Primary Music Magazine 6.1: Spring Term 2022

Issue 6.1 Spring Term 2022

Inverlochy Primary School, Scotland

FEATURING: Teaching Folk Music - Free Music Theory Resources Progression in the Expressive Arts- Online Teaching Tips - Resource Reviews - Developing Composing at KS2 - AND MUCH MORE!

Celebrate the change of seasons Tom Gregory provides some ideas for using English Folk Music in your classroom

Spring is winding up to spring itself on us any week now, and with folk music much more on our cultural radar this year (I’m still waiting for the Wellerman to come…) it’s a great opportunity to use some traditional music in your lessons.

I work with English folk music so that’s what I’m mostly going to write about – the folk traditions of Scotland, Ireland and Wales are just as rich and I couldn’t possibly do them all justice here. I don’t propose to try and precisely define what folk music is but Tradfolk.co have some helpful definitions.

It’s possible that your last experience of folk music in school was ‘country dancing’ lessons in the 80s. I’m sorry! It’s all much more relaxed now. I’ve

found that folk music earns its place in our lesson plans because:

It’s regional There’s something very special about sharing songs or tunes with our students that are from right where they live, or that bring traditions or industries from the area to life. For me, in Hampshire, it’s sea shanties in

the port cities, farming songs about the seasons in the villages and step dances in the New Forest. It’s local culture. If you’d like a hand to find some folk music that’s local to you, a great place to start is the English Folk Dance and Song Society (EFDSS) Folk Education Network; they’ll be able to direct you to skilled folk educators in your area.

Music and Movement go hand in hand We know that moving helps us internalise music. In folk, music and dance are stitched together. Having the students do a simple dance – even solo on the spot; you don’t have to get into partners and lines and everything if you don’t wish to – helps firm up rhythm and phrasing and brings the tune alive. Every time my class has come back to a tune or song after dancing to it the music is so much richer.

There’s bonus learning built in I’ve already mentioned cross-curricular learning like local history, and additional musical outcomes like improving rhythm and phrasing. I’ve put some listening examples to get you going below, and I’ve noted unexpected learning moments that

arose with my classes.

It’s very fun This matters. For our students and for us.

Maypole Photo (left): Folk Active

Ceilidh Photo (right): Portsmouth Music Hub Shanty photo (overleaf): Linda Mason

Tom’s top resource picks to get you started EFDSS Folk Songs in the Model Music Curriculum – this helpful document provides a list of suggested English folk songs with links to their resource packs in EFDSS’s incredible Resource Bank – these include PDFs with teachers' notes, song words, notation, audio files and, in some cases, videos. There are recommendations for KS1 and KS2.

FolkActive Beginner Ukulele WICT – This lesson pack was developed and piloted with Southampton Music Hub. PowerPoint videos and slides guide pupils and staff though five weeks’ worth of KS2 beginner ukulele sessions, as they learn uke parts to three folk songs and dances. Pupils eventually accompany their classmates dancing and singing, which has been a magical moment every time I’ve seen it happen.

EFDSS Introduction to Maypole Dances – The iconic folk-in-thespringtime activity! I couldn’t not put this in. Take a look at these excellent dance instructions from Mike Ruff which actually work. The backing to Twister is a treat.

Tom’s listening recommendations Sam Sweeney – Steppy Downs Road This prompted a really fun conversation with a Yr 5 class about the different ‘jobs’ the instruments were doing in the music. Honestly, this is probably my favourite bit of music ever.

Bellowhead – Roll Alabama Classes like spotting instruments in this video and (of course) joining in with the ‘Roll Alabama roll’. Bellowhead are arguably the best known Very Big Folk Band.

The Lost Words: Spell Songs – Bramble

Musical performances and recordings inspired by the beautiful books of poetry and art The Lost Words and The Lost Spells. A rich example of creativity across multiple artforms and musical cultures.

Tom Gregory has over 20 years’ experience teaching music from all around the world. He currently teaches drumkit and WCIT for

Southampton Music Hub and is Education Director with FolkActive.

