Scottish Traditional Music and the Primary School Classroom by Traditional Music Forum

TRADITIONAL MUSIC FORUM of SCOTLAND

Scottish Traditional Music and the Primary School Classroom

Pamela Flanagan

October 2007 Table of Contents Page Executive Summary

Background to the report

-Methodology

-Organisation of the report

Acknowledgements

Section I: Results of the Survey - The National Viewpoint

Section II: Results of the Survey - The Regional Viewpoint

Section III: Current Traditional Music Resources -a representative selection

Section IV: Initiatives in Scottish Traditional Music Education - a representative selection

Section V: Training

Section VI: Ireland – a brief comparison

Section VII: Summary, Conclusions and Recommendations

Appendix I – Further Acknowledgements

Appendix II – Bibliography, resources and web-sites

Appendix III – Teacher Survey Questionnaire

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Executive Summary The present situation in Scotland: A. There are currently many resources and initiatives which either have or could have a direct relevance to teaching Scottish Traditional Music in the primary school classroom, but many teachers are not necessarily aware of these; neither are they aware of the potential for Scottish music as a learning point for cross-curricular work. B. There are also many new initiatives currently underway, indicating that traditional music in Scotland is in an evolving and forward-moving state. C. Much of the delivery of the expressive arts commitment to Scottish Traditional Music is delegated to external providers. D. Although this has been very welcome, sometimes there are or can be problems with continuity of provision and long-term sustainability. E. In addition, the teachers are often not party to the tuition in Scottish Traditional Music received by their pupils, and therefore are not experiencing traditional music being taught first-hand or getting involved themselves. F. A further problem is the perception amongst primary school teachers of a crowded school curriculum, and that Scottish Traditional Music is yet another thing that “has to be fitted in”. G. Lack of confidence prevents many primary school teachers from engaging fully with this artform – music in general is often seen as something that is “elite” and for “specialists”. In relation to Scottish Traditional Music in particular this is a barrier to embedding it in the school curriculum. H. The situation regarding the provision of tuition in Scottish Traditional Music in the primary sector across Scotland is very diverse and dependent on many factors, including local authority policy, funding, and issues of rurality. Recommendations as to what is required: 1) The production of a comprehensive central database of teaching resources, materials, discographies, bibliographies and online resources which is accessible by all and publicised to all. 2) This should be continually reviewed and updated given finding (B) above, and include, for example, all websites relevant to teaching. 3) The Traditional Music Forum of Scotland should continue its role of encouraging traditional music education across the board; in addition the Forum could have a role in 3

lobbying the Education Department of the Scottish Government concerning the need for continuity re (C) above. 4) The TMF should advocate Continuing Professional Development for primary school classroom teachers who wish it (particularly those who are non-specialists in traditional music), possibly with accreditation together with training for specialist tutors (whose background is outwith the formal education sector). The TMF should also work with the relevant bodies on the creation of suitable courses and events. 5) It may be that new resources created on behalf of the TMF are required for CPD for primary school teachers or specialist tutors, and/or teaching resources for young pupils but careful consideration of materials should be given before any work goes ahead – this may well depend on the assembling of the database as outlined in proposal 1 above. 6) If the TMF decides to create new resources for use in the primary school classroom, it should give consideration to working in collaboration with other Scottish Traditional Arts organisations in the production of materials which would address cross-curricular issues, and aid acceptance of the artform by teachers and hence its inclusion within the school curriculum. 7) The TMF should work to counteract the myth that music is only for the “talented” or the “expert”.

This should come through in any literature, training programmes and/or

workshops that might be provided by the Forum. 8) Online learning re CPD, or class tuition for primary school students in remote areas where tuition in Scottish Traditional Music is not easily accessible, may well be the way ahead in allowing the TMF to reach the widest audience possible at the lowest cost. The Forum should consider working with relevant organisations to access and harness technology in the provision of traditional music education for teachers (both specialist and non-specialist) and pupils.

Background to the report This report is the result of a brief from the Traditional Music Forum of Scotland.

The

Traditional Music Forum is a network, supported by the Scottish Arts Council, of activist individuals and representatives of key organizations working in traditional music in Scotland today. The Forum aims to advocate a place for traditional music at the heart of Scottish life, particularly in schools and it is a key resource for information and advice on traditional music for the Scottish Arts Council, and other public bodies. It is currently looking at ways to facilitate and support teachers in the provision of Scottish Traditional Music classes in schools, and the need for this report was identified through discussion within the Forum and with the Education Minister and Learning and Teaching Scotland. One of the Traditional Music Forum’s strategies for raising awareness among teachers of Scotland’s Traditional Music, and what it can offer in terms of individual and social development, is to make available classroom materials that are attractive, informative, contemporary, easy to use and of use when exploring other areas of the curriculum. Hence the brief from the Traditional Music Forum was as follows: Within a six-month period to: a) carry out research into teachers’ needs and wants in this area b) research how traditional music is covered in teacher training c) collate and review, in terms of teachers’ needs and wants, existing traditional music resources for school from early years to secondary d) review the use of general music education programmes such as Kodaly, Orff and Dalcroze, and the ABC music programme and how these might complement traditional music teaching and learning e) make recommendations on the form and content of any new and complementary materials identified by the research as being required f) make links with the Curriculum for Excellence review team and Learning and Teaching Scotland in order to take into account how any proposed materials would meet the ‘values, purposes and principles’ of the new curriculum g) prepare a specification and costings for the production of materials h) report in writing to the Traditional Music Forum The report was funded wholly by the Scottish Arts Council, and their support is herewith gratefully acknowledged.

Methodology The research began in March 2007 and concluded in September 2007.

The researcher

commenced her work by consulting the Curriculum Review team. As a result of discussions with the CRT and with the TMF the decision was made to focus on the primary school sector. Consequently, the researcher undertook the following actions: •

Over 2000 primary schools were surveyed across Scotland by means of a postal questionnaire.

•

Based on the results, the researcher contacted teachers around Scotland who had indicated that they would be happy for further contact with the Forum. This took place through telephone interviews or emails.

•

In addition, the researcher spoke with a range of those responsible for the co-ordination and facilitation of traditional music activities, e.g. Cultural Co-ordinators, Creative Links officers, Youth Music Initiative Officers, Instrumental Service Managers, those responsible for the development of Gaelic language, those involved in traditional dance tuition, those involved in specialist traditional music training and educationalists at primary, secondary and tertiary levels. Online and published literature produced by local councils and other organisations was also consulted.

•

Significant organisations such as Learning and Teaching Scotland, BBC Scotland, Scottish Arts Council (YMI Officer) and Fèisean nan Gàidheal were also contacted.

•

Since the Irish model of traditional music was viewed as being potentially important, the researcher spoke to the Arts Councils of both Northern and Southern Ireland, county council officers, and a number of educationalists involved in Irish Traditional Music.

•

The researcher also undertook a review of a representative sample of traditional music resources that are currently available.

As the research progressed, however, it became clear that more issues than initially anticipated in the original brief were emerging, particularly in the responses to the survey that were received. Time constraints prevented a fuller consideration of some of these, while others were outside the parameters of this brief and therefore can only be referred to in shortened form. However, as a result of the survey, a shift in focus has occurred which has had an effect on the original brief, and so this survey will be considered first in the report which is to follow.

