Issue 4.0: Autumn 2019 Brought to you by Music Education Solutions
Primary Music Magazine
Features: The Norfolk Virtual Big Sing The Psychology of Performance World Percussion in Education Whole Class Ensemble Teaching
Music Archaeology
Our cover stars are pupils from Nottingham Girls’ High Junior School Music Department
Inside this issue: Ofsted Framework
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NPME 2
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Model Curriculum
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Welsh Curriculum
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Sound & Music
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2020 Awards
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Music Archaeology
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Primary Music Magazine
Ofsted Framework changes cause concern
Teachers are worried about the idea of music deep dives
Teachers and schools across England are voicing their concerns over Ofsted’s new ‘Deep Dive’ process of subject inspection. Music is a subject that is causing particular consternation, since it is traditionally an area that primary teachers are trained less rigorously for, and therefore less confident about delivering. As one teacher memorably put it at Arts Connect’s
recent Tea Party event, “If they try to do a deep dive in music at our school they’ll crack their head open on the bottom of the pool!” The deep dive process is still very much in its test phase, but early indications suggest that subject coordinators are being asked questions such as how they ensure full curriculum coverage and progress across the school, and how they cater for SEND.
They are also carrying out joint observations with the inspector and comparing feedback, and then the teachers observed are being asked for their views on music, and about what support and CPD is available to them.
Draft Curriculum for Wales 2020
“Developing creativity, selfconfidence and resilience”
The draft curriculum for Wales due to be implemented in 2022 is now in its final stages of development, following a period of consultation. Currently the curriculum proposals group subjects into six areas of Learning and Experience, including one around Expressive Arts,
which includes art, dance, drama, film and digital media, and music. The idea is that although each of these subjects has its own discrete knowledge and skills, they are grouped together through the creative processes and transferrable skills that they have in common. It
is
hoped
that
the
Expressive Arts area of learning and experience will help learners not only to progress in the individual subjects but to gain appreciation of the cultures of the diverse communities of Wales and the wider world, as well as developing creativity, selfconfidence and resilience.
Still no sign of NPME 2
Will Early Years provision be included in the new National Plan for Music Education?
The current National Plan for Music Education runs out in 2020, and plans have been afoot for a ‘refreshed’ version for some time. However, this document is yet to be released, and this is starting to cause concern to organisations working within the music education
sector in terms of how to plan for next academic year. It is a fair bet to assume that singing and whole class ensemble teaching will still form a big part of the plan, and we also expect to see a renewed emphasis on inclusion and SEND provision.
There are also calls for Early Years provision to be included in the plan However, it remains to be seen exactly which areas of the current plan remain in the refreshed version, and if any new priorities are added for 2020 onwards.
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Further delay to Model Music Curriculum In perhaps the least surprising news of 2019, the model music curriculum announced by Nick Gibb earlier in the year has been further delayed over issues around quality. Given the short timeline allocated, the limited amount of funding awarded, and the fact that the drafting organisation and many of the expert panel are not curriculum music specialists, this latest
development could regarded as inevitable.
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The model curriculum is intended to be a non-statutory expansion of the national curriculum, giving a year-by-year breakdown of each Key Stage Programme of Study. Research carried out by Music Education Solutions in March showed strong indications that teachers were unlikely to utilise the
new curriculum unless it came with teaching resources and/or training, which we understand is not the intent. Instead it will be a framework document which schools can use to develop their curriculum using their own resources. At the time of writing, no new publication date has been announced for the Model Curriculum.
The new Model Music Curriculum has been delayed over issues of quality,
More composing needed in music lessons According to recent research by Sound and Music, 97% of music educators agree that composing should be a core element of every child’s learning, and that there should be more opportunities for pupils to compose. Teachers felt that limited access to resources, the
undervaluing of composing, and a lack of pupil and teacher confidence, were contributing to an environment where composing opportunities were not as extensive and varied as they would like.
external opportunities and progression routes, composing lacks that consistency for young people wanting to develop their skills.
