O4. A warm welcome to this issue from Dr Liz Stafford.
NEWS
06. A round-up of the latest music education sector news
10. BABY YOU’RE A FIREWORK
Exploring fireworks as a stimulus for musical activities
15. ON A SHOESTRING
Strategies for making music accessible to low-income families.
18. START MOVING
Music and movement ideas for your classroom
24.
JINGLE ALL THE WAY
Advice for sleighing your Christmas performance
30. BUILDING MUSICAL CONFIDENCE
How one research project radically improved nonspecialist teacher confidence.
MUSICAL ENGAGEMENT
Explore the results of this research study.
MUSIC AND NURTURE
The Music Partnership shares their latest project
45. STRIKING THE RIGHT NOTE 50. SHALLOW DIPS
How to find the right instrumental provider for your school
40. What does the new Ofsted Inspection Framework mean for music?
R O M T H E E D I T O R
Welcome to our Autumn 2025 issue! I don’t want to categorically say that this is our biggest ever issue, as that would involve me going back and counting all the pages on our previous issues, but it’s definitely a bumper array of features! Whether you ’ re wanting to know how to pick engaging repertoire, looking to utilise movement in your classroom, trying to make music more affordable, or (whisper it quietly!) looking for advice on preparing a Christmas performance you’ll find all this and more amongst our pages.
We’re always on the lookout for interesting articles and news pieces so if you have something to share for our next issue please do get in touch - the deadline is 31 January for our Spring issue. st
If you value the magazine and would like to support us, there are a couple of things you can do to help. If you have a product or service that you sell to primary schools, please consider advertising with us. Or, if you would like to make a small donation to our running costs you can do so by clicking on the 'Buy me a coffee' button below.
As ever, we are really grateful for your support to help us continue to produce a magazine that is free to read for teachers all around the world.
The Independent Society of Musicians (ISM) invites music teachers working in schools to have their say on the future of music education.
The survey is your opportunity to have your say on the future of music education, and share evidence about your setting and experience. This is the most important moment for education in a generation, with the government’s Curriculum and Assessment Review final report expected imminently. The information you provide will give crucial support to the ISM’s leading advocacy work on behalf of music education.
This survey is open to everyone working in school-based music education in England, either as a classroom teacher or visiting music teacher. You don’t need to be an ISM member to participate.
The survey covers a range of areas, including the current state of classroom and extra-curricular music in England, sufficiency of provision and budget for music in your school or setting, the impact of the EBacc and Progress 8 accountability measures and much more
The ISM is the UK’s professional body for musicians and a subject association for music. We campaign tirelessly in support of musicians’ rights, music education and the music sector. We are a financially independent not-for-profit organisation with no political affiliation. This independence allows us the freedom to campaign on any issue affecting musicians and music education
Please complete the survey and share it with other music educators in England.
Music for Youth Proms 2025
Music for Youth is proud to announce the triumphant return of its flagship national event, the Music for Youth Proms 2025 at the Royal Albert Hall on 10 and 11 November Over two unforgettable evenings, more than 3,000 young performers from every corner of the UK will take to the stage in a resounding testament to the vitality of youth music at one of Britain’s most iconic venues.
From gospel choirs to jazz orchestras, string quartets to sitar ensembles, the Proms will spotlight the extraordinary diversity and talent of the next generation of musicians Each night will see over 1,500 young artists take to the stage in an exhilarating blend of sound and style, with ensembles, bands and choirs creating the extraordinary atmosphere that has become the hallmark of this much-loved annual event.
A highlight of this year ’ s Proms will be the world premiere of Causeway, a major commission by Scottish composer Aileen Sweeney with lyrics by poet Iona Lee.
Drawing inspiration from the ancient legend of the Giant’s Causeway, this new work explores music’s power to connect people across cultures, generations and communities. Causeway brings together a massed children’s choir, full orchestra and Irish dancers in a spectacular collaboration, commissioned in partnership with BBC Ten Pieces, ABRSM and the Royal Albert Hall
Pupils and teachers from the London Boroughs of Waltham Forest, Tower Hamlets and Lewisham are part of the Causeway project, as part of Music For Youth’s Accelerator Programme ‘Accelerando’ - an initiative that addresses the critical shortage of music teachers in schools, widening access to high-quality music-making in areas where opportunities can be limited. Ten primary schools are receiving specialist training and support, helping teachers build the skills and confidence to nurture music in their classrooms and inspire the next generation of young performers.
Phil Castang MBE, CEO of Music for Youth, said: “What’s especially powerful is seeing this creativity flourish in communities facing real challenges. In these places, music isn’t just an art form it’s a lifeline, a source of pride, and a way to connect These concerts are a celebration of that spirit. It’s a showcase of what happens when young people are given the space, support, and encouragement to express themselves through music ”
For more information visit https://mfy.org.uk/get-involved/prom2025/
Call for Podcast Guests
Multi-award-nominated Primary Music in Conversation is now seeking guests for Season 2!
Following an incredibly successful season 1 which found them shortlisted for both a Teach Primary Award and a Music and Drama Education Award, the Primary Music in Conversation podcast is now seeking guests for Season 2, with recording scheduled to start towards the end of October.
The podcast champions the work of primary music subject leaders, giving them a platform to share the work that they do and inspire other schools with their journeys. It shines a light on what is happening with music in primary schools across the world, sharing both challenges and successes
Just like the previous season, each episode will feature a different music subject leader sharing their experience, with the resulting interviews released on all major podcasting apps and as a video podcast on YouTube.
If you would like to be considered as a guest for Season 2, please contact Music Education Solutions for more information.
Catch up with all Season 1 episodes here
Baby, you ’ re a firework
Whether you ’ re celebrating Bonfire Night, Diwali, or looking forward to New Year’s Eve, Dr Liz Stafford demonstrates how fireworks can provide the perfect inspiration for your music lessons!