Organisation of Report Section I reviews the response to the survey from the national perspective; Section II considers the regional response to the survey; Section III looks at the current situation with regard to the types of educational resources available; Section IV considers a representative selection of initiatives in Scottish Traditional Music education available to primary age children; Section V considers the current situation regarding the training of teachers in traditional music in Scotland; Section VI gives a brief comparative overview of traditional music education in Ireland; Section VII outlines the conclusions drawn from the survey and the accompanying research, and presents recommendations for future actions. Appendices contain further acknowledgements of all those individuals and/or organisations who have contributed to the production of this report, a full bibliography (online and published resources), and the questionnaire used to survey the teachers.

Acknowledgements I would like to acknowledge the help of all those listed in Appendix I as well as the primary school teachers who kindly filled out the questionnaire and returned it to me. Without their assistance, the report would not have been possible. I am grateful to all members of the Traditional Music Forum for their guidance, especially David Francis, Katherine Campbell and Anne Neilson, who were part of a small steering committee for this project. Finally I wish to acknowledge the help and support of my mother Patricia, my sister Ciara, and my friend Mary. The financial assistance of the Scottish Arts Council in the production of this report is gratefully acknowledged.

SECTION I: RESULTS OF THE SURVEY - THE NATIONAL VIEWPOINT

Introduction Of 2118 primary schools surveyed across Scotland, 408 (19.26%) responded to the questionnaire.1 One or two points need to be borne in mind when considering the outcomes as stated below, namely: a) A fifth of respondents stated that their school did not feature Scottish Traditional Music in its curriculum, yet went on to complete the questionnaire, demonstrating in the process that such musical activity did indeed take place within the school. b) Many respondents answered in more than one category when it came to questions on class format, teacher status etc. c) A fifth of those who responded contributed further comments and suggestions. d) Anonymous and unplaced replies accounted for just under 18% of the responses; the distinction between the two is made because the latter category of respondent did supply names and personal addresses but did not identify their school. e) Many respondents seemed to be unaware of traditional music initiatives underway in their own region. What follows is a summary of the outcomes of the survey in which the main issues nationally are identified. This is succeeded by a brief analysis of the statistics and commentary on the survey response. Outcomes of the survey: the current situation 

Almost 79.16% of those who responded said that their school featured Scottish traditional music in its Expressive Arts commitment; 20.83% stated that their school did not.



Over half of those who responded (55.63%) relied on occasional workshops for delivery of the school’s commitment; this when combined with the percentage of those employing other activities (eg school excursions to concerts, festivals etc.) meant that 87.24% rely on delivery by external providers either entirely or in part.2

See Appendix III One-to-one tuition did not feature highly in the responses to this question; however, it should also be noted that many respondents answered more than one category in this question. 2



Widely varying time allocations were devoted to the subject according to those who responded, ranging from occasional to seasonal to regular classes per week. Some, however, were unable to state precisely how much time was allocated.



Most classes/workshops/activities took place within school hours (78.92% of responses); external or after school activities accounted for 9.55%.3



The external element attached to the delivery of classes also manifested itself in the identification of responsibility – 64.70% of respondents delegated responsibility to someone else, while only 25% took direct responsibility. There were very few cases, where the whole school staff were involved in teaching traditional music.4



The external element continued in the identification of the status of those who delivered tuition: 39.21% were identified as peripatetic, another 12.99% were stated to be “other”, 9.3% and 9.8% were identified as full-time and part-time respectively. 5



13% stated that some form of teaching method (e.g. Kodaly) was used, though many were unable to identify precisely what this was; 87% indicated that no particular teaching method was employed.



12.99% of schools use specific teaching materials; 87.25% of schools do not.



Over half of those who responded (56.37%) had received no musical training whatsoever; the remainder indicated some sort of musical training or experience, though very few of these had pursued musical studies at tertiary-education level.

Outcomes of the survey: points for noting by the Traditional Music Forum 

83% of respondents would welcome further assistance in terms of extra resources and/or teaching materials.



Fractionally less than that (81.86%) would also welcome a central database.



Almost two thirds of respondents (65.93%) would welcome Continuing Professional Development in this area.



Just over a third of those who responded (35.53%) would be happy for further contact to be made with the Traditional Music Forum following this survey.

Analysis Perhaps one of the main issues that is apparent from looking at the above statistics is the perception amongst many respondents that Scottish Traditional Music is at times external (or an 3

Again, it should be noted that many answered in both categories contained in this question, or did not respond. This question also resulted in answers in both categories from some of the respondents. 5 Again, many answered in more than one category in this question or did not respond. 4

add-on) to the curriculum. Many are happy to leave the teaching of it to others; indeed many are convinced that the only way it can be taught is through the importation of specialists as some of the following comments demonstrate: Music Tuition is a specialist area and should be delivered by those who are competent and confident in their field so that they can inspire and generate a genuine interest. This is not an area I would feel competent to deliver even with support. (Angus teacher) Proper trained musicians need to deliver the music to gain the best from our pupils. (Highlands and Islands teacher) Music is best delivered through visiting specialists. Head teachers do not always have the freedom to employ these talented people, however, no matter how much their pupils need them! (Unplaced respondent) Among some of the respondents there would appear to be a lack of confidence in approaching the subject: Would love to have traditional music in school, but nobody trained or talented enough to do so. (Anonymous teacher) As we have no music teacher and have not had one for several years, nor have we any staff member who is particularly ‘musical’ this area of the ‘curric’ can be difficult to address. (Anonymous teacher) Even-one off ‘visits’ from Scottish Traditional Musicians are of much more value than watered down versions over several weeks by musical virgins! (Falkirk teacher) I use Borders6 music programme but feel I am not competent enough to do this more effectively i.e. teach Scottish Traditional Music so no particular method. (Edinburgh teacher) The sense of a subject which is “separate” was further emphasised in many of the responses to the question concerning the time allocated to it; many respondents indicated that Scottish Traditional Music was frequently only highlighted for special occasions such as Burns Night or St. Andrew’s Day, rather than woven into the fabric of the school’s day-to-day curriculum. 7 As can be seen from the statistics above, many had received no musical training whatsoever, so the 6

In the course of the survey it was not always clear if respondents were referring to the Scottish Borders Council’s Music for Early Years: Nursery – P3 (2000) which uses traditional songs as part of its programme, or whether, as subsequent investigation revealed in some areas, this was more likely to be Dumfries and Galloway’s Sangs, Reels and High Jinks (1998), as, at the time of writing, Scottish Borders has yet to publish its new materials covering the whole of the Primary sector. 7 However, in this context some respondents also cited Scottish Country Dancing as helping to fulfil the school’s commitment to Scottish Traditional Music.

apparent lack of confidence in approaching the teaching of the subject is understandable. This was also reflected in the response to the provision of CPD in this area. While two-thirds of respondents were receptive to the idea, others were wary: Teachers overloaded at moment with other priorities. (Highlands and Islands teacher) With so much training across new initiatives it would not be high priority at present. (Aberdeenshire teacher) … In reality I cannot see many people having the luxury of devoting time to this at the moment. (Highlands and Islands teacher) It would be up to individual teachers to volunteer for such CPD and would depend on their own interests/talent. (Anonymous teacher) As can be seen from these selected comments, some of these highlighted another recurring theme, namely that of a crowded schedule both in terms of their own commitments, and the pressure to cover the curriculum. The problem was highlighted by a Dumfries and Galloway teacher: In a very busy school curriculum, music is only a part of the week, therefore Scottish Traditional Music would only be a very small part of the music timetable. Generally, however, most were keen to undertake CPD, one teacher stating that it would be welcome “if high quality [and] linked to accreditation”. 8 Accessibility for pupils and the need to make Scottish Traditional Music relevant to the 21 st century was also highlighted. One Highlands and Islands teacher commented: (a) make it easy to succeed, and (b) make it cool to be trad. Another teacher from South Ayrshire observed that “I think it’s important to find an exciting approach in this age of computer games”. Funding, however, was a major concern for a lot of respondents: Would love to have more traditional music in our school, but we cannot buy in expensive workshops etc. (Aberdeenshire teacher) Please recognise issues raised by rurality…would love to take pupils to Celtic Connections workshops but distance and costs prohibitive. (Argyll and Bute teacher) 8

See Section V of this report regarding training.

