece, then make sure you share this with the student, and that they learn it well. Otherwise, try making up your own with the student, considering mood, tempo and dynamics (consolidating performance cues) for inspiration. Is there any thematic material in the piece which could be considered a leitmotif and explored in that capacity?
State and context dependent recall:
State and context dependent memory is based on imitating performance circumstances during rehearsal, physically and emotionally, in order for the change in usual state not to become a distraction during recall
Minimise physical surprises for the performance by practising in the same venue, on the same instrument, with the same ensemble, in the same outfit etc, as much as logistics will allow.
Re-create the impact of an audience on the performer by having them perform to different people, or have them record themselves.
Get used to performing the whole programme in order (the brain will then start to realise without panic that “this follows that” and “next up is…”).
Hopefully, these tips will enable you to empower your students in their development of memorisation skills and execution, whether these are intended to be used for promoting deep learning or in preparation for a performance from memory As teachers, we can but try and equip our students with tools which will enhance their overall musicianship, and I believe teaching how to memorise is incredibly valuable - there may be a time when performing from memory is inescapable e.g. audition or music festival specification. Ultimately, I would like to see the stigma of playing using scores removed; each performer is different and has their own preferences, and each performer’s “best” is produced through personal quirks, processes, and rituals In striving to help guide our students through successful memoristaion tactics, it is vital to retain the final performance outcome as the main focus What matters most is how the performer communicates their musical intention whether from memory or score Don’t forget the music.
How regular listening can be a springboad for creativity, critical thinking, and cultural awareness
In today’s fast-paced world, the ability to truly listen has never been more important Within the music classroom, listening goes far beyond the passive act of hearing it nurtures curiosity, sparks imagination, and enables young people to connect with music in powerful and meaningful ways To foster globally minded learners, we must provide a rich variety of listening experiences that extend beyond the boundaries of their everyday musical encounters
To achieve this, we must ensure that the listening opportunities we offer students are intentional and thoughtfully designed, encompass a wide range of styles, genres, and traditions, and help them identify musical techniques and features No easy task! So where do we begin? How do we determine what is most important to include, and how can we guide students in developing meaningful responses?
Regular, focused listening in the classroom is crucial and provides an effective way to build routine into lessons. If a starter activity of listening is part of the weekly routine, students soon know what to expect on arrival, with many asking, “What are we listening to today?” Careful consideration of what to listen to, and where to direct students’ attention, is an essential part of planning and will naturally vary according to the key stage and the topic being studied However, introducing diverse listening experiences from an early age is vital if students are to engage with broad and balanced coverage over time
But how should teachers approach this? How can they ensure every child has the opportunity to respond and get actively involved? Listening is straightforward, but how can students be encouraged to question, describe, and connect with what they hear in a meaningful way and what approach best supports this?
One effective strategy is to introduce a Listening of the Week activity at the start of lessons, using the thinking routine See–Think–Wonder.
This simple thinking routine offers a powerful and inclusive way to ensure all students can contribute meaningfully to lessons at their level The activity begins with a still image from a performance or ensemble video, giving students time to think independently about what they notice before listening to the music itself Describing what they see, what they think about what they see, and then wondering about the music in general will usually generate a wide range of observations, predictions, and questions that prepare them for active listening. Students will generally be more curious about what they are hearing when they are engaged in this way, priming them to think before and beyond their first impressions.
The See–Think–Wonder routine originates from Harvard Project Zero’s Visible Thinking framework, which was designed to make student thinking visible by encouraging “careful observations and thoughtful interpretations” and by stimulating curiosity (Project Zero, Harvard Graduate School of Education) While the routine was initially developed for use with visual art, it translates powerfully into the music classroom
In this context, teachers may choose to retain the name See–Think–Wonder because lessons will begin with images or stills from performances This visual entry point provides students with a concrete and accessible way to begin making observations, which lowers the barrier to participation and helps all learners contribute meaningfully. From these visual observations, students naturally begin to predict how the instruments might sound or how the music might unfold, creating a smooth bridge into active listening.
Research conducted by the University of Hawai‘i’s College of Education has shown how the routine can be adapted into a Hear–Think–Wonder format a slight variation where, as they explain, “students describe what they hear, interpret with evidence, and ask wondering questions to develop curiosity” (University of Hawai‘i at Mānoa, College of Education). However, both approaches deepen listening, spark curiosity, and align with the National Core Arts Standards, making them flexible, researchbacked strategies for engaging learners.