For centuries, fireworks have been a source of fascination for children and adults alike, with their dazzling colours, unexpected sounds, and sense of celebration. As the nights draw in (for those of us in the northern hemisphere at least!) we are likely to encounter firework displays regularly, and these can provide a rich stimulus for music lessons which will capture your pupils’ imaginations
A great starting point for a fireworksthemed unit is to listen to pieces of music that evoke similar energy, colour, or excitement Through guided listening and discussion, pupils can begin to understand how composers use the musical elements to represent fireworks’ bursts, crackles, and fizzing effects. Try the triumphant ending of The Firebird Suite by Stravinsky, and enourage children to describe the musical ‘explosions’ they hear – the crescendo of sound, the brass fanfares, and shimmering strings If you have a large enough space you could have your pupils show their understanding through movement, rather than verbally. Take care they don’t get too overexcited and crash into each other though!
Another great piece to listen to would be Handel’s Music for the Royal Fireworks which, perhaps unsurprisingly, was written to accompany a fireworks display way back in 1749. Discuss how Handel used instruments such as trumpets and drums to create a celebratory atmosphere For a more modern take (although one that will feel almost as far back in the past for your pupils!) why not listen to Katy Perry’s
Firework and discuss how fireworks are used as a metaphor for belief in yourself. You could even learn to sing this song, there are plenty of YouTube karaoke versions, and some nice twopart choral arrangements available from several of the major publishers.
Whichever pieces you choose to listen to, take the opportunity to develop your pupils’ ability to analyse the music that they hear. Ask pupils to identify which instruments create high-pitched ‘whizz’ sounds or low, booming ‘bangs’. Encourage them to use adjectives and onomatopoeic words to describe what they hear – crackle, fizz, whoosh, boom! – linking to literacy learning. Have pupils draw shapes or lines or make movements to represent what they hear in the music; sharp spikes might represent sudden explosions, while swirls could depict lingering trails of light.
Once pupils have explored how composers represent fireworks, they can experiment with making their own sounds using classroom instruments and their voices. Children can stamp, clap, click, or pat to create rhythmic patterns that represent fireworks. Combine these with vocal sounds –‘whoosh’, ‘bang’, ‘crackle’, ‘ pop ’ – to form short rhythmic motifs. You can then layer these, drawing comparisons with the fact that firework displays don’t all just have one firework going off at a time in a big long line, but usually combine multiple fireworks at once, particularly towards the end You could even find a video of a fireworks display that builds in this way, and play it on silent, adding your own sounds to show how it intensifies.
Once you have exhausted the possibilities provided by voices and body percussion you can look to introduce instruments. Untuned percussion such as tambourines, maracas, and drums are ideal for representing the rhythmic explosions. Tuned percussion like xylophones and glockenspiels can be used to play high, short, staccato notes for the flashes of light Metallophones or chime bars can create shimmering sustained sounds to represent trails of fireworks fading into the night sky. Depending on their age and previous experience, your pupils may need a reasonable amount of support with this so that they can really think about the quality of the sounds that they need, and not just which instrument they would most enjoy ‘knocking seven bells out of’ (to quote the Head of Education for East Ayreshire Local Authority whose remarks caused quite a bit of controversy in Scotland and across the UK this month!) Encourage the children to really think about the characteristics of the firework that they are representing, and to aim to match this in sound. Also remember that anticipation is a big part of a firework display - add in some periods of silence to build tension before the next firework goes off!
You could also explore ways to notate the sounds using symbols or pictures, which your pupils could arrange into a score. At the most simple level you could provide pictures of different fireworks that they can put in an order, or for older groups or a more complex challenge they could create their own symbols which represent the quality of the sound rather than the look of the firework
If you ’ re up for a more out-there, and way messier approach, how about get your paints out and use paintbrushes to ‘flick’ colours over a canvas to represent fireworks exploding in the air. Perhaps an activity best done outside ! Then turn these pictures into sounds using voices, body percussion and/or instruments.
You could also go for an activity with deeper meaning, by asking pupils to imagine they are fireworks themselves. What kind of personality might a rocket or sparkler have? Through simple drama activities, pupils can create short scenes that tell the story of a fireworks display –from the anticipation before the first launch to the final grand finale. They can use their voices and bodies to represent the different sounds and movements of fireworks, then add a musical soundtrack composed by the class.
Another idea is to explore historical or cultural contexts through drama. For example, pupils could dramatise the story of Guy Fawkes (in a less gruesome more PG version!) or explore the festival of Diwali, linking the fireworks theme to learning in history and religious education, and adding music to their presentation.
Through listening, performing, composing, and integrating with art, drama, and movement, pupils learn to express themselves creatively while deepening their understanding of how music can represent the world around them. Most importantly, such activities capture the joy and excitement that fireworks bring – a celebration of light, sound, and imagination that mirrors the spark of creativity in every child
Playing on a shoestring
Helen Byard discusses strategies for fostering musical participation among children with low income families
Music is more than just an extracurricular activity; it is an personal experience that resonates with every child, regardless of background. Studies have shown that children who participate in music reap benefits far beyond the classroom They develop stronger social bonds, enhanced memory and cognitive skills, and a lifelong love for creative expression. Yet, for many primary schools with limited resources, especially those serving low-income families, the question remains: how do we open the door to music for every child?
The barriers to musical participation in primary schools are often stark: lack of instruments, insufficient funding, busy teachers, and children whose families may struggle to prioritise or afford music lessons. But these obstacles are not insurmountable With creativity, resourcefulness, and a communitydriven approach, music can become accessible to all.
The first and most important step is to ensure that classroom music is consistent on the timetable, taught every week, all year. Then you can start
to think about how you widen participation and access through cocurricular provision.
One way to get more bang for your buck is to book a workshop for the whole school, so that every child benefits. You may find that local community groups, your local music hub or music service, your local secondary school, or even some of your parents could provide a free or low cost workshop during curriculum time. That way all children get the benefit, not just those who can afford to pay for extra activities
Choirs are an especially powerful entry point to music because voices are free! Make choir participation open to all, with no auditions or prior experience required. Emphasise fun, inclusion, and teamwork, rather than technical perfection. Hold informal sharing sessions in assemblies or at school events, where children can sing songs they’ve learned, regardless of polish. Applause and encouragement build confidence.
Instruments and music tuition can seem out of reach for parents (and schools) on tight budgets, but alternative strategies can open doors. Consider teaching whole class instrumental programmes on inexpensive instruments such as ocarinas, recorders, or ukuleles so that everyone can have the experience of learning to play.