Although I know there are people out there, the cost is beyond the reach of my small budget. (Dundee teacher) Funding from the Scottish Executive is needed for this area of the curriculum. More trained teachers [are] needed. (Anonymous teacher) Some may be puzzled when reading the above comments, given that there are now many funded initiatives underway around the country. However, the short term nature of some of these initiatives surfaced as a concern: We had a music teacher (peripatetic) who taught Gaelic songs and language. This was funded for 3 years, then taken away. Please, in future, let these initiatives be permanent. (Argyll and Bute teacher) Having visits from young musicians is terrific, but we really need someone who can come in for a block of time to work with pupils. (Dundee teacher) The FĂ¨isean movement gives a good taster but I think that more structured input is required so that pupils can develop reading of music skills and learn an instrument more fully, not just tasting, also using computer-aided technology to allow disabled children to take a more active role. (Highlands and Islands teacher) Scottish Traditional Music is promoted by the Orkney Traditional Music Project, which has great difficulty in maintaining funding for its tutors. I would like consideration to be given to sustaining established projects such as this, as well as in schools. (Orkney teacher) The apparent lack of formal teaching methods in use as highlighted in the survey should not necessarily be of major concern, since what is largely an oral/aural tradition has communicated Scottish Traditional Music for centuries and has helped to ensure its survival. Of the few that were cited, the Kodaly method seemed to be the most prevalent, with only a couple of references to other methods such as ABC, Orff and Suzuki. However, the lack of awareness of Scottish Traditional Music materials available (despite numerous bibliographies and resources lists having been published in paper and electronic form, not to mention numerous organisations offering resources available through the internet) was surprising, and the need to draw together all of the above into a central database which could be easily accessed is signified by the response to that particular question in the survey. Many respondents seemed to be unaware of what initiatives were underway in their own region, a theme to which the current writer will return later in this report. Survey Response 13

Some regions responded better than others to the survey: in general terms, the east coastâ&#x20AC;&#x2122;s somewhat poor response level was in marked contrast to that received from other regions such as Argyll and Bute and Highlands and Islands. The vast majority, however, were enthusiastic and supportive of the subject and the survey, as some of the following comments show: We usually have input from Traditional Scottish Music players on an annual basis, which is organised by the CREATE team and the children absolutely adore these sessions. (Anonymous teacher) Delighted that you are considering supporting this part of our work. (East Dunbartonshire teacher) I cannot stress highly enough the importance of the breadth of the Scottish resource; there are such varied traditions throughout Scotland and the value to Scottish bairns of becoming confident in their local voice (vocal/instrumental/cultural) and knowledgeable about Scotland as a whole is great. (Shetland teacher) I do some Scottish music with all my players at both primary and secondary level. They LOVE it! (Midlothian teacher) I think Scottish Trad. Music is very important and should be taught to all children. Good luck with your quest. (North Lanarkshire teacher) I feel that the music is one of the most important parts of our curriculumâ&#x20AC;ŚAs a village which is very focussed on its school I think the whole community will respond very enthusiastically to any work that is done to introduce their children to traditional music. (Fife teacher) I find the children thoroughly enjoy traditional music. (Aberdeenshire teacher) Children love Scottish Music; also everyone smiles at Ceilidh dancing. (Fife teacher) On average, a third of those who responded in each region were happy for further contact to be made with the Forum; from these the current writer contacted a select number in a series of follow-up conversations by telephone and by e-mail either to clarify or expand upon points made in their response.

SECTION II: RESULTS OF THE SURVEY - THE REGIONAL VIEWPOINT

The Northern Islands Orkney

Shetland

Number of schools surveyed: 17

Number of schools surveyed: 25

Number of identified responses: 4

Number of identified responses: 13

Percentage of responses: 23.52%

Percentage of responses: 52%

All of those who responded indicated the inclusion of Scottish Traditional Music in the school curriculum, with (within those responses) one-to-one tuition being the predominant mode of delivery for the Shetland Isles as opposed to weekly classes in Orkney; both modes were however combined with other formats, particularly occasional workshops. All classes took place within school hours, though many of the Shetland schools also offered after school activities. Peripatetic teaching predominated, with delegation of delivery to “other” teachers more prevalent in Shetland responses than in those received from Orkney. Time allocations varied from precise (“1 hour per week for a 10-12 week term”) to (as one respondent put it) “flexible”. However, three further comments from both communities are worth noting, indicating perhaps a more integrated approach to the subject: Varies! But it is always included so as to give it its proper place among learning and hearing music from as many sources as possible – also important for cultural reference. There is no specific time. It is part of [the] music curriculum and happens when needed. Traditional music is also used as part of dance tuition, for example, or a study of Scotland’s culture. Given the remoteness of the communities involved one might have expected the use of technology to feature strongly; however this only surfaced in one response from Orkney where the use of computers, and online materials were indicated. Of all respondents only one teacher indicated the use of her own teaching method (Shetland), while three more indicated that teaching materials were employed, one making use of the vast quantity of material amassed over many years, another citing a “Shetland specific book – Da Sangs o Scotland”, and one observing that “singing is very good because it raises language and cultural issues and is easily learnt”. All bar one of the respondents welcomed further assistance, one Orkney teacher observing that “resources which can be used by non-specialist teachers would also be welcome”. Again almost all of the respondents supported the idea of a central database, while one felt that a local base for

Orkney music would be more useful. By contrast the view from one Shetland teacher was slightly broader in scope: Yes – especially if it was material sourced from parts of Scotland’s traditions in Highlands, Lowlands, East Coast, Islands (Western and Northern) and urban. Only three Shetland respondents indicated that they had received some form of musical training – one making reference to the “certificate in Trad. Music from a distance learning course in St. Andrew’s in the late 90s”.9 By contrast, though the response rate to the questionnaire was lower, all four of the Orkney respondents indicated some form of musical experience either for themselves or other teachers involved (in the case of three of these this took the form of specialist music degrees). 14 respondents from both island communities welcomed CPD with one Orcadian observing that “this would be good if it was locally done and particularly featured Orkney music”.

The Western Isles; Highlands and Islands The Western Isles

Highlands and Islands

Number of schools surveyed: 40

Number of schools surveyed: 191

Number of identified responses: 7

Number of identified responses: 51

Percentage of responses: 17.5%

Percentage of responses: 26.70%

With a response rate just under that of the national average, weekly classes in Scottish Traditional Music featured in six of the seven responses received from the Western Isles as the predominant mode of delivery, though frequently in tandem with other formats. With the highest number of schools surveyed regionally, and the greatest number of identified responses in the survey, all 51 respondents from the Highlands and Islands indicated that Scottish Traditional Music featured in the school curriculum. All formats of delivery were employed though here occasional workshops predominated (featuring in 40 of the responses received), largely supplementing other classes.