Whereas performing disciplines are well supported with internal and
“97% of music educators agree that composing should be a core element of learning”
Music Hubs lobby for funding extension The ISM and Music Mark have called on the government to provide more funding for England’s Music Education Hubs, branding the current funding ‘simply not enough’ to secure the future of these organisations.
The current funding for music hubs runs out on 31st March 2020, and no further funding has yet been confirmed, which is a major concern considering the likelihood of a general election in the near future, and the potential delays to
funding decisions as a result. A series of short-term funding deals have weakened the hubs’ ability to forward plan, and so the ISM and Music Mark are leading the charge to demand at least £100m per annum for the next 5 years.
Hubs are asking for £100m per year for five years
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Photo: Becky Demmen
THE NORFOLK VIRTUAL BIG SING
Hannah Cott and Emily Penn discuss Norfolk Music Hub’s bid to replace their expensive annual Big Sing event with a more sustainable virtual event. 4
Since 2017, Norfolk Music Hub has been developing its digital strategy, exploring how technology can enrich our music education offer. As part of this digital drive, we have been successfully working with youth music charity NYMAZ, joining their Connect: Resound project to remotely deliver instrumental lessons over the internet, in real time, to rural schools. Through this partnership, we also broadcast our Make Music Day 2018 event online, streaming schoolchildren’s singing performances from a theatre cafÊ in Great Yarmouth. With this experience under our belt, we felt confident about creating a live broadcast Big Sing event with just as much feel-good factor. Our aim was to round off the academic year with a huge, unforgettable celebration of singing. We planned a two-day event at the Royal Norfolk Show which would be attended in person by 800 children but reach far more pupils through an interactive live broadcast to schools. It was essential that every school could take part either in person or virtually. Having a strong digital element also meant that more schools could enjoy the event, as it removed the worry about the cost of transport and planning that it takes for schools to attend large-scale events. There was definitely an appetite for another Big Sing. Within a week of releasing information, we had 1270 children registered from 30 schools! In the end, over 45 schools had expressed an interest so we ran random ballots for each locality to ensure we had a good level of engagement across the county. All schools were also given details of the live broadcast so that the rest of their pupils could take part digitally. It was interesting to note that 17 schools registered solely for the live stream, showing that the digital approach had real relevance. Using SingUp we created a fun playlist focusing on songs which the children would enjoy learning, as well as some dance moves for the benefit of our live-stream viewers. Teacher CPD sessions were held in three locations and also made available online. Where requested, we also arranged bespoke workshops to support learning in schools. NYMAZ and their partner UCanPlay were commissioned to manage the technical aspects of the live broadcast. They liaised with the Royal Norfolk Show to secure a wifi solution and identified the best way to deliver high quality sound and great visuals to the online audience. This was the first time we had ever hosted a live stream to schools so we had some concerns. How many would be able to tune in? Would there be barriers in the individual school settings, such as broadband speed, screen size, technical experience? Would the times of the stream be convenient? 5
We asked schools to register in advance for the live stream so that we would know numbers and could send out clear instructions which we developed with NYMAZ. For example, we strongly recommended that schools test their set ups beforehand to make sure they didn’t have any firewalls which would prevent access. Our Virtual Big Sing was hosted by an energetic professional vocal leader on each day. Along with a fantastic secondary school choir, they led the singing from the stage whilst a big screen reminded pupils of the lyrics.
Meanwhile, at the schools, children watched their fellow pupils on screen and joined in with all the songs via a password protected livestream. Over 750 devices tuned in live, with lots of children participating virtually – from the feedback we know that an average of 200 pupils were watching at each school. Some even managed to tweet us amazing pictures of their energetic in-school events.
“The virtual sing at school was a massive success and the pupils loved it!”
We were delighted with the results: Over 800 children attended with their teachers from 24 schools. The live-stream has now been viewed over 2500 times (and counting!), not only by schools taking part in the event but also on ‘catch-up’ by families wanting to relive the moment at home.