To make peripatetic instrumental tuition more affordable, search for instruments for little or no cost on Facebook marketplace, Gumtree, or charity shops.
Reach out to local music shops and charities for donations of unused instruments; local businesses are often eager to support such initiatives, especially when publicly thanked.
If your school is in England, your local music hub may have a stock of instruments that can be lent to schools and pupils for a small fee. Many music hubs actually provide the instruments free or at a fraction of the cost when pupils are learning direct with them. For low-income and Pupil Premium families, some music hubs and charities offer financial support to students taking music lessons from any provider in their local area.
Free resources found on YouTube and other platforms offer a wealth of video lessons for singing and learning instruments, cutting down the cost of learning by avoiding having to buy tutor books and other expensive resources.
Music is not a privilege for the few; it is a right for all. In schools where resources are limited and families may be struggling, the gift of music can be the spark that ignites confidence, creativity, and hope. By weaving music into the fabric of school life, harnessing local goodwill, and championing inclusivity and ingenuity, every primary school no matter its budget can open the world of music to its pupils. The result is not just more musicians, but happier, more resilient children equipped for whatever song life asks them to sing
Helen Byard is Music Subject Lead at Edenbridge Primary School.
Stop Managing - Start Moving!
Leanna O’Brien-Henry explores why movement is a music teacher’s best friend
Picture this: you walk into your next primary music class. Students are buzzing, chatting, spinning, dropping egg shakers, and asking the infamous, “When’s lunch?” You take a deep breath and wonder if you’ll spend more time managing behaviour than teaching music.
Now imagine this instead: the moment they walk through the door, they’re moving to a steady beat clapping, patting, stepping in rhythm and it doesn’t end there. The room hums with focus and fun Their energy isn’t against you it’s with you.
Welcome to the power of movementbased music learning.
The research is clear movement isn’t a classroom disruption; it’s a tool so many aren’t using
A 2024 Frontiers in Education review analyzed 29 studies (2013–2023) and found that integrating movement into music instruction enhances cognitive, emotional, and physical development, strengthens engagement, and improves understanding of musical structure. Similarly, a BMC Public Health study showed that short, simple, teachercontrolled movement breaks increase focus, reduce off-task behavior, and restore readiness to learn.
More broadly, studies in movementbased learning confirm that even 5–10 minutes of physical activity can improve attention, memory retention, and information processing. These are benefits that extend far beyond the music room, but are so easy to integrate into what we need to teach. Neurological research also links music training with enhanced executive function and auditory-motor integration in children. Though no music teacher would be shocked to learn this. When paired with movement, these effects multiply: students learn rhythm, phrasing, and dynamics not only through hearing and seeing, but by feeling them.
And while adding movement to music is a technique that may be over a century old, the principle still stands: students internalize music best when they embody it first.
Teachers often fear that introducing movement means inviting chaos. But the key is to structure the wiggles, not fight them. Movement isn’t an interruption it’s an intentional transition tool Here’s how to start, with no reinvention required:
Body percussion & clapping games: Simple, no-prep ways to reinforce pulse and subdivision
Music maps: Printed pathways that students trace with their fingers or scarves while the music changes, building a visual-to-kinesthetic link to form, texture, and phrasing. This can even be done from chairs, but because there is movement – there is more connection.
Rhythm or solfège breaks – So simple and so quick! Two-minutes of call-and-response challenges that let students practice while moving and experiencing.
Scarf dances – Expressive, low-risk movement that hits every musical fundamental: pitch, dynamics, articulation, rhythm, tempo, and texture.
And here’s a not-so-secret tip: you don’t have to spend hours creating movement activities from scratch YouTube can be your co-teacher. There are countless rhythm play-alongs, scarf dances, and movement breaks created by passionate music educators who understand exactly what works in a real classroom
A quick search for terms like “rhythm play-along” or “scarf dance for elementary music” can lead you to ready-to-use resources that fit your lesson instantly no extra prep, no stress, and endless inspiration from teachers just like you
Here’s what a movement-integrated 45minute class might look like:
1. Entry: Heartbeat Step
Students step to a steady beat as they enter. For older students, add a challenge flash a rhythm card they must translate into body percussion (clap, snap, pat) while staying in time It sets focus instantly and starts class with rhythm instead of reminders.
2. Scarf Dance Warm-Up (5–7 min)
Use a short scarf dance to help students embody tempo, phrasing, and dynamics before a word is even spoken. (If you’d like examples, my YouTube channel offers dozens including seasonal and
3. Quick Review / Solfège or Rhythm Task (5 min)
This is the one part of your lesson that may require a little more prep but it’s absolutely worth it. By using a Smart Board or projector, you can transform a standard lecture into a hands-on experience Students can drag solfège syllables or treble/bass clef letters to the right staff lines, write in rhythm counts, or move animals from piano to forte to decide which side a mouse should hide on!
Creating these slides takes a bit of upfront work, but the payoff is huge: your “lecture” becomes an interactive performance Every child is eager to tap, write, or drag and that physical engagement means they’re processing the concept instead of passively hearing it.
4. Mini-Movement Break (2–3 min)
A quick body percussion echo, rhythm call-and-response, or short YouTube play-along keeps energy high and brains focused
5. Main Lesson (15 min)
Here’s where the magic happens story integration, composing, instrumental exploration, or creative movement. Each concept becomes something students can feel.
6. Instruments / Ensemble Play (10 min)
Making music with instruments is movement—it’s an experience in itself Students are already moving as they
play, switch instruments, and feel dynamics. It doesn’t take much extra to make this moment powerful.
7. Assessment & Cool-Down (3–5 min)
Close class with a calm, reflective moment perhaps a Clair de Lune scarf dance or any soft, flowing piece that helps students settle and get ready to transition. They’ll leave your room grounded, calm, and having experienced music to its fullest.
Here’s a tip: treat transitions as part of your class time, not just the space between lessons
Think of transitions as stairs—you help students climb up into energy and down into calm. For example, with first graders, begin with an easy rhythm calland-response: ta, ta, titi, ta. Gradually increase the difficulty (titi-titi-titi-ta!), build volume and tempo, maybe even add stomping or jumping! Then bring it back down softer, slower, smaller until the rhythm fades into silence and bodies are still.