This now has ceased; formerly St. Andrews offered a one-year distance learning course in traditional music (fiddle and voice) which was aimed, amongst others, at school teachers and which also was intended to assist classical musicians in their interpretation of Scottish song (see Francis [1999] Traditional Music in Scotland – Education, Information, Advocacy, p.76). Today the St. Andrews Music Centre offers a module in Scottish Music as part of its MA, which, depending on the previous study of the individual student, concentrates on either composition and arrangement, or the history of (and issues in) Scottish Music.

With such a large response (in particular from the Highland region), there was an equally wide variety of time allocations indicated by respondents from both areas, ranging from the imprecise (such as “not enough” and “varies”) to the specific (“½ hour per week – Gaelic singing, Social Dance on occasion {Ceilidh Dancing}”; “…12 hours per year for P5/6 – using whistle, voice, percussion”). The vast majority indicated that classes/activities took place mainly within school hours with only a few schools offering after school classes in either region. Again responsibility for delivery was largely delegated to other teachers, with very few respondents taking either direct or shared responsibility, while the status of the teachers involved was overwhelmingly identified as peripatetic or other. Few identified a particular teaching method (none at all in the Western Isles, where one respondent stating that it “varies according to need”) and few specified teaching materials. Those that did identified such resources as the Borders music pack, 10 LTS Scottish Trad. Music Package, Ceol nam Fèis books, Fèisean nan Gàidheal/YMI folders for whistle and voice, Seinn Seo, A and C Black Music Books and CDs, Kodaly National Youth Choir Singing Games and Rhymes etc. The majority of respondents in both regions welcomed further assistance: At the moment everything is very fragmented – it would be good to put it all together. Finding resources can be difficult. “Singing Kettle” songs used to develop a fun school choir – would like to develop this further. Yes, but the problem is not the resources but finding the time in the curriculum. Yes – looking forward to new Kodaly (in Gaelic) pack coming out from Lewis. Yes – anything which supports work done by visiting tutors. I would like more resources that link music with Scottish culture and history, and other curricular areas. Yes – easy arrangements (rather than always having to do this) for common tunes taught for whistle. Of those not in favour, some qualified their responses as follows: Extra specialist teaching would be preferred. No – have lots in school. No – we’re very well served by present structure.

See footnote on page 10.

The vast majority also supported the idea of a central database, though some were undecided, and those against were quite definite in their views as is evident from some of the remarks below: It needs to be pulled together without being prescriptive. Yes – downloadable sheet music and voice files – particularly Gaelic. Class teacher with expertise in trad. music would benefit from resource materials. Yes – need someone with musical knowledge. Don’t know – might not be very practical. Probably, but we are geographically isolated, so might not make use of it. No – it needs to be taught by a specialist musician as I am not able to read music. No – teachers bring their own styles and repertoire to classes. [Have] no skills to deliver this part of the curriculum. Few gave details of any musical training that they had received; in the Western Isles this included two at degree level and one at primary diploma level, while in the Highlands and Islands just over half of the respondents indicated some form of musical experience and here Kodaly training loomed large – a representative selection of remarks follows: Personally very little – learning to piano/theory grade 5 – but other members of staff are members of traditional music groups. No staff have specific training, however, some staff have a personal involvement in traditional music. Kodaly did one whole school workshop which staff found very good. Classical music degree – no training in Trad. other than tin whistle. Kodaly seminars, piano up to 12 years. Gaelic singing at Mods, ceilidhs. Gaelic singing, whistle tuition, group work, song, whistles, instruments. Orff, Kodaly, Primary Teaching. I am a fiddle player, singer and dancer who studied traditional music before doing Primary Teaching. I was classically trained also. Music specialist during teacher training. Studied music as part of my primary ed. qualification. Have taught trad. music privately for 20 years. Kodaly inservice training. 18

Just over half the respondents in both regions welcomed CPD, though - as will be seen from the comments below - one or two had reservations: I would like something more substantial like a correspondence course or sessions to improve playing and support. Time is a big problem with so many areas to be developed. Yes – if we lose specialist music teacher, class teachers [are] not confident/competent to teach music. Yes – we are very remote and travel is difficult and expensive. Yes, if it is to give considerable weight to Gaelic traditional music. It would be good to have if available, but I would not be taking it up for next session. Yes – we have such a rich tradition of music, but access is not available to all pupils. However many respondents were against the idea, one or two with some trenchant views: It’s a good idea, but not personally as I play the piano and guitar and sing so it’s not a priority for CPD. No – we no longer have a visiting specialist for music. The majority of further comments came from the Highlands and Islands, some of which are included below: [We need]Nationwide commitment to having trained music specialist in schools. Funding to bring in more tutors would be great as we have no musical experts on staff. Importance of early introduction (in this area most input aimed at P5/6). 12 hours per school year of Trad. Music doesn’t teach the children much – it’s little more than ‘taster’ sessions. What happens to classes other than P5/6? I would prefer to have enhanced specialist music provision which covers this. Remote rural schools…receive very little in the way of support due to geographic constraints. It would be good to know that your Forum does not find time or distance a reason not to help schools which really need support. This area is rich in music culture but no-one appears interested to take this forward.

The West Coast and near neighbours I Argyll and Bute

Inverclyde

Number of schools surveyed: 76

Number of schools surveyed: 26

Number of identified responses: 25

Number of identified responses: 6

Percentage of responses: 32.89%

Percentage of responses: 23.07%

Both regions produced a response rate higher than the national average and the picture which emerges is slightly more positive than the regions so far considered, an impression reinforced by reports of other activities discussed later in this report. All bar one of the respondents stated that their school featured Scottish Traditional Music; the one respondent who replied in the negative qualified their response by stating that while their school had no firm commitment at present, they were nevertheless “keen to explore possible support in this area”. Concerning the format, occasional workshops featured in all but four of the responses. Few relied on them as the sole means of teaching but used them in combination with other formats. Given the high response rate, the answers regarding time allocation were perhaps not quite as strong as might have been expected – answers ranged from a rather vague “very little” to “difficult to determine” to a more precise “ 4 hours per week.” Many, however, did not respond. Classes took place within school (within Argyll and Bute four schools also offered after school tuition). Concerning responsibility, this again rested on the shoulders of “another teacher” rather than the respondents, though a minority in both regions shared responsibility with the other teacher. Of the categories of teacher employed, peripatetic was once again the most prevalent (15) and frequently used within this grouping in tandem with full-time or part-time teachers. Only one school in Argyll stated that a teaching method was used (entitled Borders Music Pack); 11 the remainder stated that no particular method was employed, while five did not reply. Of those who said no, one rather confusingly said “no [but] do include Kodaly”. Only two respondents (based in Argyll and Bute) cited specific teaching materials in the subsequent question, while one further respondent stated that the materials used were “many and varied”; 28 did not 11

See footnote on p. 10.

respond. 30, however, welcomed further assistance while 28 supported the idea of a central database. A third of the respondents in Argyll and Bute indicated that they had some musical experience (though one or two were not entirely sure as to whether this had been appropriate for traditional music); proportionately more in Inverclyde gave details of skills ranging from basic to diploma and degree level. Reactions to the question on CPD were a little mixed in both regions. Most welcomed the idea, though one or two qualified their answers with remarks such as “yes, not personally, but for interested teachers” or “yes - for music teacher”, reinforcing the tendency to delegate responsibility. Some had reservations: No musical staff at present. Unsure of what uptake would be. This is not a priority for us at this time. I think time constraints with collegiate time and CPD would restrict this at the moment. Maybe in a few years. The majority of further comments came from teachers in the Argyll and Bute region, some of which indicated a desire for permanency to be attached to traditional music initiatives, while others re-iterated the recurring theme of the importance of funding (some of these have already been cited in the national summary). Other remarks include the following: Appreciate more workshops etc. Increasing interest by students in whistle, fiddle, accordion and bodhran. Any help in the form of workshops/tutors/materials/resources for any trad. instruments would be very welcome. More traditional music as a follow on at High School. Visiting tutors/musicians for the children to experience. Chanter tutoring for pupils on a regular basis. _____ Primary received a visit from traditional musicians organised by Culture Coordinator. Well received by staff and pupils. Would like to know what support could be given should pupils like to learn an instrument or staff be involved in training. Gaelic would be helpful in the context of STM. In line with the national average, approximately a third of respondents asked for further contact with the Forum; however, of the remainder who made no response or said no, one added “no

thanks (not knowledgeable enough)”, again perhaps reflecting the lack of confidence in approaching traditional music apparent in the nationwide results. The West Coast and near neighbours II The Ayrshire region North Ayrshire