Twitter: @tomgregory

Developing Composing at KS2 Holly Craven

Composition is one of my pupils’ favourite parts of music lessons, regardless of their age. When we start a new topic, and I hand out the booklet, they scamper through it, looking for the different composition tasks, throwing out questions as they flick through it “what’s binary form”, “what’s an ostinato” (sometimes they even say “oh wow, x” and it becomes apparent that they have taken on board an idea that has been discussed previously) and so on, as they eye the musical elements that we will be looking at.

I fully believe that teaching composition is a really personal thing; it’s not something that was even touched on when I did my teacher training (I’m secondary Music trained), but yet it is a major part of my teaching because I love giving children creative freedom whilst also developing their musical skills and understanding. I also think that it’s absolutely fundamental for all children to have this experience, and Key Stage 2 is such an exciting time to do it; the children soak it up and just want to ‘do’.

Over 20 years, I have changed my approach numerous times – based upon observing others, talking to the pupils about what they felt worked, reading what other teachers have found works, and also taking into account my pupil’s interests and abilities– I change topics each year for every year group, choosing things that I think will appeal to the children in the particular group. What I write about isn’t one size fits all; it is what works, and works well, for me and, more importantly, for my pupils. I hope that it

might work for others, but I equally appreciate that it may not.

I teach music in topics, rather than by element. Within each topic there is listening, group performance, often singing, and loads of composition – either in response to a listening task, or to develop use of a musical element; often a bit of both!

At the moment, my Year 5 class topic is ‘Rivers’. They have listened to Vltava (Smetana) and have discussed rondo, binary and ternary form. They have then listened in greater detail to the theme and have discussed how the elements of music demonstrate the idea of a river flowing – in particular we discussed pitch and articulation. I then split the class into groups of four, and they composed their own version of a ‘river flowing’ theme; each class sets their own targets – though interestingly, they all had “use dynamics well” and “listen to each other” on their lists – either a sign that they have paid attention to previous teaching, or that I nag about the same things! The targets keep their eye on the task; they ground the children – even when we compose nearly every week, the excitement of

getting an instrument and creative freedom means that something is needed to ground the composers at times!

As they work, the children notate their work. We hark back to notation a couple of times each topic; whether through reading and doing a class performance, or through rhythm games. This ‘drip feed’ works well and every child who learns an instrument will write some of their composition down; even those children who don’t learn an instrument will write their rhythms down – either using notation, or the words that we use to describe note values – ‘coffee coffee latte tea’ may sound like a major caffeine hit to a non musician, but all of my classes could play the rhythm! As a rule of thumb, I will say to the children that they should try to write their music down in a way that they are comfortable with. I set out an extension of clef/time signature/key signature/bar lines - and it is wonderful to see the vast majority of children doing this with growing confidence.

I do set store by notation, primarily because I am lucky enough to have Y46 twice a week, and I am conscious that I don’t want them forgetting by

Friday the work they did at the start of the week. I have learnt, though, that the children love this – this week I heard a Year 5 saying to another “oh, sorry, you’re in Bb, aren’t you, I’ll just work out your key” - and no-one batted an eyelid!

Composition is such a wonderful thing; it unites the class wholly; it makes no difference whether a child has 1:1 lessons or not – everyone is a musician,

and everyone is creative.

I love watching them discussing what they are going to do. I usually give the children 10 minutes to discuss just how they are going to put their composition together, before they gather instruments and set to. One of the things I quite quickly learnt was to get them to start off by composing in layers – rather than all going for it and us ending up with a bit of a cacophony, the children sort out one part and then add in the second and then the third, and so on and so forth.

As the children compose, I get them to look back at their targets, and to think about what needs to happen next.

They may perform their

unfinished composition for feedback from myself or their peers. Other times, they evaluate at the midway point as a group before moving on.

When the compositions are finished, the children perform, we record the performances and then they listen back. They evaluate with two things that they are really happy with, and that make them proud, and then one thing that they would like to improve. This often gives the basis for a target on the next composition task.

I also mark their work – again, with

something I really liked and then something to look at in greater depth in following tasks.

One thing that I find is vital in composition is praise. A “wow, I love the way you are using the maracas” as I walk past a group to get to another set of children works wonders.

It is so important that every single child

believes themselves to be a composer - irrespective of age or perceived

ability. I want them to see themselves as musicians, to realise that their

ideas are valid and that their musicianship is needed in our class. It doesn’t matter to me whether they are a Grade 5 level pianist or they haven’t ever had 1:1 lessons, composition allows every child to achieve their potential, and often to work way above this. Because they have confidence in their musical ability, the children aim high!