Students don’t automatically know how to settle after moving you have to teach them. Movement gives them both the outlet and the structure they need to self-regulate.
Here’s the best part: you don’t need to learn a new teaching method or create dozens of materials. Start with what you already know clapping games, echo songs, scarf routines, simple movement breaks Then branch out using the incredible free content available online. Search for Orff follow-alongs, solfège singing guides, rhythm play-alongs, or
movement-based videos from other passionate music educators on YouTube. You’ll find activities that fit seamlessly into your lessons no extra prep, no reinvention required.
Movement turns management into momentum. Instead of correcting behavior, you channel it. Instead of losing instructional minutes, you gain engagement
When students experience music through their bodies not just their ears they learn faster, behave better, and remember longer And when teachers use movement wisely, they rediscover the joy that made them fall in love with teaching music in the first place.
So next time you ’ re tempted to tell students to “sit still,” invite them to move and watch your classroom transform.
Leanna O’Brien-Henry is the founder of The Soaring Scarves Academy, an online K–8 music curriculum.
Jingle all the way
Dr Liz Stafford shows you how to sleigh your Christmas performance
The school Christmas concert is often one of the highlights of the year; a chance for pupils to shine, families to celebrate, and the school community to come together in festive spirit. For teachers, however, it can also be one of the busiest and most demanding events of the term. Balancing the excitement with the logistics, rehearsals, and nerves can feel like a juggling act. With careful planning, thoughtful preparation, and a focus on pupils’ wellbeing, your Christmas performance can be a joyful and memorable experience for everyone involved.
Here are my top tips on how to prepare pupils for a successful Christmas concert or performance; from when to start rehearsing, to managing nerves, and ensuring everything runs smoothly on the day
Start early
The key to a successful performance lies in good preparation. Ideally, planning for your Christmas concert should begin in early to mid-November, depending on the complexity of the event. For a simple concert featuring a few songs, four to six weeks may be sufficient. However, if you ’ re staging a full nativity play or musical, it’s best to start even earlier.
Begin by deciding on the format of your concert Will it be a traditional nativity, a themed musical, a festive singalong, or a combination of performances from different classes? Once you ’ ve made this decision, ensure that scripts, music, and resources are ready and shared with staff as early as possible, as well as expectations around when you expect these to be handed out and sent home
Next, consider your rehearsal schedule
Regular short rehearsals are often more effective than long, infrequent sessions. For example, 15–20 minutes two or three times a week allows pupils to build confidence gradually without fatigue or loss of focus. Whole-class rehearsals can later progress to year group or full-cast practices once everyone knows their part.
It’s also worth planning your logistics early. Book the hall, check sound equipment, order costumes or props, and confirm dates with parents. Sending a save the date notice well in advance helps families plan their attendance and avoids last-minute communication rushes.
Keep it manageable & enjoyable
When selecting songs or musical pieces, aim for a balance between challenge and accessibility. Choose material that pupils can sing confidently and that is suitable for their vocal range (A good rule of thumb is to not go below Middle C). Simple, repetitive melodies are ideal for younger children, while older pupils may enjoy songs with harmonies or actions
Rehearsals should focus as much on musical understanding as on performance polish. Encourage pupils to listen carefully, sing with expression, and understand the meaning of the lyrics. To maintain enthusiasm, vary your approach. Use warm-up games to get pupils singing freely and confidently, incorporate movement or simple choreography to help remember lyrics, and encourage peer support, letting confident singers model lines for others.
Above all, keep the atmosphere positive. Praise effort as much as achievement, and remind pupils that music-making is about enjoyment and teamwork, not perfection.
Approach rehearsals strategically
Many teachers find that pupils’ energy and enthusiasm peak in the early stages, then dip before the final push. To keep momentum, structure rehearsals in clear phases.
In the first couple of weeks, focus on learning lyrics, melodies, and movements in small sections Break songs or scenes into manageable chunks, and revisit them often. Keep rehearsals light-hearted and full of encouragement.
Once pupils are familiar with the content, start combining elements; for instance, singing with actions, or linking scenes together. This stage can feel messy, but reassure pupils that this is part of the process.
In the final week or two, shift towards full run-throughs, helping pupils get used to transitions and pacing If possible, practise in the performance space so they can adjust to acoustics and staging.
Always finish rehearsals on a positive note perhaps by revisiting a favourite song or awarding a “star performer” prize. Ending on success boosts morale and helps children associate rehearsals with achievement
Manage those nerves
Even the most confident pupils can feel nervous before a performance. In fact, a little nervous energy can enhance focus and excitement. However, some children may need extra support to manage anxiety.
Start by normalising nerves. Explain that everyone, even professional performers, feels nervous, and that it’s a sign that they care about doing well. Encourage pupils to share how they feel and to support one another.
You can try out some simple relaxation techniques such as deep breathing, or positive visualisation where they imagine the audience smiling and enjoying their performance. For those children really struggling you could use a grounding exercise, encouraging them to notice what they can see, hear, and feel to stay present and calm.
On the day, maintain a calm and reassuring presence, however you feel inside! Remind pupils that mistakes are normal and that the audience is there to celebrate their efforts. A quick pep talk about teamwork can work wonders for collective confidence.
Ensure a smooth performance
On the day of the concert, the most important thing is to stay calm and organised. A detailed running order, shared with staff and older pupils, helps keep everyone on track. Assign specific adults to manage key areas such as: welcoming guests and managing seating; supervising performers, or technical support - sound, lighting, and/or music playback.
Before the audience arrives, hold a final warm-up and pep talk. Keep this short and upbeat; focus on enjoying the moment rather than striving for perfection.
During the performance, be flexible. If a cue is missed or a line forgotten, smile and move on. Most audiences find small mishaps charming, especially when children recover with confidence and humour. That’s if they even notice that anything has gone wrong at all!
After the concert, take time to celebrate pupils’ achievements A short reflection session the next day gives everyone the chance to share their favourite moments and to learn from the experience. What went well? What might you do differently next year?