South Ayrshire

Number of schools surveyed: 53

Number of schools surveyed: 45

Number of identified responses: 14

Number of identified responses: 5

Percentage of responses: 26.41%

Percentage of responses: 11.11%

East Ayrshire Number of schools surveyed: 46 Number of identified responses: 10 Percentage of responses: 21.73% Two of the three regions under consideration returned replies at well over the national average response rate. The majority of respondents (21) indicated a commitment to Scottish Traditional Music, though two qualified their response with “Yes – providing authority input allows” and “Yes – limited”. Those who answered no to this question nonetheless went on to complete other questions in the survey, one qualifying this initial negative response by stating “but we would welcome an opportunity to do so”. Once again occasional workshops were nominated as the preferred format, though their use in supplementing other classes tended to be more prevalent in the responses received from North Ayrshire. The replies concerning time allocation in this region were probably the least precise of the three regions - “varies”, “one or two sessions a year”, “block of a few weeks within music timetable” – while East and South Ayrshire responses offered more specific time frames – “usually a 6 week block of 50 minute lessons”, “1/2 [hour] per week for 6 weeks”, “6 hours in year”. 21 respondents stated that classes took place within school hours; in addition, three schools offered classes within and outwith school hours (one of these being classes in Scottish Country Dancing). The delegation of responsibility to other teachers was less prevalent in these 22

regions than in others considered so far; the number of teachers identified as peripatetic was also slightly less, though it must be noted that a high proportion (two-thirds in North Ayrshire, onethird in South Ayrshire and over half in East Ayrshire) did not answer this question. No teaching method was identified by any of the respondents, and only one school (in North Aryshire) nominated teaching materials (Scottish Country Dance Music – the second school to mention dance in this region’s responses). All respondents, bar one, welcomed further assistance and a central database, some quite enthusiastically, and some with caveats: Yes – having CDs with music and children’s voices singing the songs would be useful. Yes – most definitely! At present we rely on commercial CDs which may have a particular song we want to teach. I would like something which exposes children to traditional and modern Scottish music. Perhaps a block of lessons for each stage – P1-P3, P4-P5, P6-P7. CDs of Scottish Songs and Music suitable for children’s voice – this would allow the non-specialist to work with the class. [There is a] great need for child friendly music that we can sing along with – especially Burns. We would love to develop this but have no staff with musical strength. One respondent felt that, for further assistance to be successful, it would require “authority input”. Very few indicated that they had received musical training; of those who did, the majority appeared to suggest that their musical training had been more informal than formal as indicated by such comments as “enjoy listening to Scottish Traditional Music”, “in choir for many years as a child; a general interest” and “experience over 40 years”. Just over half of the respondents (17) welcomed CPD with one suggesting cluster in-service training on the islands, and another observing that it “would be interesting to see resources used in other schools”; one or two respondents in South and East Ayrshire, however, felt that time constraints might prohibit this. A selection of further comments is included below: Pupils have enjoyed working with Gaelic projects at cluster level. Visiting musicians to the school are always appreciated by staff and pupils. 23

The H.T. and I have struggled every year to find music to teach traditional Scottish Songs for St. Andrews Day, Burns etc. We need support for non-specialists. It can be very difficult to find CDs with appropriate key for children singing and also backing tracks for concerts or competitions. We try to promote Scots music where possible, with an annual festival of music and poetry. We also try to listen to a variety of instruments on CD and have had performers in the past. It can be difficult to find resources suitable for young children – we have a bank of songs collected over the years but need more for the wee ones. The Central Region I East Dunbartonshire

West Dunbartonshire

Number of schools surveyed: 36

Number of schools surveyed: 35

Number of identified responses: 5

Number of identified responses:7

Percentage of responses: 13.88%

Percentage of responses: 20%

With contrasting response rates between these two regions, nine respondents stated that their school featured Scottish Traditional Music. Of those who answered no, one answered some of the latter questions in the survey and so will be considered along with these later in the discussion. Two took no further part in the survey but both made one further comment at the end, one of which indicated that, despite their initial answer, some Scottish Traditional Music instruction took place: The school spends a considerable time on aspects of Scotland from P1-7 tho’ no defined structure for Trad. Music. Time is spent on songs such as ‘3 Craws’ ‘Cannae Shove your Granny’ etc. and one which might be interpreted as a cry from the heart: We would welcome having a music teacher in school. Ten respondents cited occasional workshops or other activities as the class format. Time allocations ranged from ½ hr assembly per week to a part of the school’s general music programme throughout the year (there were more responses supplied to this question in West Dunbartonshire than in East Dunbartonshire). Nine indicated that classes took place within school hours with two respondents taking direct responsibility for class delivery, and a further 24

four delegating this to other teachers. Few identified the status of the teachers involved; those who did (four) cited a mix of full-time, part-time and peripatetic teachers. Two indicated that a teaching method was use (one was unspecified, one was based on Silver Burdett) and one cited Sounds of Music and Scottish Saltire Materials as the teaching resources employed; one other respondent cited Borders Music Pack12 later in the survey under the heading of music training received. All ten welcomed further assistance, and nine a central database, most with enthusiasm as the following comments show: Yes – very keen. Increasingly finding resources are limited and becoming repetitive. Yes please! Very welcome indeed. We have a rake of songs but a source which included a CD to use would be helpful. Happy for people to come into school to share their interests and talents. Only four indicated having received music training (three at university level, and one as a trained singer) while two more indicated that they had received none. Of those who had not, however, one was assiduous in ensuring that the pupils availed of every opportunity: Music specialist advises me on how to promote all music within school. We also have several music instructors visiting the school. They would also welcome any additional resource. Eight welcomed CPD, one stating that they would be “very keen. This is a much needed initiative.” A number made further comments, some of which are included below: During school year we would like to develop/celebrate our Scottish Culture and music has a large part to play in this. We are hoping to hold a Scottish Celebration in November ’07. Any input would be very much appreciated. It would be good to have children taught Scottish music skills either during or after school. We have an annual Scottish Focus including songs and poems and Burns Federation Examinations. We are always looking.

The Central Region 12

See footnote on page 10.

II East Renfrewshire

Renfrewshire

Number of schools surveyed: 24

Number of schools surveyed: 52

Number of identified responses: 2

Number of identified responses: 8

Percentage of responses: 8.33%

Percentage of responses: 15.38%

Both respondents in East Renfrewshire, in indicating classes in Scottish Traditional Music taking place in their school, gave class formats as one-to-one tuition/weekly classes and other activities respectively.