Will we go virtual again? You bet!
More Information To find out more visit: www.norfolkmusichub.org.uk www.connectresound.live Photo: Becky Demmen 6
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THE PSYCHOLOGY OF PERFORMANCE FROM THE INSIDE OUT
By Gregory Daubney & Dr Ally Daubney This article explores some flexible and practical ways which you and your students can work on together in order to make the experience of performing as enjoyable as possible for all of you. The Christmas show at your school is always a fantastic way to end the term. This year, as usual, your class is involved in performing a few different songs, which they have been learning with you over the past few weeks, as part of a mini production. The CD has been playing every morning as they come into class and they are now familiar with the material and most know the words really well too, often singing them spontaneously as they move around the school. As the performance time looms you notice that some of the children in your class are losing concentration. Ben and Heather are jointly playing the role of the camel and you see they are becoming distracted and waste time making each other laugh during the final rehearsals. You also notice that others are not quite their usual bubbly selves – Jayne is looking worried a lot of the time while Ami, as one of the main actors in the show, has become somewhat withdrawn and is having difficulty remembering her lines. Ami’s forgetfulness is impacting negatively on Hanic, who is also a lead role in the show and is becoming annoyed at Ami’s memory loss. You are becoming concerned about what might happen during the actual performance and these worries are leading you to think about things negatively: “what if it all goes wrong? I don’t want my class to make a mess of this – I want this to be a really positive experience for them” and this negative thinking is making your hands sweaty and your heart race. A lot of the symptoms of performance anxiety are contained in the short paragraph described above; generally, these symptoms will be physiological (e.g. sweaty hands), mental (Ami’s memory loss) or behavioural (Heather and Ben’s laughter) in nature. Some common symptoms are indicated in the table below. All of these symptoms can interfere with what should be a hugely enjoyable experience for both you and your class. So, what can we do about it? 8
(Re)Connect with your values There are a lot of stresses and strains during a term and that can often lead to difficulty in maintaining contact with what you truly value in your teaching. A quick reflection on the values you bring to your teaching can seriously influence your motivation and the motivation of your students. Such reflection enables you to connect, or maybe reconnect, with those values that started you teaching in the first place. Some questions you might want to consider are: • • • •
Why is arts education important? What is important for you when teaching music? What makes learning music enjoyable? What motivates you to teach?
We would guess that most teachers do not start teaching to have students feel nervous or worried about performing. Therefore, looking at whether your teaching is in line with what you value provides a framework for reflection and a means of adapting your teaching to help students enjoy their learning. Physiological Sweaty hands Butterflies in stomach Tense muscles Racing heart Shaking
Mental Memory loss Negative thoughts Self-doubt Worry Mind racing ahead
Behavioural Nervous laughter Distracted behaviour Not paying attention Make mistakes Freezing
Emphasise the process Reflecting on how you motivate and reward your students can have a massive influence on the presence of performance anxiety. If your teaching focusses on the outcome (good or bad) of the performance more than how to achieve that end result, you could be creating a rich breeding ground for performance anxiety. All students develop at different rates so maintaining a commitment to rewarding effort is worthwhile and is something that can be easily overlooked as performance time nears. Understanding, and emphasising, that feeling nervous before performing is a natural part of the process is a good way of helping your students realise that their nerves may not be a bad thing after all. Indeed, most professional performers readily acknowledge that they get nervous before they perform. In the example above, Hanic’s annoyance may be borne of frustration with Ami’s memory loss, but helping him to understand that her nerves are part of her way of preparing for the performance may help Hanic become less annoyed in the future. 9
Reframe unhelpful thoughts As any performance time draws near, the probability of nervousness and physical tension arising increases. This is largely due to the increasing awareness of the potential for things to go wrong. Yet, this is natural and occurs in most performance domains. In the example above, a classic symptom of feeling nervous is being shown by Ami, who keeps forgetting her lines. Memory loss is something that most performers, quite rightly, fear. However, this fear is largely caused by the mind focussing on things going wrong. A discussion with Ami asking her what she is thinking about may reveal some unhelpful thoughts, such as “I don’t want to forget my lines” or “What if I get it wrong? I’ll look really silly?” These thoughts can be reframed to promote confidence in Ami, for example “I won’t forget my lines because I’ve learnt them well” or “I won’t get it wrong and won’t look silly because I’ve worked very hard and love performing” As can be seen, these reframed thoughts are more helpful and will leave Ami feeling more confident, relaxed and excited about performing, taking confidence from her thorough preparation and positive talking to herself!