Finally, celebrate the success. Whether it’s a certificate, a class party, or a simple round of applause in assembly, recognition reinforces pupils’ confidence and pride in their achievement. Don’t forget to reward yourself too - make sure you ’ ve got your favourite treats or a few glasses of wine at home waiting for you when you get in! Hopefully your head teacher will remember to thank you for all your efforts, but if not you can give yourself a sugar high to dull the pain of being overlooked and underappreciated!
Preparing for a Christmas performance is a wonderful opportunity to combine learning, creativity, and community spirit By planning early, rehearsing thoughtfully, supporting pupils’ wellbeing, and embracing the festive fun, teachers can create an event that pupils and their families will remember fondly for years to come
SINGING, LAUGHTER, FRIENDSHIP, FUN & JOY
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
Find out more about how your Y5-13s can benefit from holiday singing courses
Find your closest SING! workshops S
Introducing SING! from National Youth Choir
FREE termly singing workshops for Y5-8s in your area
• Open to young people at state schools or home-schooled
• Led by our expert team of vocal leaders from National Youth Choir
• Young singers will learn exciting new songs, make new friends and develop their musical skills
• Easy to signpost to interested families using our mailing list
Building Musical Confidence
Andy Gwatkin shares the results of a reseach project designed to support generalist primary teachers
Non-specialist teachers often struggle with lack of confidence and feelings of inadequacy when it comes to teaching music, due to lack of a musical background making them feel that they are ‘unmusical.’ In the summer term of 2024, Drums for Schools set out on a mission to change this in partnership with Leicestershire Music Hub, Waltham Forest Music Hub, and Music Education Solutions.
8 primary schools were invited to participate in the Building Musical Confidence Research project, with eight schools in total becoming involved. The aim was to find out whether the approach and resources provided during the project improved teacher and pupil confidence and skill and helped them identify as ‘ more musical’ by the end of the term. Spoiler alertthis project has now been shortlisted for Outstanding Musical Initiative at the 2026 MDEE Awards!
Each school was provided with a class set of West African Djembe Drums, teacher books, lesson plans, and audio and video support resources. Zoom support from a Drums for Schools expert was also available as needed. Each teacher involved in the project completed a short survey at the start of the project, used the specially devised teaching materials and instruments regularly over the course of the term, and kept reflective notes to assist them in completing another survey at the end of the project. They also gathered pupil feedback before, during and after the project. This data was then independently analysed by Music Education Solutions to assess the project’s impact.
Considering that this was a relatively short-term project, the results were startling! There was a marked improvement in overall confidence levels amongst the teachers, with 60%
of respondents rating themselves 8 or above on a 10-point scale for confidence, compared to just 31% at the start of the project Similarly, when asked to rate how musical they felt, 35% rated 8 or above at the end of the project compared to 13% at the start. Teachers’ feelings of expertise also rose dramatically from 9% to 30% with a rating of 7 and above. All of this data clearly shows that the project had a significant positive impact on teachers’ feelings of confidence, musicality, and expertise
Teachers were also asked how confident they felt about teaching the music of West Africa specifically. Perhaps unsurprisingly, given that all the project materials focused on this musical style, there was an improvement from the beginning to the end of the project. However, the scale of this was dramatic, with 90% rating themselves 9 or 10 at the end of the project, compared to 0% at the start! 88% also said they would be happy to use the teaching materials and instruments again, and several of the schools bought the drums at a heavily reduced price at the end of the project so that they could do just that! As one teacher put it: “The African Drums project has significantly enhanced my music teaching by fostering students’ confidence and skill in rhythm and timing It has introduced a rich cultural dimension to my lessons, engaging students with diverse musical traditions.”
Pupils too reported improvements in their enjoyment of music lessons throughout the project. One pupil commented during the project, “I didn’t used to like music lessons that much but now they’re my favourite ” As one teacher noted, “Children who previously didn’t enjoy music LOVED these lessons. They were excited for it and they made great progress. ” The teachers particularly noted pupils’ skill improvement in terms of maintaining a beat, copying and creating rhythms, and ensemble playing skills. One teacher stated, “At the beginning of the project, many of the class struggled to maintain a steady beat and play in time with a rhythm However, as the term has progressed, they have all shown noticeable improvement in their musical abilities ”
All of these results are extremely encouraging and show that it is possible to help primary teachers feel more confident and expert when teaching music, whatever their musical background This research was carried out with a relatively small sample of schools in a limited number of geographic areas, so while the results are encouraging, more data is needed to draw more definite conclusions Drums for Schools has an ambition to scale this research up to more schools, and more areas, so if you are interested in being involved in the next stage of the research, please contact us
If you are interested in trying this approach in your school, the teaching materials used in this project can be downloaded free from this link.
Exploring Musical Engagement at KS2 and beyond
Rosalind Cardenas shares the results of her research
Between 2020 and 2024 I conducted research into how repertoire chosen for the classroom can influence students’ experiences of engagement.
The study looked at different musical attirbutes such as rhythm/tempo, timbre/loudness, pitch, and lyrics, and how these are aligned with experiences of engagement in relation to Andrew Brown’s (2015) ‘Modes of Musical Engagement’. These are defined as follows:
1.Appreciating:
Paying careful attention to music
2.Evaluating:
Making judgements about music
3.Directing:
Leading creative activities
4.Exploring:
Experimenting with artistic possibilities
5.Embodying:
Engrossment in musical expression, such as playing, singing, or dancing
This article provides a summary of the main findings of this study, and you can find a link to the full report at the end of this article should you want to find out more
Rhythm and Tempo
The key attributes of rhythm and tempo identified by primary school music teachers as engaging were as follows: cyclic rhythms, syncopation, tempo changes, and rhythmic simplicity.
By having a repetitive structure, cyclic rhythmic patterns can facilitate mastery through looping, involuntary movementbased responses, and a feeling of reward relating to prediction-based participation. Whilst loops offer
repeated opportunities to ‘get it right’, repetitive rhythms can also encourage head-nodding or foot tapping, as well as a level of certainty about what’s coming next. Combined with group synchronisation, this musical feature can enable engagement with repertoire both personally – as mastery is achieved – and socially, as pupils play together with their peers. In terms of Brown’s (2015) five modes, this attribute immediately offers opportunities for appreciative, directive, and embodied engagement.