However, within the Renfrewshire responses, weekly classes and one-to-one

tuition were in the minority with occasional workshops and other activities either supporting these classes, or being the predominant format. Time allocations were indicated in nine responses overall, though not always precisely; answers ranged from “difficult to quantify but all pupils have some experience each year” to “2-3 hours per stage per year” to “one hour choir practice per week after school” etc. All, bar one, indicated that classes/activities took place during school hours (and frequently limited to January/February each year), and while both respondents in East Renfrewshire took direct responsibility (one sharing this with another teacher who was identified as peripatetic), responsibility in Renfrewshire was mainly delegated to other teachers (six) with only one respondent taking direct responsibility. Four respondents in Renfrewshire identified teacher status (as two full-time and one part-time) with one further fulltime member of staff working alongside a peripatetic teacher. Only one respondent in each region identified a teaching method and materials (Kodaly teaching material/Sounds of Music/Burns Federation Song Book in East Renfrewshire; Kist, Music and Dance, Hairy McLary, Burns Songs in Renfrewshire). Nine respondents supported the ideas of further assistance and a central database, with comments such as DVD/CD and booklets or software (Mac based) or web-based for interactive boards would be useful. Yes – resource would enable all teachers to feel more comfortable/confident in delivering traditional music. and seven indicated musical experience (in 2 responses Kodaly training was cited, while one teacher had trained at PGDE level).

Seven welcomed CPD (one respondent indicated that they would be retiring shortly), and further comments came from the Renfrewshire teachers: A progressive programme P1-P7 would be beneficial. We would welcome advice/support to include Scottish Traditional Music in our music programme.

The Central Region III North Lanarkshire

South Lanarkshire

Number of schools surveyed: 127

Number of schools surveyed: 124

Number of identified responses: 12

Number of identified responses: 20

Percentage of responses: 9.44%

Percentage of responses: 16.12%

Seventeen of those who responded indicated that their school included Scottish Traditional Music in the curriculum. Of those who said no, four took no further part in the survey, while the remainder completed other questions and so are considered in the following discussion. 18 respondents across the regions indicated that occasional workshops or other activities were employed to fulfil the school’s commitment. 14 responded to the question on time allocation, though most without indicating precise class durations: “Approx. ¼ of music provision in the year”, “short block of 6 hours”, “this depends on the individual teacher”, “just occasionally”, “annually – Burns supper songs and dancing”, “difficult to quantify”, were just some of the answers received. 18 respondents indicated that classes took place within school hours, with responsibility for these being delegated in the main to another teacher (only four indicated shared responsibility). Very few (seven) gave any indication of the status of the other teacher (three full-time, two part-time, two other), and only two respondents (based in South Lanarkshire) indicated the use of any particular teaching method (unspecified); no teaching materials were specified in either region. 24 respondents welcomed further assistance and the idea of a central database. Ten indicated some form of musical training: three of these were Kodaly trained, one at diploma level, two during initial teacher training, and one stated that music training had been received, though for 27

other teachers in the school not themselves. 20 welcomed CPD, one qualifying their response by saying “Yes, if it was for beginners!!”. Other comments made by respondents included the following: Resources that could be fitted alongside existing ones would be most useful. Stand alone blocks of study that could be fitted into enhance teaching and learning. Workshops and resources would be wonderful and we would use them. We would like Scottish music workshops or an out of hours club. Scots Kist is great resource for Scots language. Something similar would be great for i) dance ii) music. A bank of materials with suggested themes/projects which … could be used to enhance [and] would ensure they were included in this school. We have a great lack of trained people or skilled musicians. It would be good to have visiting artists/specialists to provide quality input for schools, even at targeted stages, as opposed to whole school or both.

The Central Region IV Glasgow Number of schools surveyed: 172 Number of identified responses: 15 Percentage of responses: 8.72% With a very small response rate, given the size of the catchment area, ten respondents stated that their school featured Scottish Traditional Music (one stated “yes – slightly”!). Of the five who indicated no, four completed other questions in the survey (with one of these stating that his/her school had participated in workshops conducted by Celtic Connections) and so these will be considered in this discussion. Six respondents indicated other activities as the mode of delivery, while six more cited occasional workshops (one in tandem with weekly classes and other activities). Weekly classes on their own accounted for one response. Time allocations varied considerably (two schools made mention of visits from Celtic Connections), ranging from “Very little, maybe touched upon 28

at different times by different classes”, to “1 hour per week for choir and choral verse”. 12 indicated that classes took place within school hours with responsibility being delegated in the main to other teachers (eight, though two of these indicated shared responsibility) while two took direct responsibility. Very few indicated the status of the teachers involved, though three were identified as peripatetic (one of these working alongside a full-time teacher), one as part-time, two as other (one of these again working alongside a full-time member of staff) and one as fulltime only. No teaching method was identified (although one respondent answered both yes and no to this question!), and two identified materials (one derived from NYCOS and one from the BBC video ‘Tartan Jam’). Nine welcomed further assistance: Yes – booklets with suitable music for different stages. Yes – materials and resources would enable me to incorporate more traditional music into our school programme. Yes – more resources would make it more age specific. Yes – none of our staff read music. We are not confident at all when teaching music. We need ‘an idiots guide’. One respondent, however, had a different point of view: No – teachers are already coping with an overloaded curriculum and do not wish training in another specialism. Twelve of the respondents welcomed the idea of a central database, one observing that “simple child-friendly songs would be helpful”. Six respondents indicated some form of musical training having been received (but four stated that this training was for other members of staff and not themselves); one other said that they were self-taught. 11 welcomed CPD though one felt that “teachers already have enough to cope with”. Five respondents went on to make further comments, including one who made a plea for “outreach teaching or training”. Other remarks were as follows:

We had two teachers who were with us for their probationary year, and they had an expertise in Scottish Country dancing which they put to good use with a number of children in the school. I think it is important to teach our children about their culture.

The Central Region V Clackmannanshire

Falkirk

Number of schools surveyed: 19

Number of schools surveyed: 48

Number of identified responses: 3

Number of identified responses: 6

Percentage of responses: 15.78%

Percentage of responses: 12.5%

Stirling Number of schools surveyed: 42 Number of identified responses: 8 Percentage of responses: 19.04%

13 respondents across the three regions stated that Scottish Traditional Music was featured in the school curriculum.

However, though the remainder answered no to this question, they

nonetheless answered further questions in the later half of the survey, therefore all schools will be considered together. Occasional workshops and other activities each appeared in 11 responses as the preferred mode of delivery, sometimes in support of another format. Respondents in Clackmannanshire and Stirling were less sure as to how much time was devoted to these classes/activities, though for many in Stirling most activities seemed to take place in January each year. In Falkirk, five indicated time allocations ranging from incorporating Scottish Traditional Music into the existing music programme, to blocks of teaching in preparation for particular events, to “6 hours per year per pupil”. 14 respondents indicated that these classes took place within school hours, though one respondent’s school also offered an after school celebration concert for parents by its P7 class. Across the regions seven teachers delegated responsibility while five were directly involved working alongside another teacher; two of the respondents took direct responsibility for class delivery. The status of the other teacher was identified by ten respondents as mainly peripatetic (four), with two full-time, two part-time, and two “other”. Very few respondents identified either a specific teaching method or materials being used; in Clackmannanshire none were identified at all, one was indicated in Falkirk but this was unspecified, and only three respondents from Stirling were specific in the methodology employed (all cited Kodaly).. Three 30

respondents across the regions identified teaching materials (which included Songs around Scotland, Traditional Scottish Songs and Music, The Oxford Scottish Songbook, An Introduction to Scottish music CD). In Clackmannanshire and Falkirk, nine welcomed the ideas of further assistance and a central database. In Stirling, seven welcomed further assistance with comments such as Yes – preferably ICT – pupils to listen to examples and research. Yes – simple pentatonic based ideas for P6/7, Level C/D. Six supported the idea of a central database while two did not; two different points of view were expressed: Yes – based on pentatonic – simple melodies/accompaniments. No – I don’t feel this is necessary for the primary music curriculum – perhaps more appropriate for secondary. Only five of the respondents had had formal musical training, (three of these at diploma level and one through initial teacher training). 11 respondents welcomed CPD, one respondent was unsure as to how this would affect them, while another stated that they were shortly to retire. Further comments made by respondents in this grouping have been quoted elsewhere in this report.

