Primary Music Magazine 6.2: Summer 2022

Issue 6.2 Summer Term 2022

Easterside Academy, Middlesbrough

FEATURING: Model Music Curriculum - National Plan for Music Education Classical Masters - Christopher Stevens HMI - Resource Reviews - Make Music Day - International Schools music - AND MUCH MORE!

Making sense of the Model Music Curriculum

It’s been over a year since the Model Music Curriculum was published in England, and while the initial furore over its contents has died down, the indications from the government’s own consultation report are that it will play a central role in the new English National Plan for Music Education, meaning if you’d forgotten about the MMC you’re about to see it rear its head again!

The MMC is non-statutory, and so schools currently have the chance to consider whether or not to adopt it without pressure, particularly after Ofsted were quick to issue a statement making it clear that they are not expecting schools to use it. The National Plan for Music Education is also (currently!) non statutory, so even if the MMC does form a significant strand of the plan, schools still have the freedom to choose not to adopt it. Whether schools will feel under pressure to switch to the MMC after the NPME is published remains to be seen…

If you are considering adopting all or part of the Model Music Curriculum, for whatever reason, then you should be aware that there will be a lot of ground-work for you to do in order to make it a useable framework. For primary schools there are now a few shortcuts to this, as several publishers have now brought out MMC-compliant, fully resourced schemes. If you’re starting from scratch though, here are some things to look out for as you create your own curriculum.

Make it holistic The Model Music Curriculum is broken down into key skill areas, separating out singing from performing, listening from composing & improvising. The document itself acknowledges that this is not an ideal

way to teach, so your first job should be to consider how all these areas can be blended together into an holistic approach to musical learning.

Watch out too for the fact that KS1 has ‘Musicianship’ instead of ‘Performing!’ Aim to structure your curriculum into units which include singing,

listening,

performing/musicianship,

and

composing/

improvising, and you can’t go far wrong.

Create progression One of the main issues with the Model Music Curriculum is an incoherent approach to progression. Due, presumably, to the fact that the different Key Stages were written by different people, there are frequent gaps in progression, as well as several instances where skills are

described as being ‘introduced’ for the first time, when they have already been covered in a previous key stage. This makes for a real jumble for teachers to sort through. To make this work, all the various statements from each year group will need comparing and categorising, so that you can eliminate repetition, and scaffold any gaps with your own statements. But that’s not all, once you have completed this progress you will no doubt notice that there is very little provision for breadth or depth of learning, so you will need to add in statements to scaffold this too.

Rework the Listening strand In your exploration of progression within the MMC you will doubtless find that there is a gaping hole when it comes to Listening. This section is purely a list of repertoire to listen to, rather than an attempt to develop the skill of listening. In your own curriculum you will want to address the development of this important skill, and once again provide a progression structure to show how this will work across the year groups.

Build equity & relevance If you were to include all the listening suggestions from the MMC you would soon find that your curriculum was extremely western-musicheavy. You would also find that it lacked contemporary relevance, with most of the pop song suggestions from a time before your pupils were born! In the wake of the Black Lives Matter movement, and amongst

calls to decolonise the curriculum, now is not the time to sink back into an old-fashioned approach to repertoire! You will want to take a dynamic approach, ensuring that the musical styles that you study are representative of your school community, and the modern world at large.

When considering the points above, you might dimly remember the Rt Hon Nick Gibb MP stating in this very magazine that the MMC would help reduce teacher workload! Whether you love it or hate it, if you’re going to adopt it you’ll need to put it some serious extra hours to make it work for your pupils.

Dr Liz Stafford is Editor of Primary Music

Magazine, and Director of Music Education Solutions, a global music education consultancy company. She has over 20 years’ experience as a music educator in both primary and secondary settings. @DrLizStafford

Model Music Curriculum Progression of Skills Map now available free when you sign up to the Music Education Solutions mailing list Understanding the Model Music Curriculum Webinars & Self-Study Online Course now available from Music Education Solutions

Music Education Solutions announces the

National Plan for Music Education Conference England has been waiting for what seems like forever for its new National Plan for Music Education, and has recently been pipped to the post by Wales! Whilst the content of the plan is as yet unknown, what we do know is that music educators in England will need to come together to plan for its delivery.