Body language When we feel nervous our bodies give us a good indication of what we are feeling often without us knowing it. Our posture tends to shrink whenever we experience nerves and this can make it difficult to perform. This is particularly the case with Jayne in the example above. By worrying about the upcoming performance, it is likely that she will become more withdrawn and will try to hide away from performing. A good way for Jayne to overcome this, while making her feel confident, is to remind her before going on the stage to stand up tall and proud. Try it yourself now. Slouch down into a ‘I don’t want anyone to look at me’ position. Think about how that feels. Now stand up tall, look up, and think about something you are really proud of. Changing our body language can really change the way we think and feel and, for students like Jayne, can have an immediate positive impact on their experience of the upcoming performance.
Good preparation leads to strong and enduring confidence It is important that the students are familiar with the material. This may sound obvious, but can be a significant cause of stress if students don’t think they know the material well enough. Strong preparation will help your students feel confident and that they are familiar with what they are going to perform and how they will perform it. As a music teacher this means being playful with the material so that they repeat, repeat, repeat without it getting dull and boring. 10
Another great source of confidence is to also know that every child has everything they need on the day of the performance to avoid the potential stress of forgetting something. This can be easily achieved with a ‘day of performance checklist’ including items such as: • • • •
particular clothing / costumes musical instruments props water and snacks
About the authors Gregory Daubney is a Chartered Psychologist Dr Ally Daubney is a music educator & researcher
Designing a list with your students in the build up to a performance will promote greater confidence through ownership of the process as the list will be generated with them.
Looking forward While this article has provided a short insight into some very practical strategies you can embed in preparation for an upcoming performance, it is ultimately more advantageous to embed these, and other strategies outlined in our published resources, into your daily teaching. Our practical guide is packed full of easy to use exercises including breathing, mindfulness, visualisation, confidence, attention focus, goal-setting and self-talk, all aimed at building strong motivation, self-regulation, a healthy motivational climate and overcoming a fear of failure. By making these strategies part of your everyday routine, you are providing students with a set of tools which they can draw upon at any time to help them cope with the stresses and strains they encounter not just in performance situations but in everyday life in and out of school.
MORE INFORMATION ISM TRUST RESOURCE Performance Anxiety: A practical guide for music teachers is available here
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Primary Music Magazine Awards 2020
Announcing the second annual Primary Music Magazine Awards After a successful inaugural awards in 2019, the 2020 Primary Music Magazine Awards are now available to enter. This year’s categories are: • • • • • •
Best Workshop Provider Best Composing or Improvising Resource Best Vocal Resource Best Instrumental Resource Best Listening Resource Best Curriculum Scheme
Entry to the awards is free of charge, and entries must be received on the official entry form by 31st December 2019. The judging panel must be provided with access to the resources for all categories except Best Workshop Provider, where a testimonial from a school must be provided instead. Please note that physical resources are unable to be returned. Shortlisted candidates will be announced in Issue 4.1 of Primary Music Magazine, and the winners will be announced at the Curriculum Music Conference 2020. Winners will receive a certificate, and half a page of coverage in Issue 4.2 of Primary Music Magazine.