Syncopation is understood to encourage involuntary movement due to the listener’s natural tendency to rhythmically ‘fill in the gaps ’ as they ‘feel’ the groove. Combined with the cyclicity mentioned above, this can contribute to pupils’ participatory engagement, as well as an appreciation of music. This means embodied, appreciative, and directive engagement, with the potential for teacher-led evaluative engagement.
Both gradual and sudden tempo changes were highlighted as engaging due to their potential for participation Gradual tempo increases were related to physically felt excitement, accompanying participation, and subsequent reflection. Sudden tempo changes were related to embodied engagement, as movement-based responses were encouraged, with accompanying emotional and cognitive engagement through appreciation and teacher-led evaluation Once again, the modes of engagement present here are embodied, appreciative, and directive, with the potential for teacher-led evaluative engagement.
Rhythmic simplicity – meaning rhythmic patterns that are short and easy to mimic – is identified as an engaging attribute due to its ease of imitation. Mimesis is understood to be key to all kinds of learning By offering children the aural experience of a pattern they can imitate, we invite them to participate with instantaneous reward. The immediate engagement modes: directive, appreciative, embodied
Timbre
and Loudness
When it came to timbre and loudness, the following attributes were highlighted as engaging in the study
Percussive timbres were highlighted as an engaging feature due to their extramusical familiarity. All children have prior experience of participating in or hearing sounds like finger taps, footsteps, objects being placed down, and so on. This familiarity fosters a relevance and highlights achievability. It encourages embodied, appreciative, and directive engagement.
For similar reasons, familiar instruments with which children had prior experience were also identified as engaging in repertoire. If pupils can imagine themselves making the sounds they hear, they are participating in ‘executant mimesis.’ This is engaging in itself but can also inspire subsequent, active engagement. According to Brown’s (2015) modes: appreciative, embodied, directive, with the potential for evaluative.
Due to its achievability and familiarity, body percussion is another timbral
feature which can engage KS2 students In songs where clapping, stamping, or finger clicks are audible, KS2 pupils can participate via imitation and receive the instant feedback essential to high levels of engagement Here, engagement modes are, appreciative, embodied, directive, with the potential for evaluative and explorative.
Pitch and Tonality
Attributes of pitch and tonality largely related to singability and playability, with the following attributes identified as engaging within the study.
Small intervals, conjunct motion melodies, and a limited pitch range: melodies containing small intervals –particularly minor thirds and conjunct motion melodies – and a pitch range limited to a few notes are understood to be ‘singable’. They are also, often ‘playable’ on instruments children are learning. This encourages Cano’s (2006) previously mentioned ‘executant mimesis’ as well as what Wallmark (2021) defines ‘subvocalisation’. This means the creation of meaning based on the imagined vocal production of the sound This means appreciative, embodied, and directive engagement.
Melodies with few notes were also found to encourage active engagement in the form of body percussion and actions, as children could be encouraged to participate in ‘embodied attuning’ (Leman, 2019), meaning the use of actions which align to the pitches heard For example, in a three-note melody, children could put their hands on their head, shoulders, and knees in a
way that aligned with the pitch Once again, appreciative, embodied, and directive engagement.
As with the cyclic rhythmic patterns, chord progressions which loop can encourage mastery, entrainment, and also the opportunity for improvisation as students become ready, through repetition, to deviate from what they’re playing Appreciative, embodied, and directive engagement are all present here with the potential for evaluative and explorative.
Lyrics
The importance of movement extended to lyrical content. Action lyrics which match the sounds made/heard (prosody) were further features of song content which teachers identified as conducive to active engagement. For example, ‘clap along’ in Pharrell Williams’ ‘Happy’ was understood to encourage active engagement owing to the fact an actual ‘clap’ was heard in the music. This fosters appreciative, embodied, and directive engagement.
Positivity, in the forms of both optimism and certainty, or presence over absence, was highlighted as a feature of engaging repertoire. Songs with messages that were optimistic, assured, or both can encourage both appreciation and evaluation in students This fosters appreciative, embodied, and directive engagement with the potential for teacher-led evaluative and explorative engagement.
This article describes some of the ways in which musical attributes can contribute towards appreciative, embodied, directive, evaluative, and explorative modes of engagement. As teachers with this knowledge under our belts, we become equipped and empowered to choose our own repertoire with confidence that it will engage our students as well as meet our learning targets It is designed to break through barriers of genre and musical styles, in order to boost music specialists and generalist teachers alike.
With the confidence to get our learners ‘hooked in’ to musical patterns and attributes of sound, we can focus on leading them through their own experiences of engagement into what Brown (2015) describes as a ‘wellrounded’ music education.
The full research study is available here.
Music and Nurture
Lisa Wilson from The Music Partnership shares the impact of adopting the Musical
Play Framework
Music can have a profound impact on children in a variety of ways Learning an instrument, taking part in group music making activities, composition, singing, performing and listening to music can all leave children with a skillset that can be transferred to their wider learning.However, through many conversations with school staff, it has become clear that the benefits of music to the social and emotional health of some pupils are crucial to their wellbeing.
There is a clear distinction between music education and music therapy. Music education provides the opportunities for pupils to make musical progress both on and off an instrument and to develop their knowledge skills and understanding of the subject. Music therapy is an established psychological clinical intervention, delivered by HCPC registered music therapists to help people whose lives have been affected by injury, illness or disability through supporting their psychological, emotional, cognitive, physical, communicative and social needs With our latest round of Youth Music funding, The Music Partnership has 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 by-product 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
all of which have been child led and cocreated with adults. The 6-8 children that have been chosen by school staff for the projects have had a wide range of additional needs including challenges with communication, behaviour, selfesteem, confidence and working with others. Children with autism have also thrived during the sessions.
The Music Partnership has now developed a SEND Music network. 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, such as sensory music making, the Sounds of Intent framework and practical suggestions to work with pupils with additional needs.
Schools in Staffordshire, Stoke-onTrent, Shropshire and Telford can contact The Music Partnership for more information and bespoke support.