The National Plan for Music Education Conference is an independent event which is open to everyone working in the music education sector in England to come together and discuss how their work will be affected by the plan. Rather than listening to famous faces talking about the plan, the focus of this event is very much on rolling our sleeves up and getting stuck in to the ‘how’ of delivering it, rather than circling around the ‘whats’ and ‘whys’ that we can’t change!

Participants will have the change to discuss with their peers how to respond to, bid for, and deliver the NPME, in a range of discussion groups, networking and partnership sessions, and other appropriate features all

based around the content of the NPME. The full programme will be announced within 4 weeks of the NPME being released.

Thursday 22nd September 2022 9.30am-4pm Midland Arts Centre Birmingham Tickets now on sale

The Classical Masters

Which classical period composers should your class study?

The Classical period of Western European Music ran from around 1750-1830, with much of its most significant output coming from Austria and Germany. Music of this period tends to be

‘architectural’ in character, with a focus on form and structure, clean lines, and balance. The symphony was invented in this period as was the sonata and the string quartet, and the concerto form developed in the Baroque period was reimagined. The piano became really popular during this period, and the clarinet was also

invented. Turn the page for some suggestions of classical composers to explore with your classes.

Joseph Bologne, Chevalier de Saint-Georges Son of a French plantation owner and an African slave woman, Bologne was sent to France from Guadeloupe as a boy and educated there, where he became an important figure in the musical life of Paris. Although much lesser known now than his compatriot Mozart, you can find recordings of his violin concertos and symphonies to explore with your class.

Franz Joseph Haydn Often referred to as the ‘Father of the Symphony’ and the ‘Father of the String Quartet’, Haydn was instrumental in the development of the new forms of music used in the classical period. He also updated the Baroque form of oratorio into his monumental work ‘The Creation’ which your class will love - especially the opening chorus where light first enters the world with an extraordinary musical effect.

Ludw

Anot ‘best musi cour expe His listen play and

Wolfgang Amadeus Mozart

A name which hardly needs any introduction, Mozart was a prolific composer of symphonies, operas, church music, chamber music, with his output exceeding 800 works! His opera The Magic Flute will appeal to primary children with its madcap plot and cast of magical characters (take care to look out for some adult content though!). He also wrote a set of variations on the tune we now know as Twinkle Twinkle Little Star, which could be a fun way in to composing your own set of variations on a theme.

wig van Beethoven

ther incredibly famous name, Beethoven is often regarded as the t’ composer of all time! He also continued to write and perform ic despite his disability, gradually losing his hearing over the rse of his lifetime, so represents a good example of someone who erienced difficulty but still kept going at the work that he loved. piano pieces Fur Elise and the Moonlight Sonata are worth ning to with your class, and you might find you may be able to simplified sections of them too. Symphony Number 3 (Eroica) Number 9 (Choral) are also highly worth exploring.

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Christopher Stevens HMI

An interview with Ofsted’s National Subject Lead for Music What is your first musical memory?

When I was very young, my mum would often sing nursery rhymes and other children's songs to me - encouraging me to join in and take part in the actions. "Incy Wincy Spider climbed up the waterspout…" and 'The wheels on the bus' were particular favourites!

What was your first experience of 'formal' music education?

At primary school, around Year 4, I was taught how to play the treble recorder and read some simple staff notation. It was this that sparked my interest in music. I convinced my parents to buy an electronic keyboard.

Armed with some basic knowledge of staff notation, which I had acquired as part of my primary music lessons, I began teaching myself to play the keyboard. When I was approximately 14, I started 'formal' piano lessons.

My teacher, Gladys Hopkins, was so enthusiastic despite her being 82 years old at the time. I remember her explaining how to read the bass clef in my first ever piano lesson. I also distinctly remember sitting at her piano and wondering - how would I ever read both clefs simultaneously?

What were your favourite musical activities when you were at primary school?

I enjoyed listening to different types of music at school. My teachers introduced me to classical music at school, which was a new and enlightening experience. The headteacher often played recordings of great classical works as we entered assemblies. Vivaldi's 'Four Seasons' and Grieg's 'Peer Gynt Suite' made regular appearances. My parents would often play different music at home. This included pop songs, soundtracks from musicals and the occasional piece, albeit by chance, of classical music. It is thanks to Barry Manilow's 'Could it be magic?', for instance, that I first heard the music of Chopin.

What do you think a good primary music education looks like?