Nominations close: 31st December 2019 Shortlist Announced: February 2020 in Issue 4.1. Winners Announced: 12th March 2020 at Curriculum Music Conference Winners Profiled: June 2020 in Issue 4.2
NOMINATE NOW! https://www.surveymonkey.co.uk/r/DMPR62R 13
World Percussion in Education
“The Rhythm of Life is a Powerful Beat, puts a Tingle in your Fingers and a Tingle in your Feet ” Cy Coleman and Dorothy Fields were right! We know how important music is to society and our cultural wellbeing, and that music is a statutory part of the National Curriculum in primary and secondary schools throughout the UK. It is proven that musical education and performance participation raises the cross-curricular attainment of all students, increasing their self-confidence, creativity, mathematical and motor skills, and affording them a great sense of achievement. Classroom musical activities promote teamwork and independent learning, as well as forging social aspects which are significant and often instigate lifelong friendships. In my experience, one of the simplest and most rewarding classroom schemes of work is the practical teaching of ‘World Percussion Music’. I can assure you that the students will progress and develop new skills and understanding. All activities and tasks are all-inclusive, and are a guaranteed to enhance a ‘learning-to-learn’ environment as pupils investigate the musical options and opportunities these instruments offer. Tasks will naturally introduce pupils to key words such as timbre, tone, texture, syncopation and rhythm to name but a few, but will also raise excellent conversations and understanding of geographical cultures and ecological manufacturing techniques.
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manufacturing techniques. Hand a selection of instruments out to small groups, display a few simple questions, and before you know it, your lesson is in full, fully-engaged, enthusiastic flow.
Key Questions:
Where do you think this instrument is from & why? What is it made of? How do you play it? What different sounds can it make?
Following this, you can start performing simple rhythms on each and develop the building of textures and tonal contrast. The pupils can listen to World Music and understand how the instruments they have in their hand blend, perform and enhance the music, be it West African Djembe, Caribbean Mambo or Latin American Salsa. Even the most non-compliant pupil can be nurtured, through group performances and improvised percussive solos. Follow this achievement with great praise and reward, and eureka! Who knows, you may have just sown the seeds for the next Airto Moreira, Steve Gadd or Mamady Keita. When we think about lessons involving classroom percussion, we immediately think of an exasperated teacher losing patience and quickly reaching for the paracetamol! The lesson could quickly descend into semi-organised bedlam with an array of noisy interludes. There is a fine line between a Djembe and a detention! However, with the right organisation, innovative activities, and some excellent and inexpensive percussion equipment, the pupils will be engrossed and enthused. Plus, the teacher will be content and headache free!
ABOUT THE AUTHOR Nick Walker was the principle trombone in Her Majesty’s Royal Marines Band Service for 24 years, before becoming a music teacher. He now works for Normans Musical Instruments. 15
SUPPORTING THE CLASSROOM A-Star Percussion Range from Normans Musical Instruments
Here at Normans Musical Instruments we are proud to be one of the UK’s leading suppliers of excellent, suitable and affordable classroom percussion. We are highly regarded for our most popular and exclusive A-Star Percussion range, where the variety, quality and price has received great reviews. From Sensory Packs for the youngest of children, large 30-piece Percussion Packs for larger class sizes, to the vast array of hand-carved traditional Djembe’s and the wonderful new Multicultural Baskets for our focus on World Music. We have something for everyone and whatever you need, we can provide the instruments you in any musical scheme of work you wish to deliver. Our latest addition is the superb A-Star Multicultural Basket range, either as a 15-player or 30-player set, where you will find a plethora of authentic, traditional percussion instruments from around the globe. Handmade and decorated using age-old techniques, not only will the unique timbres and rhythmic opportunities energise your students, but the cultural background and use of natural materials in their production will trigger geographical discussions, and comparisons to modern percussion instruments. These baskets are the fruition of many years development. Each instrument included has been carefully sourced and produced, requiring various performance techniques to provide different tones and effects.