Sometimes, I ask the children to compose in a certain way, because we are looking in greater detail at a particular thing; a topic based upon variations had children working out their own theme and then a canon based on it.

Other times, I ask them to pay particular attention to particular elements of music; at the moment, my Year 6 topic is ‘Soundtrack’. We have analysed the motif’s for various characters and things in a number of films, and spent time on perhaps the most famous motif of them all – Jaws! (We didn’t watch the film, obviously!). This developed into discussion about the use of tempo and pitch, and the children went off to change the motif in different ways, talking about how this then affected the mood.

There is no denying that teaching composition isn’t easy; it requires patience, and the ability to cope with a lot of noise in the room! It is also incredibly rewarding.

On talking with children recently about

composition, and why they love it so much, one child grinned and said “when I compose, the notes come alive and I am telling a story”. I couldn’t have put it better myself!

Holly Craven is the Director of Music at St Peter’s 8-13 in York, the Choir School for York Minster.

Progression in the Expressive Arts Dr Liz Stafford

Currently, most of music education discourse is related in some way to the idea of progression. It might be semantic debates about whether progress, progression and progressive are the same thing. It could be arguments

about ‘cognitive development’ and how that does or does not dictate progress. It could be very valid and righteous worries about how inclusive our progression frameworks are. Or it may well be just a good oldfashioned bunfight about whose ‘progressive’ resource is best. What cannot be denied however is that progression seems to be at the heart of our concern as a sector.

Rightly so, one might argue. The fundamental purpose of education could certainly be seen as helping children to ‘make progress’ towards adulthood.

We don’t just let children grow like bushes and then see what they look like when they’re 18, we nurture and shape them, giving them the skills, knowledge and understanding that they need in order to make a success of

their adult lives. Education as topiary, if you will.

When one considers the music curriculum however, often it provides the garden but not the horticultural know-how. If we think of the curriculum in England, we have end of Key Stage expectations which really only provide an indication of coverage; ‘compose and improvise music for a range of purposes using the interrelated dimensions of music’ from KS2 being a prime example. The absence of benchmarks, standards, or any kind of detail as to what exactly pupils should be able to achieve is both a

blessing or a curse. As I often tell worried non-specialist primary teachers, if all the curriculum tells you is to ‘play and perform with increasing accuracy, fluency, control and expression’ that does at least mean that as long as your Year 6’s are slightly less rubbish than they were in Year 3, you’ve ‘completed’ the National Curriculum and no-one can say you haven’t! But taking that kind of approach to progression is probably not

going to win you a gold medal at the Chelsea Flower Show.

The Model Music Curriculum recently had a crack at providing a more structured progression route for the Music National Curriculum in England. Unfortunately, this is all over the place in terms of reliability. The errors that pepper the document mean that progression routes sometimes

move backwards rather than forwards, the progression of some skills (particularly improvising) contradict received wisdom on musical development, and some areas do not provide for any skills progression at all – such as the listening strand which is simply a resource bank. Some serious weeding and replanting would need to be undertaken before this became a useable progression framework.

Ofsted too have popped on their wellies and had a go at sorting out progression in their recent Music Subject Research Review. Unlike the MMC, Ofsted have at least got the hang of the fact that there is more than one type of progress to be made in music, and this is reflected in their 'Interaction of Pillars and Lesson Activities' assessment / progression framework table. Here the skills of Performing, Composing and Listening are developed through three different aspects, technical, constructive, and

expressive. So far so good, but that still leaves us with only three statements for each skill area, all of which use nebulous words like ‘increasing’ which can’t be pinned down in terms of an actual standard or benchmark.

Over in Wales a new curriculum is being implemented, and it is here that we find one of the most useful progression frameworks that has been produced by an official body in the UK. This is all the more surprising in that it is a global framework covering all of the arts, and not just music specific. Three overarching aims are provided for the Expressive Arts Curriculum, and these are then broken down into three progression steps, which themselves contain multiple points. You can find these here.