The central purpose of good primary music education is for pupils to make more music, think more musically, and become more musical. Simply ‘doing music’ is not enough. People, for instance, look at the aims of the national curriculum and they'll tick the boxes – yes, we do compose; yes, we do some singing; yes, we have whole class instrumental teaching; yes, we listen to different kinds of music. But those are activities; doing those things does not guarantee that pupils will become more musical. As part of good primary music education, pupils should learn a music curriculum

“The first thing to say is a music deep dive is not a give grades for individual teachers; we don't give g designed to build their musical knowledge incrementally. So that pupils do not just do music, but instead, get better at it.

What message would you give primary teachers preparing for a potential Ofsted Deep Dive in Music?

The first thing to say is a music deep dive is not a music inspection. We're not judging you; we don't give grades for individual teachers; we don't give grades for individual subjects – that's important.

In primary schools, particularly small ones, we know it is often unrealistic

to develop detailed expertise in multiple subject areas. We do not expect

you to. We'll understand if music isn't an area of specialism for you. What is important is that staff give careful thought to the content they want pupils to be taught and remember.

As part of the deep dive, we will want to talk to whoever leads music in the school. This helps us have a sense of the 'big picture'. We'll ask questions such as: 

Does the subject curriculum match the ambition of the national

curriculum? 

Are there clear end points? Can we see how content is broken down into

manageable chunks to build towards those end points?

a music inspection. We're not judging you; we don't grades for individual subjects – that's important.” 

Are the identified chunks built in a logical order? Do they prepare pupils

for the learning that is to come?

After exploring with you what you want your pupils to learn (and why),

we'll ask how you choose to teach and assess the content. We're also likely to ask specifically about any lessons we can visit as part of the deep dive.

This helps us see your intended curriculum in action. Hopefully, we'll be able to see the chunks we talked about being taught and practised. We'll start to understand how well pupils remember the content and use it to become more musical.

I’ve been teaching music in primary education for twenty years and it’s the joy that children get from music that keeps me going. As a freelance music teacher I’ve taught hundreds of children how to play brass instruments, drums, guitar and ukulele; either in individual lessons, groups, ensembles or whole class tuition. As a classroom teacher I’ve continued to embed this into my practice and also teach a range of other classroom based instruments through topic work, performances, song writing and music technology. If music had a superpower (and it has many), I’d say that it’s the gift of bringing people together. All of my lessons focus on bringing children together and working as an ensemble/group/band rather than 30 individual children that just so happen to be making music at the same time in the same room.

One of the elements of music education that I’ve always had a passion for is creating resources. Music with Mr Gray is a Youtube Channel that I have recently created to give teachers and students the opportunity to access high quality play alongs for instruments that children commonly learn to play in school. The idea actually comes from a collection of music I wrote for teaching whole class brass around 5 years ago. I personally felt that some of the resources I had access to at the time progressed far too quickly, especially when children are only playing the instrument once a week. I’ve

written 20 play alongs for brass and woodwind instruments that progress steadily and give children the chance to play a relatively large repertoire without using too many notes. Rather than a race to learn a new note, I think it’s important to ensure children have a good understanding of what they are doing in the present and to be multiple opportunities to reinforce the learning (that’s how we teach everything else isn’t it?).

The Music with Mr Gray Youtube Channel currently contains play alongs for Bb brass instruments (Eb and Bass clef to come) and concert pitch woodwind instruments. A new play along is released every Sunday at 6pm.

The channel also has play alongs for ukulele that give you the opportunity to play along using chords and TAB. These pieces are perfect for the classroom and ensembles. Future videos will focus on classroom percussion and guitar as well.

“Music education shouldn’t be a privilege. It should be accessible to all children, have no boundaries and be of the highest quality. It should receive the same expectations as every other subject on the curriculum.”

My hope is that schools will enjoy and take full advantage of the Music with Mr Gray channel to support their music lessons. With easy access in school and from home, children will be able to develop their playing at their own pace and enjoy playing music in a variety of different styles. I also plan to offer teachers the chance to purchase the sheet music and backing tracks.

David Gray is a full time primary music specialist teaching in Devon.

He is also a composer, musician, and CPD workshop leader.

This taught course comprises three half-day webinars across the course of a term. These will be supported with access to online learning materials, and challenges, ideas and activities to try out in the classroom, culminating in a short assignment. On completion of the assignment participants will be awarded with the Music Education Solutions® Primary Music Leadership Certificate.