Striking the right note
Following some recent horrorstories in the UK press about unscrupulous suppliers, here’s our comprehensive guide to finding the best instrumental teaching provider for your school.
Selecting the right instrumental teaching provider is one of the most important decisions a school can make for its music provision. For many schools, the challenge lies not in recognising the value of instrumental learning, but in ensuring that it is delivered to a consistently high standard. The quality, ethos, and approach of your chosen partner will directly influence pupil engagement, learning outcomes, and the overall reputation of your school.
Needs & vision
Before approaching any provider, take time to reflect on your school’s vision for music. What are your priorities? Are you looking to expand instrumental teaching to more pupils, to raise performance standards, or to strengthen curriculum links? What age groups do you want to offer lessons to, and do you know which instruments are most appropriate for which age ranges?
Do you want to prioritise certain instruments (e.g. orchestral, band, or popular music), and why? How will instrumental lessons complement your broader music curriculum? What are your expectations regarding pupil progress, performance opportunities, and inclusion? Having a clear sense of purpose will help you find a provider whose philosophy aligns with yours. A good provider will also ask these questions early on, showing that they are committed to creating a tailored, rather than one-size-fits-all, service.
Quality & expertise
The expertise of the tutors is the most critical factor in ensuring high-quality instrumental teaching. Ask potential providers about the qualifications and experience of their teaching staff Ideally, tutors should hold formal music qualifications and have specific training or experience in teaching children and young people, not just in performing. Look for teaching qualifications – a PGCE if you can find it (increasingly rare amongst instrumental teachers as most are not paid on Teachers Pay and Conditions anymore), or a teaching diploma from one of the music exam boards. Find out if they have experience across different settings and how long they have been teaching for; everyone has to start somewhere, but you may feel that your school requires a particular level of expertise and/or you haven’t got the capacity to properly support an early-career teacher. Ascertain whether they have a commitment to ongoing professional development, ensuring they stay current with best practice and new pedagogical research. A reputable provider will also
invest in the continual training and support of their tutors, fostering reflective practitioners who can adapt to pupils’ diverse needs.
Crucially you need to be sure that the teachers are there because they want to teach; not just because they need to supplement their performing income. Many performers make excellent teachers (and vice versa!) but you need to know their priorities to be sure they will give you what you need. The last thing you want is your teacher giving you a week’s notice that they’re off to play on a cruise for 6 months!
Safeguarding, compliance & standards Safeguarding is non-negotiable when working with any external provider. All tutors must have an up-to-date enhanced DBS check, appropriate child protection training, and clear policies for working safely within schools. When evaluating providers, ask to see documentation of their safeguarding procedures and how they ensure consistency across their teaching team. Remember that if you are using freelancers or employing teachers directly it will be the school that has the responsibility for the DBS check, and to ensure that the correct safeguarding training has taken place.
Providers should also have policies covering professional conduct, data protection, health and safety, and equality and diversity. It’s also worth checking whether the organisation or freelancer is a member of professional bodies or networks, such as the ISM or Music Mark, as this indicates a commitment to ethical and professional standards.
Partnership working
The best instrumental teaching providers operate as partners, not just service suppliers. Effective communication and collaboration are key to making the relationship successful. Strong partnership working ensures that instrumental teaching becomes a fully integrated part of your school’s musical life, rather than a separate bolt-on
Ask how the provider will keep you informed about: pupil progress and attendance; timetables and scheduling; instrument loans and maintenance; performance opportunities; feedback and evaluation. Ideally, there should be a designated contact person who liaises regularly with your school’s music lead or SLT Good providers will also welcome dialogue about how their work supports your school’s broader educational goals, whether through enrichment, inclusion, or community engagement
Integration & progression
High-quality instrumental teaching should connect meaningfully with classroom music and provide clear progression routes for pupils. When assessing a provider, ask how they support continuity of learning; from whole-class lessons for example, through to small group teaching, ensemble participation or graded exams in later years.
A good provider will offer structured progression frameworks with clear learning outcomes, support for ensemble development, including orchestras, choirs, or bands, opportunities for pupils to perform,
compose, and collaborate, and alignment with national curricula and assessment frameworks. Progression doesn’t have to mean formal exams. Many providers now take a more holistic approach, emphasising musical growth and personal achievement. The key is ensuring that every pupil feels a sense of direction and accomplishment in their musical journey. You should be confident that your provider of choice is prepared to take a flexible approach to suit each individual child, whilst maintaining high standards of learning.
Our UK readers should remember that there are strict rules governing what schools can and can’t charge parents for, and what activities can and can’t take place in curriculum time. If you are releasing children from curriculum lessons to take part in instrumental learning you have to be absolutely certain that they are gaining real educational benefit from that, not just being musically babysat Music clubs and activities that are ‘enjoyment only’ need to be kept to non-curriculum time to not fall foul of your statutory requirements.
Flexibility & inclusivity
Every school is different, and the most effective providers are those who can adapt their offer to fit your context. Ask whether they can accommodate: different lesson formats, such as wholeclass, small-group, or one-to-one tuition; support for pupils with SEND or those facing financial barriers; access to a range of musical styles and traditions, supporting diversity and inclusion. Inclusivity should be at the heart of instrumental provision. A strong
provider will proactively work to remove barriers to participation, for example through instrument loan schemes, bursaries, or partnerships with local music hubs and charities.
Monitoring & evaluation
To ensure quality and value for money, it’s essential that providers have clear systems in place for monitoring and evaluating their work Ask how they measure the impact of their teaching both musically and educationally, remembering that if they are a freelancer or applying to be your direct employee, it will be your responsibility to quality assure and monitor them.
Providers should be able to demonstrate that they carry out regular lesson observations or quality assurance visits, and have feedback mechanisms in place for pupils, parents, and teachers. Teachers should also demonstrate a commitment to reflective practice and a willingness to continually improve their teaching.
Value for Money
While budgets are always a key consideration, the cheapest option almost never proves to be the best; but then the same could be said for the most expensive option too in some cases! Look for transparency in pricing and contracts, and ensure you understand what’s included - lesson delivery, admin support, performance opportunities, instrument hire, and so on. Good providers will work with you to find cost-effective solutions that maintain quality, perhaps by mixing group and individual lessons or accessing external funding streams.