What is most powerful about these statements is that they are fixed and

clear – no ‘increasing’ or ‘developing’ to be found here but instead finite, specific instructions about what children can actually do. At the same time, there is the flexibility to fit these to your own context, so the teacher can decide which resources to use, what is an appropriate activity for their pupils, and how to design a learning journey which moves their pupils through these progression stages. No wonder there are so many wonderful

gardens in Wales…

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LEARNING IN LOCKDOWN: PART FOUR

Bev Cullen is a self-employed music teacher at two SEND primary schools. In the last of a series of articles she shares her journey towards providing suitable online music teaching and resources for her pupils.

I returned to a ‘normal’ timetable in September 2020 with a mix of excitement and apprehension. Visiting two different SEND schools, teaching each class within the schools, and a number of one-to-one pupils.

Only 4 weeks into the autumn term, one school had to shut again due to a sudden rise in positive Covid cases amongst the staff. This meant, as I had been in contact with positive cases, that I too had to isolate and could not teach at the other school, and even after my isolation ended I realised that working across three school sites with medically vulnerable children was a risky thing to do. I asked my schools if I could continue to teach online and they agreed. This provided me with a new challenge.

How to teach an effective lesson for SEND pupils remotely over the internet?

The first couple of weeks of remote teaching provided a steep learning curve for myself and the staff across the two schools. Sound was an issue for us all. I was having difficulty in sharing the sound I needed from songs on Charanga. Sometimes they could hear me, but not the music.

Sometimes they could hear the music, but not hear me. Eventually, the

best solution was for me to use a small microphone (the type that is attached to mobile phone headphones), whilst at the same time sharing audio. I also needed to make sure that the staff in school were aware of all the instrumental resources needed to participate in the lesson, as I usually get the instruments ready myself when I’m in school.

In one school we quickly found that we could not have the microphone on in class as this created feedback when I was playing music to them. Also, as there was such a time delay between what I was hearing from my computer and them playing along, it created a great cacophonous sound. Instead the staff would just ‘unmute’ if they needed to speak to me. These sessions worked really well as I was able to see the pupils, could use their names and give immediate feedback to them. The pupils responded really well. There

were some, who don’t usually engage in the music sessions, taking a great interest because I was on screen!

In the other school, it was decided that they could not have the camera on in class (due to safeguarding policy). The staff would type in the chat box to let me know pupils’ responses and reactions. I would then be able to give

feedback and praise the pupils. This was difficult, as I was not able to use the pupils’ names, and could only refer to their class group. Also, there was often a time delay with the chat box and we had moved on to another activity, making it impossible to give immediate feedback.

As the term progressed, we needed to find a way to provide a range of

resources and lessons for those pupils working at home.

In one school, I was given a range of topics to create video assemblies: Children’s Mental Health; Chinese New Year; Shrove Tuesday; Mother’s Day; and Easter. I had previously recorded one for Remembrance and they liked this format to share with parents. They also shared videos of songs

that I had previously filmed, and links to my YouTube Channel.

I also created a selection of worksheets activities that parents could do at home with their children, which didn’t need access to the internet. These worksheets could be accessed online if required.

The other school decided to continue with the idea of ‘live’ lessons, but with two classes at a time (same department/similar pupils) to enable me to have a screen break between sessions. As before, I was delivering without

being able to see or hear the pupils, with feedback being given in the chat box. These lessons improved in quality throughout the term, as I and the staff got used to the format. These lessons were recorded and shared with pupils working from home using a private link on my YouTube Channel.

This school also shared song videos and worksheet activities on their school website.

As I look back over the last two years, I am amazed at what I’ve learned and achieved. I’ve gone from being a real technophobe to being able to create live and recorded online lessons and resources and share these with educators right across the world. If you’d told me two years ago that I’d be able to do all this, I wouldn’t have believed you! If my articles have taught

me one thing its that you’re never too old to challenge yourself and learn something new!

Bev Cullen is a Specialist Music Teacher, Musician and Makaton Tutor. Find Bev on Facebook: BC Music

Transform your school with Singing Dr Liz Stafford reviews Sparkyard It’s clear that Out of the Ark like to think about things. Their work always seems to be research-informed and problem-led. They seem genuinely interested in finding out what teachers’ concerns are and then providing solutions, rather than just whacking out a load of catchy tunes at regular intervals! For this, I like them a lot! Their latest offering, the subscription service Sparkyard carries on their work in this vein, but on a much bigger scale than we have seen before.