The basket contains Claves, Seed Pods, Kalimba, Caxixi Shakers, Beaded Shakers, Wooden Flute, Tik-Tok, Djembe, Clapper, Drums, Chimes, and more! 16
Fun, sensory, professional and affordable, and all stored neatly in their own natural bamboo reed basket. Many of these instruments can also be purchased individually to enhance your current percussion section. When it comes to classroom percussion, there is an eternity of bangs, hits, tones, slaps, scrapes, rattles, pings, pongs, whirrs, and jingles etc. that can be sourced! The developmental focus on these packs was sound quality and affordability. These are not toys, but a carefully thought-out selection of great sounding, reliable percussion instruments.
For over a decade now, the accessible Djembe has been the mainstay of classroom African Music provision. There is nothing better than getting your class in a big circle to teach them the principals of African Drumming. Rhythms, Call & Response, Imitation, Improvisation. Yes, it will result in reddened hands, but it will also result in a great all-involved and learning lesson! The A-Star Djembe range is without doubt, one of the best investments a thriving musical school can make. Each drum is hand made using high-quality solid wood, natural tension rope and natural heads giving a superb sound. Traditionally decorated, these drums come in sizes ranging from 5” up to the grand ‘master drummer’ 10” model. For even better value, we offer complete sets of 4, 6, 10, 15 or 20 player Djembe Class Packs. To summarise, classroom practical music performance is vital for child development and attainment, plus educational variety. And don’t ever forget, it is also enjoyable, inclusive, & rewarding! With current government and education organisations assessing the increase in child mental health issues and school-related stress, practical music activities can be an important part of the remedy. By integrating cultural and geographical elements of World Music means pupils will enthusiastically get involved, experiment, and learn new skills alongside performance practises.
FIND OUT MORE For more information visit www.normans.co.uk 17
Dive Deeper into Music Half-day course for primary music subject leaders on curriculum design, delivery & assessment, and the new Ofsted Framework. ÂŁ45 per person
Limited places available
27th November 2019 Birmingham
29th January 2020 Leeds
For more information and booking visit: https://musiceducationsolutions.co.uk/products-page-3/courses-available/music-deep-dive/ 18
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Whole Class Ensemble Teaching A partnership between schools and hubs? For the last few weeks, our Music Education Solutions® team have been frantically dashing around the country delivering music INSET for music hubs, services, and schools. Many of the hubs that booked us wanted training specifically for their WCET staff, so we’ve spent a lot of time talking to WCET teachers, and each other, about the realities of delivering WCET in 2019.
The most frequent discussion we had with teachers was whether the element of WCET as a ‘partnership’ between schools has been lost. Many schools now use WCET as PPA cover, and with budgets so tight in recent years this is completely understandable. However, when Wider Opportunities (now WCET) was first developed, it was always meant to be delivered in partnership by hub AND school staff, and the Ofsted and Youth Music reports on the pilot projects noted this collaboration between the two groups of staff as a major strength of the initiative. Not only that, but WCET wasn’t ever meant to replace the music curriculum, but to enhance it, so in effect we should have WCET lessons supported by the class teacher AND separate music curriculum lessons delivered by the class teacher too! 20
So how can schools ensure that their staff are involved with WCET, whilst still giving them their PPA entitlement, also timetabling them to teach separate music lessons, and stay within the overall school budget? The basic answer is that they can’t! In all our years of supporting schools up and down the country, we have only ever come across one primary school in all the thousands that we’ve worked with that has achieved this unicorn status. The music hub teachers that we’ve talked to over the past few weeks are the first to recognise this. We have had numerous discussions about schools being ‘customers’ in a way that they perhaps weren’t under the old system of local authority music services, and the pressure this puts on hubs to give schools what they want, particularly when the future of centralised funding is so uncertain. However it’s not just the practical, delivery aspects where partnership between hubs and schools seems to have become less secure. Theoretically, there is meant to be a partnership between hubs and schools at the design phase of WCET, but how many hubs are really involving schools in the design of WCET programmes? Whilst hubs have the musical expertise advantage (in most, but not all, cases), schools are the experts on their own pupils, and have a statutory responsibility to ensure that individual pupil needs are being met. A one-size-fits -all approach to WCET is the opposite of the approach taken by schools to every other area of the curriculum, which may be one of the reasons why more schools are starting to design and deliver their own programmes rather than buying them in from a hub.