Session 1: Leading Music in your school In this session we look at how to motivate, inspire and support staff to teach music with confidence, how to manage an extra-curricular programme, and how to address differentiation including for SEND pupils.

Session 2: Planning & Assessing Music in your school In this session we look at how to create pedagogically-sound schemes of work and lesson plans, how to satisfy an Ofsted Deep-Dive, and the resources and

software available to help deliver the national curriculum for music.

Session 3: Delivering music in your school In this session we look at activity and resource ideas to help you deliver performing, listening, composing and improvising activities in the classroom.

Autumn dates for 2022: 5th October, 9th November, 7th December Spring dates for 2023: 12th January, 9th February, 9th March Summer dates for 2023: 12th May, 9th June, 7th July

_________________________________________________________ Price: £150 per person

Further information & booking HERE

Ollie Tunmer introduces the

Body Percussion Schemes of Work from Beat Goes On

My body percussion tutorial ‘Body Beats’ was released at the Music & Drama Education EXPO in London, March 2020. Little did I know that the profile and use of body percussion would increase hugely due to it being one of the few kinds of music making possible to do in education settings during lockdown.

‘Body Beats’ would become an Amazon bestseller and the additional online

resources that I made have been used by schools across the world. I was even referred to as body percussion’s answer to Joe Wicks!

Body percussion is an incredibly useful tool - it can be used to explore rhythms from countless cultures, can be adapted for any age and experience level and can be used for its own sake as well as supporting the learning of other skills.

In response to discussions with teachers about developing its long term use,

I’ve created schemes of work for English Key Stages 1 (ages 5-7), 2 (7-11), 3 (11-14) and 4 (14-16).

They are intended to be used flexibly, either as

complete schemes of work or to support existing schemes, to adapt as required for the need of students.

They include a range of topics, resources for which are featured in ‘Body Beats’, in videos from my YouTube channel and elsewhere: 

Brazil (including samba batucada, samba reggae, maracatu and other

Afro-Brazilian styles) 

West Africa (various rhythms for djembe, dun-dun, bells and shakers, adapted for body percussion)



Connect It (Anna’s Meredith’s body percussion piece from BBC Ten Pieces)



STOMP (drawing on my experience as a former cast member of the hit

show) 

Stepping (rhythmic-dance developed in African-American university fraternities and sororities)



Hambone (leg and body slapping patterns, often accompanying vocal chants, with African-American origins)



Indian Dhol (developed for body percussion in collaboration with Johnny Kalsi of the Dhol Foundation and Afro-Celt Sound System)



Clapping Music (Steve Reich’s landmark minimalist work)



Mambo (from Leonard Bernstein’s ‘West Side Story’, as featured in BBC Ten Pieces)

Each one includes : 

Starter



Main composition and performance activity



Watching / listening



Extension activities

Dr Elizabeth Stafford of Music Education Solutions© has been kind enough

to provide her insight with suggestions of how to link to the Model Music Curriculum (England), as well as other fantastic ideas for further development. I’ve also included suggestions for assessing student work making the process as simple and user-friendly for students and teachers alike.

You can find the free body percussion schemes of work on our website

https://www.beatgoeson.co.uk/

Explosions of Sound

Tim O’Reilly takes us through a case study of a scheme of work inspired by volcanic noises!

As I teach in an international bilingual school in China, developing our schemes

of work can be a bit challenging. We are required to follow the Chinese national curriculum and our school’s International Primary and Middle Years Curriculum. Our school also has a unique collaboration with Juilliard School for the Performing Arts, which includes providing our school with resources for teaching and learning. Thus each of our music units/schemes of work need to include our national curriculum, International Curriculum and our Juilliard

programme. This does sound daunting, however, with weekly subject/year group planning meetings, we are able to to plan and prepare our themes, units and schemes of work.

One particular scheme of work that worked like a gem was a grade 4 (Year 5) interdisciplinary scheme of work, Active Planets. This 6 week scheme of work had all pupils engaged and being creative as performers, researchers and composers.

This theme included cross curricula learning for science, geography, technology and design, health and wellbeing, history, art and music. All subjects would teach a different component of our active planet, whilst across subjects affirming the theme of how our planet is actively changing.

For music, the IPC learning goal was for pupils to create and perform an original composition in which they would manipulate musical elements to communicate a given idea. Therefore, over the next 6 weeks we were going to explore volcanic and natural sounds, compose our own graphic score, and perform our own volcanic sounds.