Growing out of their research with Professor Sue Hallam on how singing can support schools, Sparkyard is built around a massive repository of 1000 tried and tested songs. But it’s much more than just a songbank. Via an interface that is one of the most user-friendly that I’ve seen in education technology to date, teachers can access teaching tips, activity ideas and resources for each song. The multi-filter search function is a big plus, allowing teachers to find the songs they need with ease, and there are also options to favourite songs and collate them into a playlist or collection, which you can then share with other teachers and which your pupils can access from home. The songs can be played through Out of the Ark’s integrated interactive player, which was to my mind already one of the best on the market for user experience, and provides a much better rehearsal tool than a simple backing track.

Sparkyard is not just about singing though, it also provides a full skillsbased music curriculum, with flexible lesson plans and resources to make it really easy for non-specialist teachers to deliver. There is also a lovely collection of animated assemblies which include cartoons, songs to sing, and five different assembly plans so that you can tailor the assembly to suit your purposes. In addition, all 1000 songs come with cross-curricular ideas to complement their theme, making this a great all-rounder resource which

can support every area of school life, not just music.

At a time when schools may be struggling to get back into singing after two years of silence, the release of Sparkyard feels extremely timely. I think it is a great addition to the music education technology market, and I anticipate that the brand name will soon become as familiar as some of the

established curriculum schemes that we all know and love!

Introducing Music Theory Online for Schools With the emergence of the Internet in schools some 30 years ago, Michael Luck founder of Music Theory Online for schools had a vision of utilising the flexibility of the world wide web to enhance the study of Music Theory.

During the early 90’s, Michael set about creating his first website Music Theory Online. During the following years, Michael added more content to create a website that boasts over 1800 pages.

The website covers the

requirements of the ABRSM music theory Grades 1 – 5. For each grade, there is information about the requirements, short video tutorials covering all the major aspects, and Q&A sections to allow the student to monitor their progress. There are also online tests which are timed and provide automatic marking; providing an additional layer in the learning process, and hopefully enhancing students’ confidence in an exam situation.

During the pandemic, the website was redesigned to help teachers and students overcome some of the difficulties associated with teaching and learning online. There is now a section for schools that can help reduce

teacher workloads, whilst providing a comprehensive educational experience.

There are several new initiatives to this section of the website. Teachers can: manage students, provide assignments, monitor progress, set tests and examinations, access automatically marked work, and view results on a PDF or CSV format.

The teacher can browse the system to monitor student progress, and if required can even view individual answers if there is an issue. Teacher

groups can be created, which allows any number of teachers within a school to use the system. Progress charts can be accessed quickly giving the teacher a birds-eye view of student progress.

Future developments will include the addition of materials for Grades 6-8, translation initially into Welsh and Dutch, with other languages to follow,

and a function where students can print out a certificate when they pass their final test.

Access the schools materials free of charge Michael will soon be rolling out the new website to schools around the

world. Before this happens, he is inviting teachers to use Music Theory Online for Schools totally free of charge for three months in exchange for providing feedback on their experience of using the site.

For further information and to register for the free trial, please visit: https://www.musictheoryonline.co.uk/mto-for-schools/

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Best of British

Dr Liz Stafford explores the work of some home-grown ‘great composers and musicians’ In England the KS2 music national curriculum calls for children to listen to the music of ‘great composers and musicians’ from different cultures and traditions. Clearly the more cynical of us might detect the shadow of Haydn, Mozart and Beethoven in the use of this phrase, but the curriculum actually leaves the choice of composers and musical traditions wide open.

With this in mind, here are the British composers that I would choose to study with my pupils. These are personal choices based entirely on my love of their music and the potential I can see to engage pupils and support other areas of the music curriculum through listening to their works. Some of them are obvious, some are more unusual, but all of them are ‘great!’

Henry Purcell (1659-1695)

Listen to: Dido & Aeneas, King Arthur, and The Fairy Queen. Purcell inspired 20th Century British composers Michael Tippet and Benjamin Britten, and you could make a lovely English music topic out of investigating the musical links between these three composers.