So, how can this approach be made simple for teachers? The good news is that it can be carried out entirely verbally or supported with a simple worksheet, but in either case it only requires one still image on the screen to begin with, followed by a video to watch and discuss The choice really depends on how much time is available and how much you want to dedicate to it.
This routine works particularly well as a starter activity, though it can easily be extended into a longer task. For older students, adding concept or key questions, introducing more advanced musical vocabulary, or asking them to compare and contrast different pieces can provide valuable opportunities for deeper learning
The image above comes from clarinettist Anat Cohen’s performance with her ensemble Choro Aventuroso Younger students might begin by describing what they see the clarinet, guitar, or accordion while older students could notice finer details, such as the seven-string guitar or the accordion’s dual keyboard and button sides Their wondering might then lead to questions about the style of music, the performers, or the cultural context of the instruments
In contrast, a West African drumming ensemble, such as this log drum group from Ghana, provides a different starting point Younger students might notice the variety of drums or the performers’ outfits, while older students might identify specific instruments, discuss what they are made of, or consider
their cultural origins After listening they could focus on features such as polyrhythms, call-and-response, and comment on texture. Their wondering might then lead to questions about how the music is taught, the occasions it is performed at, or how the drumming patterns are structured
Another example might be a Western classical string quartet, which offers a useful contrast Younger students might begin by identifying the instruments or noticing the number of strings, while older students could focus on elements such as balance, melody and harmony, or the role of the ensemble in different historical contexts. Their wondering might then lead to questions about the composers, the structure of the music, or the articulation and playing techniques of the instruments.
By rotating examples from different traditions jazz, African drumming, classical, pop, and beyond and starting with a visual stimulus, teachers can ensure that Listening of the Week broadens students’ musical horizons while also providing inclusive and accessible entry points for all learners
Assessment can be built naturally into these activities through class discussions, exit tickets, or digital tools such as Padlet Journals or graphic organisers provide more structured ways to track progress over time As students grow in confidence, they can use subject-specific vocabulary, engage in peer and self-assessment, and complete summative tasks such as a listening portfolio or short reflections on style, composer, instrument, or ensemble.
Using See–Think–Wonder as a regular approach in lessons can directly support the expectations of the National Curriculum. At Key Stage 2, pupils are expected to listen with attention to detail, recall sounds with
increasing accuracy, and begin to use musical vocabulary At Key Stage 3, the focus shifts towards identifying and applying a wider range of musical techniques, analysing features, and understanding music from different traditions. Because See–Think–Wonder begins with inclusive, informal responses and gradually builds towards more structured listening, it provides a natural foundation for meeting these objectives in an engaging way
At the planning stage, it is vital that teachers are clear about the purpose of the listening task Students may not always be aware of this intention their role is to respond openly and curiously but the teacher must know why the listening has been chosen and how it links to curriculum strands For example, this might mean focusing on ostinato patterns at KS2 or picking out monophonic or polyphonic texture at KS3 In this way, listening remains purposeful and contributes meaningfully to wider learning.
It is also valuable to consider videos that students will genuinely enjoy Funny, unusual, or surprising clips can act as powerful hooks: engagement leads to curiosity, and curiosity leads to learning With a clear purpose, almost any piece of music can provide a meaningful entry point for learning.
For more examples and ready-to-use See–Think–Wonder resources, as well as further ideas on thinking routines, visit www musicedconnect co uk (follow the links to Listening of the week/See Think Wonder) for inspiration. If you are interested in sharing or collaborating, you are welcome to get in touch through the site
Pan Clash 2025 is coming! We are delighted to share a special video featuring interviews with participants from PanClash 2024, offering insight into their experiences, preparation and love for steel pan music.
Mark your calendars for this year’s event to be held at Bush Hall, London from 3:00pm – 8:00pm! Registration forms, competitor guidelines and tickets will be available soon on the Steel Pan Trust website.
This is a wonderful opportunity for young steel pan musicians to showcase their talent, connect with other performers and celebrate the vibrant culture of steel pan music.
We look forward to welcoming both new and returning participants and supporters to what promises to be an inspiring event Stay tuned for updates and further details
For further information visit www steelpantrust org
Watch the full video of PanClash 2024 here
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.