Week 1: Lesson 1 - The entry point The entry point to the next 6-week lessons, was to introduce to pupils how composers are often inspired by nature. The object of the lesson was for pupils to manipulate musical elements, with the outcome that pupils would begin to be creatively explore ways to recreate their own interpretations of volcanic noises without just making a loud bang! (And yes, they all tried to show off how loud their bang was!)

We started the lesson by playing music by Jon Leif (Icelandic composer) who depicts volcanic eruptions in his compositions. As a whole class we then discussed how the music described pictures, and then asked pupils how they could describe volcanic pictures. (We had lots of explosive sounds!) Listening to another composition by Leif, pupils were asked to focus on what instruments were used and how the instruments recreated the sound of wind, rain, fire, thunder and of course, loud volcanic noises.

We then listed on the board different volcanic activities (smoke, steam, moving lava, eruptions, bangs, ect). Pupils were put into groups and asked to investigate a variety of ways they could recreate sounds that they might hear before, during and after a volcanic eruption. Pupils were allowed to use any Orff and percussion instruments and their notebooks to scribble down ideas. They were also encouraged to perhaps use their own bodies (stamping feet, clapping) or even use other objects in the classroom. The class was given 10-15 minutes to plan and prepare their before, during and after sounds and then to perform for the class the volcanic sounds they had recreated.

During the time pupils were given, I would walk around the classroom reminding pupils to consider varying dynamics and rhythms. At the end of the lesson, I gave pupils a 3-2-1 exit card, to list 3 things they learnt, 2 things they would like to do again, and 1 question about what they had learnt.

Reading their responses, I used this information to guide and plan the rest of the unit.

Week 2: Lesson 2 - Telling a story As nearly all the pupils requested on the previous week’s exit cards to spend more time on their composition, that became the basis of lesson 2.

As a quick warm up activity, I divided the class into two group. Then, through singing, clapping, body percussion, I would direct one group to perform a musical directive (i.e forte) and the other group respond with

the opposite (i.e piano) for each of the following musical concepts; dynamics, pitch, rhythm and tempo. As we worked through each of these musical elements, I encouraged pupils to consider all of these musical concepts and how they could incorporate them into their composition/ performance.

Pupils were put back into their groups where they could continue to

compose and perform their volcanic eruptions. After about 15 minutes, each group performed, and the whole class were encouraged to provide positive and constructive feedback. Reminding pupils of their personal goals (as a collaborator, a communicator and being respectful) pupils were encouraged to reflect and provide feedback on the following questions, considering what makes a “good listener” and a “good communicator”.



What aspects/parts of the composition worked well?



What would I wish to improve further?



What makes a good listener?



Was I a respectful audience member?

Week 3: Lesson 3 - Do I hear what I see? (Graphic Scores) As pupils were beginning to develop their composition/performance into a 3-part structure (beginning, middle, end) it was important to help pupils plan their composition, so that they could effectively perform their musical idea. The objective of lesson 3 was to guide pupils to create their own graphic scores, as a mean to visually plan their composition.

As an entry point to the lesson, I showed the class images of different volcanic eruptions, asking the class, how they could describe the sounds they see? How could they write down (notate) these sounds? To bring into context the idea of graphic scores, we reviewed forms of notation and signage that pupils already knew and could interpret, including staff and solfege notation. Finally, I showed the class examples of graphic scores, and

asked the pupils, “what did you see?” And “what did you hear?” After letting them share what they saw and heard, I explained that graphic scores are compositions that use symbols that gives performers information - What they can SEE can tell them HOW they should play. We then shared ideas how each group could use lines, dots, shapes, pictures, images to represent/ symbolize their volcanic eruption composition. For the remainder of the lesson, groups were given time to consider what images/symbols they could use to represent best the sound they wanted to create.

Week 4: Lesson 4 - Inventing Notation As graphic scores were a new composition approach for Grade 4, I decided to focus an entire lesson on creating graphic scores. During our previous

lessons, pupils were quite creative in the use of graphics and symbols,

however at time there was inconsistency and confusion as to, “what does this mean again” in the group. This lesson we continued to explore symbols and their functions, by showing pupils commonly symbols used, leading a discussion about role of various symbols in our lives asking pupils the following questions: 

What are some common symbols we see in the world around us? (e.g., stop sign, finger to lips for silence, emojis)



What do these symbols tell us?