Will Todd (b1970)

Listen to: Mass in Blue (the Credo in particular is guaranteed to get your KS2 pupils excited!), The Call of Wisdom, and No More Sorrow. Some of Todd’s work is influenced by his background as a jazz musician, so you could make an interesting topic on fusion styles, allowing you to broaden out your pupils’ listening experience beyond the classical genre.

Orlando Gibbons ( 1583-1625) Listen to: The Silver Swan, The Cries of London, and Hosanna to the Son of David. Gibbons’ fantastically atmospheric ‘The Cries of London’ could be used to link with drama or history work, and/or could provide a stimulus for composition creating a soundscape piece about your own city. You could even compare this piece with Lionel Bart’s ‘Who will buy’ from the

musical Oliver!

Bob Chilcott (b 1955) Listen to: Can you hear me, Like a singing bird, and All for Love of One. Chilcott has written a number of great pieces for children’s voices so you could make a nice link between your listening and performing work by studying his music. You might also consider compositional work focusing

texture (one of the interrelated dimensions of music) by taking

in-

spiration from the different approaches Chilcott takes to texture in his works,

from straightforward

homophonic textures to the more

complicated polyphony of ‘Like a Singing Bird.’

Peter Warlock (1894-1930) Listen to: Capriol Suite, Serenade for Strings, and Bethlehem Down. A colourful character (careful which biographical information you choose to share with your KS2 classes!) Warlock was inspired by the music of the Elizabethan era, so you could make a link with your listening work on Gibbons, as well as looking at the work of John Dowland who was a major influence.

Ed Sheeran (b 1991) Listen to: Shape of You, and Shivers. These two songs both make effective use of instrumental motifs (short repeating tunes) as a structural feature, which could lead to composition work focusing on structure with your classes.

Roxanna Panufnik (b 1968) Listen to: Four World Seasons, Love Abide, and Dance of Life: Tallinn Mass. Born in Britain of Polish heritage, Panufnik is influenced by music from all around the world, and actively tries to build bridges between

faiths and communities through her musical works. You could find inspiration for some great cross curricular links for PSHE and RE Karl Jenkins (b 1944) Listen to: Adiemus, The Armed Man, and Requiem. This Welsh composer specialises in music with a ‘hypnotic’ quality, making use of simple repeated patterns. You will find a lot of his music very accessible to sing and play, as well as listen to.

Hannah Kendall (b 1984) Listen to: The Spark Catchers, and Tuxedo: Vasco ‘de’ Gama. Kendall has an interesting composing process involving the use of art as graphic scores which she then fleshes out at the piano. This approach could be an interesting way to explore the link between a musical score and sound, with your own pupils trying to create music from a piece of artwork.

John Dankworth (1927-2010) Listen to: Experiments with Mice. This brilliant set of variations on Three

Blind Mice is really a history of jazz, with each variation an imitation of different jazz artists and bands. This would be a great introduction to jazz for your pupils, and you could go on to investigate some of the artists mentioned in the track. Alternatively you could compose your own three blind mice variations!

Rhythms of th Musical activity ideas for this

Composing Use body percussion and vocal sounds to create a storm in a rainforest: rubbing palms for rainfall, stamping feet for thunder, whistling noises for the wind, and shrieking noises for monkeys and parrots. Add dynamics and tempo changes to show the progress of the storm.

Musicianship

Make your own origami frogs and tap them in time to the beat to make them jump along with the pulse.

Listening

Listen to El and use the A Fields’ excelle to explore th becoming tre animals in res

Singing

Sing along with the Anthem for the Amazon, created by the Amazon Aid Foundation and Rhythm of the Universe, featuring 500 children from 50 different countries around the world.

he Rainforest popular cross-curricular topic History of Music Find out about the music of the indigenous people of the Amazon.

What does it sound like? What is it used for? What part does it play in their culture?

Performing

leanor Alberga’s ‘Nightscape’ Academy of St Martin in the ent Beacon Project resources his piece through movement, ee frogs and other nocturnal sponse to the music.

n n

Learn to play the ocarina, one of the oldest instruments in the world, which originated in South America, and is still very popular in Peru today!

Theory Talk about the layers of the rainforest being like texture in music, with all the different layers being separate, but part of one whole. Create a piece of music that uses pitched layers to represent the sounds of different parts of the rainforest e.g. high bird sounds for the canopy.

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