The Central Region VI

East Lothian

Midlothian

Number of schools surveyed: 34

Number of schools surveyed: 33

Number of identified responses: 4

Number of identified responses: 1

Percentage of responses: 11.76%

Percentage of responses: 3.03

West Lothian

Edinburgh

Number of schools surveyed: 63

Number of schools surveyed: 94

Number of identified responses: 6

Number of identified responses: 15

Percentage of responses: 9.52%

Percentage of responses: 15.95%

The response rate in these regions was quite disappointing. Ten respondents in the Lothian regions indicated that their school featured Scottish Traditional Music in its curriculum, while the remaining respondent nevertheless completed the remainder of the survey. A high proportion of those who responded from Edinburgh (seven) indicated that their school did not feature Scottish Traditional Music in its curriculum. Again, all of these went on to complete further questions in the survey and so will be considered in this section. Indeed, one respondent qualified their response by conceding that the school did have activities such as a Scots language and culture week, and a Burns ceilidh, while another highlighted occasional workshops by visiting musicians, and blocks of tuition again centred around Burns night. Two respondents from East Lothian indicated that Scottish Traditional Music was transmitted through weekly classes - one through occasional workshops combined with other activities, and one through other activities which they specified in the following question as being “whenever is appropriate in the curriculum” and which included Scottish Country Dancing and Scots poetry. The sole respondent from Midlothian indicated that Scottish Traditional Music featured in the school curriculum through other activities such as a Scottish fortnight, with some traditional music incorporated in class music lessons, but the time allocation was hard to define as “it’s not a huge part of the curriculum”. Occasional workshops in combination with one-to-one tuition (one), other activities (in one case identified as Scottish Country Dancing, and songs and poems for St. Andrew’s concert), and weekly classes (two) accounted for the majority of responses in 32

West Lothian; one other school relied on occasional workshops alone. In Edinburgh, five of the eight who said yes to question 1 indicated that occasional workshops were the preferred mode of delivery, again frequently either in tandem with weekly classes (two), or with other activities (two), while one combined these with one-to-one tuition. Occasional workshops by themselves accounted for two responses, with weekly classes alone featuring in only one response. Time allocations stated in the responses from the Lothian regions were small and not always precise, though two schools in West Lothian were committed to 45 minutes weekly. Other time allocations specified by the respondents from East Lothian included “3 weeks in January”, “40 minutes per week” and “P.6 - one hour per week, 6 weeks”. Very few in Edinburgh were able to specify a precise time allocation – within the 6 responses received here, answers again ranged from the usual “varies” to “units of work carried out by class teachers a part of the music programme…” to “maybe a couple of sessions – 2x 45 minutes roughly…”. Classes in all of the regions under consideration took place within school hours, with one Edinburgh school offering additional lunchtime classes. Across the regions four respondents indicated responsibility as shared, and four took direct charge. Five indicated the status of the teachers involved as being peripatetic (including one from East Lothian) and the status of only two other teachers was cited (full-time). The remainder delegated responsibility to other teachers, identified in the main as peripatetic and one Edinburgh teacher also relied on a parent volunteering for the lunchtime classes. No particular teaching method or materials were identified in either East Lothian or Midlothian, while only two West Lothian respondents stated that a particular teaching method (unspecified) and teaching materials were used (one of these identified as Carousel). Only three respondents in Edinburgh identified a particular teaching method, though one of these was unsure (their comment has already appeared elsewhere in this report).13 The two other respondents identified ABC Creative Music and Kodaly as the teaching method employed.

The same three stated that they used teaching

materials, which included ABC and Sing around Scotland, though one requested further help, despite having amassed a large quantity of material over the years. 25 teachers from the four authorities supported the idea of further assistance with such comments as Yes – absolutely! I am new to teaching music and I am unsure where to access help/materials. Yes – I think a Gaelic Medium Units Forum would assist. 13

See footnote on page 10.

In our small school we cannot afford to buy instruments …all offers of materials or resources welcome. One teacher highlighted a more widespread problem: Yes – we would love to include more. Finding it difficult at present – no music specialist, so any assistance would be welcomed for class teachers. Again, 25 stated that they would welcome a central database, one going on to say Yes – a great idea especially when more and more class teachers are taking on specialist roles in primaries. Only six in the Lothian areas indicated musical experience (including a background in folk music and church choral singing, BMus and PGCE qualifications and the RSAMD/Glasgow City Council Certificate in Primary Music).14 Seven indicated some form of musical training ranging from that received in childhood, to membership of a ceilidh band to training at degree level, and initial teacher training. Ten respondents in the Lothian authorities welcomed CPD though one qualified their remarks by saying that “it would depend on who, where, when and the cost”. One, in saying no, stated they would “like to employ a good music specialist throughout the school”. 12 teachers in Edinburgh supported the idea of CPD. One highlighted the need for “classroom strategies – teaching children with special needs in an inclusive way”. Again, further comments made have been quoted elsewhere in this report.

This was the award given following completion of the short course entitled Music in the Expressive Arts for primary school teachers, which was developed and administered by the current author, Dr. Katherine Campbell of the University of Edinburgh (Celtic and Scottish Studies), and Ms. Lesley Dunlop, Creative Links Officer for Glasgow City Council. It included modules in Scottish Traditional Music within its programme and was in operation at the RSAMD during 2004-2006.

The East Coast I Aberdeenshire

Aberdeen City

Number of schools surveyed: 153

Number of schools surveyed: 53

Number of identified responses: 23

Number of identified responses: 8

Percentage of responses: 15.03%

Percentage of responses: 15.09%

Moray Number of schools surveyed: 46 Number of identified responses: 7 Percentage of responses: 15.21% The response rate from all three regions was broadly similar. 21 Aberdeenshire teachers said that their school featured Scottish Traditional Music as part of its expressive arts commitment while those who answered no nonetheless completed some of the questions later in the survey. Only three respondents from Aberdeen City indicated that their school featured Scottish Traditional Music as part of its expressive arts commitment; a fourth, whilst stating that the school did not include Scottish Traditional Music as “an integral part” of its curriculum, did continue to answer some of the questions posed in the remainder of the survey and so will be included in the current commentary. Six Moray respondents indicated that Scottish Traditional Music featured in their school’s curriculum. Of the 23 Aberdeenshire teachers, 11 relied on occasional workshops as the sole format for Scottish Traditional Music, while 17 combined these workshops with other activities. Weekly classes allied with workshops accounted for three of these combinations while other activities such as school projects on Burns or Scotland in general, provided another three answers. One-toone teaching did not feature in any of the responses to this question. The input of external organisations or events (eg the Scottish Traditional Boat Festival, Kodaly classes/workshops, the Buchan Heritage A’ the gither at Aden, the Scottish Country Dance Club, Burns Competition) featured both in the response to this question and in later responses to the survey. However, both this external input and the occasional nature of most classes had a bearing on the answers to the next question in that almost half of those who said yes in question 1 were unable to specify how much time was devoted to Scottish music and either did not respond or said that they were unsure. Even some of those who responded more positively were nonetheless vague: “cannot 35

specify as varies from term to term, depending on what’s on offer”, “it varies depending on what is available - other things happening in school”, and “when the topics or project work is associated with our country” were some of the comments made. Elsewhere some of the allocations at times appeared to be quite small: “1 hour per month [from] April-June”, “once or twice a session” etc. Of the four Aberdeen City respondents under consideration, two indicated the preferred format for traditional music as other, which they described respectively (in the response to the subsequent question on time allocation) as being “occasional exposure to Trad. Music in P6 and P7” and “8 weekly classes (approx.) during 1 school term to prepare for [the] school concert which takes place each November.” A third respondent indicated occasional workshops (which were not described in the next question), while the fourth made no response to either this or the subsequent question. Occasional workshops featured in three of the responses from Moray (two of these indicated that workshops were combined with weekly classes, or other activities), as did one-to-one tuition (two responses, one of which bolstered other activities). One-to-one tuition by itself accounted for only one response.