When comparing providers, assess value for money, not just cost. Consider the expertise, consistency, and impact of the service in relation to the investment.
Reputation & references
Finally, do your homework. Ask for references from other schools that have worked with the provider, and look for testimonials, case studies, or evidence of outcomes. A reputable provider will have a track record of successful partnerships and positive feedback from schools, parents, and pupils. If possible, visit a school where they already work to see their teaching in action. The best providers will be proud to showcase their work and you’ll quickly get a sense of their professionalism, ethos, and the quality of their teaching
Choosing an instrumental teaching provider is about more than filling a timetable; it’s about shaping the musical life of your school The right partner will bring expertise, enthusiasm, and a collaborative spirit that enriches your pupils’ education and enhances your school’s cultural identity. By taking time to evaluate providers against key criteria you can ensure that your instrumental programme reflects the excellence and inclusivity that every child deserves.
From deep dives to shallow dips
What could the changes to the Ofsted Inspection framework mean for music in England’s Primary Schools?
In 2019, Ofsted introduced a new Education Inspection Framework (EIF), bringing in, among other changes, a methodology of subject deep dives. These aimed to probe more deeply into what schools intended in their curriculum, how they implemented it, and what impact it was having for pupils. Almost immediately, the deep dives became a powerful lever for curriculum subjects, music in particular.
Previously, subjects like English and maths dominated inspection priorities. Deep dives forced schools and inspectors to give considered attention to foundation subjects, including music Schools anticipating that music might be selected had a stronger incentive to ensure their curriculum was well thought through, taught regularly, and documented This has helped raise music beyond being an “extra” or “nice to have” subject, towards one more central to the school’s educational offer.
Because deep dives required inspection of intent (what the school plans to teach), implementation (how it teaches it), and impact (what pupils gain), schools had to really think through progression in music: skills, knowledge, sequencing, resources, teacher expertise etc. This led many primary schools to sharpen their schemes of work, invest more in teacher CPD, and strengthen assessment and feedback in music, not just making sure children “do” music but that they learn and develop musically.
Deep dives elevated the role of subject leads To be ready for inspection, primary music leads needed to be able to talk confidently about how music was sequenced across year groups, how assessment showed progress, how curriculum was connected to what pupils already knew, and how music provision engaged all children. This has strengthened leadership in music in
many schools; more rigorous planning, more monitoring, better collaboration with specialists or music hubs, and more attention from SLT!
The pressure of possible scrutiny via deep dives encouraged many schools to protect or increase the amount of curriculum time for music, ensure music lessons were scheduled regularly, and ensure necessary resources were available. In some schools this meant making strategic decisions; using a specialist teacher, building stronger partnerships with local music hubs, or integrating singing or instrumental learning more deliberately across the school.
As a knock-on from the above, many pupils in primaries gained more regular, more varied, and more ambitious musical experiences. Singing became more embedded; instrumental and ensemble opportunities were better supported; pupils had opportunities to discuss what they learned and how they progressed; and there was more clarity about the musical journey from Reception through to Year 6.
With deep dives now no longer forming part of Ofsted’s inspection framework, there may be less external incentive for schools to keep refining their music curriculum Things like detailed sequencing, frequent assessment of musical skills, or ambitious progression, may slip down the priority list. Without the possibility of an in-depth scrutiny, subject leads may find their role less foregrounded. If schools perceive that inspectors are less likely to drill into
music, the impetus to collect strong evidence of impact, to engage in detailed planning, or to argue for resources might weaken. Ofsted itself noted in its most recent Music Subject Report that music quality was already variable, with some schools lacking time, teacher confidence, or properly sequenced curricula. Without the “nudge” of deep dives, the lower end of that variation may not have the external check that encourages support or improvement.
However, many schools criticized deep dives as too demanding; preparing documentation, evidencing everything, arranging for pupils to speak about learning etc. The removal of the deep dive process may reduce workload and stress, freeing up teacher time for improvement rather than preparing for inspection. If schools feel less pressure to “tick boxes” for deep dive criteria, music curriculum leaders may have more freedom to innovate, to respond to local context (e.g. what the pupils enjoy or what local musical opportunities exist) rather than shaping everything to what might be inspected. This could lead to more creative and meaningful music education, rather than music that is “prepared” for inspection.
Even without deep dives, subject leads should keep up the practices that have been fostered by them: regular monitoring, gathering evidence of pupil progress, teacher feedback, and reviewing schemes of work for sequencing and musical challenge Good curriculum design should still be articulated clearly Schools should be
ready to explain what their music curriculum intends (its goals, progression, sequencing), how they implement it (staff training, time allocation, resources, pedagogy), and what impact it has (listening to pupils, reviewing their work or performances, assessing musical skill development). Schools should continue to engage with music hubs, professional bodies, or external advisers to benchmark their music provision, and identify areas for development. Self‐evaluation tools (for example, those provided by Music Hubs or national music organisations) can help maintain momentum even when external inspection pressure is less.
Having pupils articulate what they’re learning in music, showcasing performances, having evidence of experimentation, creativity and progression can support both internal morale and external visibility, even in the absence of a deep dive. If music is embedded in the school’s vision - linked to wellbeing, to cultural capital, to broader educational outcomes - then it is more likely to be supported through changes in inspection practice. Presenting music not as an optional addition but as integral can help ensure it remains protected.
The introduction of subject deep dives brought important advantages for the status, quality, and visibility of music in primary schools. Deep dives encouraged strong curriculum thinking, leadership, resourcing, and accountability, lifting music in many schools from the periphery to one of real educational substance The abandonment of the deep dive process
removes some of that external pressure, but this does not have to lead inevitably to decline.
What matters now is how schools respond If music leaders, senior leadership teams, and external partners (hubs, associations, advisers) keep the structures, the evidence, and the commitment in place, music can continue to flourish The inspection framework changes may reduce one driver of pressure, but they also offer a chance to assert music’s value in its own right not simply because it might be inspected, but because it is essential to a well-rounded education.