Why do we use visual symbols instead of just writing out the words or directions?



When would a symbol be more useful than words?



Which symbols give us direction, telling us what to do?

I then showed pupils a Chinese traditional string instrument, Pipa, and we discussed the history, the timbre of the instrument and allowed some to try out the instrument. We then watched a performance of WuMan (a well -known Pipa composition about War). While the pupils were watching I asked them to think about ways they could recreate the sounds of the Pipa with their bodies and mouth. The air guitar actions were amazing!

Reflecting on the WuMan composition and the special techniques of the Pipa, I asked pupils the following questions:



Which of our three sounds did you hear?



How would you describe any new or surprising sounds?



How could you make a new symbol for that?

I then gave pupil notecards/paper to draw and ask pupils: “If I make this sound [use various body percussion i.e clapping, stamping, patting] what symbols can I do to represent my performance action? I then sent pupils back into their groups and gave them the remainder of the lesson to invent a new symbol or recreate their current symbols to perform or improve their volcanic eruption graphic score. I then invited pupils to share their NEW use of symbols, reminding pupils to always remember, “can I hear what I see?”

WEEK 5: LESSON 5: The Rehearsal The object of this week’s lesson was to give pupils time to reflect on all they have learnt, and give them the time to improve their graphic score composition, and time to rehearse their performance. It was important to remind pupils that their story/composition of volcanic eruptions should not just be loud bangs, but to consider what happened in the beginning (before), middle (during eruption) and the ending (after the eruption). For the remainder of the lesson, the groups were given time to complete their volcanic graphic scores and rehearse their final performance.

When improving our performance we considered: 

What is our story?



Can we hear the beginning, middle and end of your story?



What did you do to help tell us your story? (Dynamics, tempi, pitches, rhythm)

Week 6: Lesson 6 - The Performance This entire lesson was dedicated to pupils’ performances, unit assessment and peer reflection. After giving pupils a few minutes to get into their groups and collect their instrument, we started their performances. To ensure the whole class was able to see the graphic scores while the groups were performing, the previous week I collected the graphic scores and scanned them, so I could project them onto the board. After using ClassDoJo to select the order of performances, each group had an opportunity to show their graphic score and perform.

After each groups volcanic graphic score performance, I used the teacher assessment from the IPC rubric to assess each groups performance, then I allowed pupils to provide feedback and peer -assessment, guided by the

following questions: 

What did you like about their performance and why?



What was your favorite part of their performance and why?



Did you enjoy their story and why?

I was overall pleased with the outcomes of the 6-week unit, as all pupils were engaged, produced their own graphic scores and performed their interpretation of volcanic eruptions. Pupils developed their creative composition skills, ensemble skills and their ability to work as a solo and a group member.

Teaching Primary Mus Reviewed by

Too often, professional development books for primary music teachers

equate the phrase ‘non-specialist’ with ‘unskilled.’ Not this book! In Te

true professional courtesy, presenting complex concepts and up-to-da encourages teachers to think for themselves.

Topics covered include all the areas of the National Curriculum – si

planning, assessment and many other useful subjects. Each chapter is pe

cepts would look put into practice in the classroom. Daubney also provi

supporting and encouraging teachers to go further in their professional d

The most useful feature of this book is that rather than giving you a

afterwards, it functions like a cross between a reflective journal and a p

ask you to reflect on what you have learnt, and plan how to put this into

book, and come away from it having already started the process of develo You can absolutely tell that this book has been created by a highly

theoretical research and practical advice delivered in an intellectually c shelves!

Teaching Primary Music is published by S

sic by Alison Daubney Dr Liz Stafford

s are of the paint-by-numbers, basic instructional variety, which seem to

eaching Primary Music Alison Daubney approaches primary teachers with

ate theoretical research which provides the ‘why’ behind the ‘what’, and

inging, playing, composing, notation etc – as well as musical learning,

eppered with vignettes from real schools, illustrating how theoretical con-

ides ideas for further reading materials at the end of each chapter, thereby

development journey.

a lot of information to process and work out what on earth to do with

project planner. There are frequent ‘tasks’ interspersed within the text that

o practice. These provide a brilliant way to synthesise the concepts from the

oping and improving your teaching. experienced, university-based teacher trainer. It provides a balance of

challenging yet accessible manner, and is must for all schools’ CPD book-

Sage Publications and available online here

Make Music Day Gets Children Singing Again For the thousands of children in the UK who love to sing, COVID restrictions and lockdowns meant that their world was unusually quiet for a long time. School closures and social distancing stopping choirs and classes from raising their voices in harmony and singing out, and something that has long been taken for granted was suddenly taken away.