By Dr Elizabeth Stafford Director, Music Education Solutions® We have already seen the difficulty that schools have in becoming full delivery partners in WCET, but it is possible that if they were involved at the design stage they would be more invested in the delivery of these programmes. However, equally we must acknowledge that for music hubs to design different versions of WCET for every school in their area would be an infeasible task, especially considering the cost and availability of instruments if schools are given free choice. So how can we reignite the partnership between schools and hubs in the design and delivery of whole class ensemble teaching programmes? One approach which we developed on behalf of Sky Music Education Hub was to create a ‘toolkit’ that could be used by instrumental teachers in conjunction with school staff, to personalise the basic WCET programme to each school’s particular 21
needs. This proved extremely successful and resulted in an independent quality assurer commenting that schools and instrumental teachers were working much more closely, and that the quality of the WCET lessons observed had improved as a result. Another approach that we have developed in partnership with Jersey Music Service (who are not bound by ‘hub law’, but have chosen to follow a similar model of their own volition!) is to link WCET provision to SMEP (in Jersey called MEPAS). This allows the music service and schools to identify priorities for developing the whole school music offer, and where appropriate use WCET as one of the mechanisms to address this
Whichever approach we adopt to try and strengthen partnerships between schools and hubs, the one big factor that may provide the most help is the new Ofsted framework with its ‘deep dive’ subject scrutiny. This may be just the thing that helps schools and hubs to work more closely together in planning and delivering WCET programmes, as each school needs to be in a position to evidence to Ofsted (if required) how they are planning for the progression of musical skills over time. It will be interesting to see if this is indeed the case, and we look forward to talking to staff at next year’s September INSETs to see if we were right! 22
Music Education SolutionsÂŽ The Primary Music INSET experts! Book your session today from as little as ÂŁ69.95!
NEW and best-selling INSET topics for 2019-20 include: Primary Music National Curriculum Essentials Excellence in Primary Music Planning & Assessing Primary Music Planning Music within the Creative Curriculum Vocal Confidence for Non-Singing Teachers Developing a Whole-School Singing Strategy Learn to Read Music Notation in 1.5 hours! Devising Composing activities for KS1 and KS2 Available live at your school, or via Skype, to suit your budget! 23
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Music Archaeology A new KS2 education package from the University of Huddersfield brings prehistoric and Roman sited to life.
Primary schools can access new education resources based on music archaeology research from the University of Huddersfield’s Professor Rupert Till, enabling children to explore the sounds and music of prehistoric and early Roman sites. The resource pack is based on the Soundgate app which allows users to interactively explore a number of archaeological sites: prehistoric caves in Spain; Stonehenge in England; and Paphos Roman Theatre in Cyprus, as they might have looked and sounded in the ancient past. Pupils can explore these spaces visually through virtual walk-throughs, images and video, and aurally by hearing musical and natural sounds that may have been heard there in the past. They can hear how the acoustics of these spaces enhances how the spaces are experienced, and how the acoustics change as you move around the site. The education pack contains a Teacher’s Guide to using the Soundgate app as well as a series of engaging Lesson Plans on topics such as Creating Cave Art and Making Cave Sounds and Music with links to National Curriculum Programmes of Study for music, history and science and other subjects.
The Music Archaeology education resource pack can be downloaded for free from: http://mhm.hud.ac.uk/soundgate/ 27
Primary Music Magazine is brought to you by Music Education Solutions
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As well as publishing Primary Music Magazine, we also offer training and development opportunities for teachers worldwide, either live or online. Visit our website to find out more about the courses and qualifications that we offer, and how we can support your school to become even better at delivering music education!
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Our next issue 4.1 is out in February 2020 — see you then! 28