Now, Make Music Day, an international celebration of music which will see musicians, venues, arts organisations and communities from all over the UK put on free live music events, is helping children to find their voice again.

Taking place on June 21st, it will showcase a number of children’s singing events.

Events include Whitby Big Sing, a day of joyous singing with local schools at Whitby Spa Pavillion, led by Flash Company Arts, Summer Sing with vocal ensemble Apollo 5 at Nottingham’s Albert Hall, a day of performances from primary schools on an open-air stage in Darlington Town Centre, as well as performances in Paisley, Dundee and York, all taking place on Tuesday 21st June. Altogether, it is anticipated that thousands of young people will be making music together on Make Music Day. One of the events is taking place at York Minster, organised by the Richard Shephard Music Foundation. General Manager, Cathy Grant said, “Children from across the Foundation’s partner schools have enjoyed learning songs for Make Music Day and all their hard work will culminate in a performance in York Minster. What a great way to celebrate all their commitment and enthusiasm in their music sessions with us this year!”

Organisers like Cathy and her colleagues have been rehearsing and preparing the children for the big day over the last few weeks and months, and have seen how important music is to the talented young people they work with: “We’ve chosen ‘feel good’ songs as we recognise the power of music to help children cope with the varied emotions and challenges that they have experienced during the pandemic. The combination of the chance to perform together at such an amazing venue, and the fact that thousands

of other children will be taking part from across the world on the same day, is inspiring. Never has it been more important to emphasise how music can unite people while also improving children’s health, wellbeing and wider educational attainment.”

Make Music Day is the world’s biggest DIY music festival, and is made up of hundreds of locally organised music events. Its beauty is in its simplicity, as Director Paul Gudgin explains: “There are only three rules to follow to be officially recognised as a Make Music Day event – it must be free to watch and participate in, it must be on the 21st June, and it must involve music. An event can be big or small, indoors or outdoors, any style of music, professional or beginner... it’s about sharing your love of music making with your community and the rest of the world.”

If you want to register an event of your own, or see what’s on in your area on the day, all the information is on the Make Music Day website – www.makemusicday.co.uk

Exploring Contempora

Dr Liz Stafford shares her experience of using Inside t

Earlier this year, I came across the Academy of St Martin in the Fields’ brilliant ‘Insid

composers Eleanor Alberga, Sally Beamish, and Errollyn Wallen. In a genre tradition

the work of female and minority composers. For this reason alone the ASMF is to be a

My year two class were absolutely fascinated by the pieces, which were a great way to

As a teacher, I found it really refreshing to have a break from all the traditional repert

sound world. The pupils also responded really well to this style of music, I suppose be

of years ago? Even though these pieces are most definitely contemporary classical rat

textures which I imagine that the children subconsciously connected with. Plus, every The videos themselves were pitched exactly right for KS1, and contained a variety of

get involved with. Brilliantly, there was a holding screen for every part of the video t

screen as a reminder while children talked in pairs or shared with the class. Using thi

my lessons recently, probably because I am always trying to make lessons as practic

thoughts about the music, and by the end of the final video were even recalling termi

‘speed is tempo’ and I nearly cried with joy!

These resources are refreshing, engaging, and contemporary, are pedagogically sound

ary Classical with KS1

the Music from the Academy of St Martin in the Fields

de the Music’ video resources, based around three pieces of music by contemporary

nally dominated by white men, it is fantastic to see an entire resource created round

applauded.

o support the work that we had done previously on the instruments of the orchestra.

toire choices for exploring orchestral music, and to become absorbed in a totally new

ecause aurally it is perhaps more relevant to them than something written hundreds

ther than crossover or fusion, there are echos of other 21st century musics within the

y piece had real excitement value! movement, body and vocal percussion, and discussion activities for the children to

that required you to pause, meaning that the discussion point was displayed on the

is resource made me realise that I hadn’t made much time for discussion of music in

cal as possible! But the children responded really well to the chance to discuss their

inology that I had been (desperately!) trying to make stick all year – one of them said

d, and are completely free! What are you waiting for?!

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Edenbridge School, Kent