Time allocations here ranged

from “varies” to “1 ½ hours per week”. Across the regions most activities took place within school hours (26 responses) while four more schools based in Aberdeenshire and Aberdeen City combined these with after-school classes, one of which took the form of Scottish country dancing. No respondent who responded positively to question 1 relinquished the teaching of Scottish Traditional Music to after school classes alone. However, the majority of the 23 Aberdeenshire respondents stated that they were not directly responsible for the teaching of Scottish Traditional Music, devolving this to another teacher or visiting musicians (12). Only three took sole responsibility while another five worked with another teacher in this area.

Three Aberdeen City teachers stated that responsibility was

devolved to another teacher (though one of these also indicated their own personal involvement) while in Moray two respondents took direct responsibility, with the other four delegating this to another teacher. When it came to the definition of the status of the teachers involved the overwhelming category stated by 17 respondents from all three regions was that of peripatetic (either in combination with “part-time” or “other” status) while the designation of “other” teachers/tutors only appeared in six responses. 18 teachers in the three regions indicated that there was no particular teaching method involved (this included two who had no response to the question). Of the five who said yes, none specified what method was used. Precise details of teaching materials were supplied by only two schools across the three regions: these included Traditional Scottish Songs and Music, Sing 36

Around Scotland, Buchan Heritage materials and Kodaly resources. 31 indicated therefore that they would welcome further assistance with extra/new teaching materials/resources, while one Aberdeenshire teacher remained unsure (“I’m not musical myself”) and one Moray teacher raised the issue of cost in relation to this initiative. There was an equally enthusiastic welcome for a central database of teaching materials (30 responses), although two of these, however, seemed keen that this should be provided for others rather than themselves. When it came to musical training a high proportion of Aberdeenshire respondents (12) stated that they had little or none while the experience of those who did ranged from “only what was part of PGCE (v. little)” to “am a traditional Scottish fiddler and piano player” to “degree in music (BMus hons) and PGCE music secondary.” Three Aberdeen City teachers gave details of musical training which included part or full training at higher level. Four Moray teachers indicated some form of musical training had been received (though only one at diploma level). 27 teachers from the three authorities, therefore, indicated that they would welcome some form of CPD, although one Aberdeenshire teacher was not entirely supportive. 15 A statement from another Aberdeenshire teacher might be interpreted as a cry for help: Yes – I have no musical ability and a staff with very little expertise, who have to rely on passing workshops etc. Few had further comments to make, though two of these are perhaps worth quoting: Time and money are the main restraints. However, I find the children thoroughly enjoy traditional music. Rather than the weekly Kodaly lessons, I think pupils would benefit from the Traditional Music Teacher having more input into Burns Competitions, ceilidhs etc. Performing what they learn under professional guidance would be of great value.

See page 11.

The East Coast II Angus

Dundee

Number of schools surveyed: 57

Number of schools surveyed: 40

Number of identified responses: 3

Number of identified responses: 1

Percentage of responses: 5.26%

Percentage of responses: 2.5%

Fife

Perth and Kinross

Number of schools surveyed: 131

Number of schools surveyed: 77

Number of identified responses: 14

Number of identified responses: 8

Percentage of responses: 10.68%

Percentage of responses: 10.38%

Some of the most disappointing response rates in the survey feature in these regions. A total of 21 teachers from the four regions indicated that Scottish Traditional Music was employed in the school curriculum. Of those who answered no, three completed further questions in the survey, therefore 24 responses will be considered in the following discussion. Two respondents from Angus indicated other as the class format employed while the Dundee respondent indicated delivery through occasional workshops. Occasional workshops featured in 7 responses received from those in Fife (three schools relying on these alone, with two combining them with other activities, two with one-to-one tuition, and one with additional weekly classes). Here, four schools made use of other activities solely, while two more held regular weekly classes. Occasional workshops (four) or other activities (two) were the predominant responses to question 2 from the Perth and Kinross teachers; no mention was made of one-to-one tuition or weekly classes. Time allocations across the regions ranged from “6 blocks of 1 hour per week” and “blocks of time working towards an event or performance (usually a six-week period with work done 2/3 times weekly)”; most were unable to give precise class durations. Most classes took place within school hours with two schools in Fife and one in Perth and Kinross also offering after school classes. Across the regions three teachers took direct responsibility, eight indicated shared duties, and ten delegated responsibility. Again a high proportion of the teachers involved (ten) were identified as peripatetic, three as part-time, one as full-time and two specified as other. Two schools employed a particular teaching method (one respondent specified this as Kodaly). Only one school (located in Angus) cited resources 38

employed (Burns, Scottish songs and dance). 23 teachers from the four regions welcomed further assistance, one commenting: Resources with traditional songs (Burns, Jacobite etc.) would be very helpful. Perhaps some with music only so that they could sing along. 20 supported the establishment of a central database, some with the following comments: It is very difficult to find CDs of Scottish Music to help children listen and understand. Yes – songs for choirs, copy free music to use, ideas bank. As a non-specialist in music, CDs, videos, instruments and songbook would be very welcome. Even CDs of Burns songs and others suitable for children, with song tape and blank tape and music and words are v. thin on ground. One respondent made a request for continuance: We would like the children who are currently having input to have option of continuing whilst next year’s P5 children begin. One further respondent was unsure, while another found “searching databases too timeconsuming”. Only one of the teachers in Angus had received some form of musical instruction during initial teacher training and did not welcome CPD while the other who had received no musical training not surprisingly supported the idea; the latter response was also mirrored in the Dundee teacher’s answers to these questions. In the ten responses from Fife which indicated some form of musical training having been received, Kodaly was mentioned by four, four respondents indicated that some staff had studied music at degree level, or during initial teacher training, while two indicated more informal musical experiences; 11 respondents here welcomed CPD. Five of the Perth and Kinross teachers had some musical experience (including one at diploma level); four welcomed CPD, but three did not, one stating “not until it features in Local Authority advice”, and another citing the “time element” involved as being a problem.

Some of the further

comments made are included below; the final one might be interpreted as either sending a reminder or a request to a higher authority: Use of local musicians for workshops/YMI projects would be good. 39

I am only a class teacher covering a visiting teacher day in school. We use Kodaly a lot and it would be good to have more material ie Scots poems and songs to teach in Kodaly form along with current work. In Fife schools we hold annual Scottish Country Dance festivals. My pupils love singing Scottish Songs and parents think it’s so important to include Scottish music in the curriculum. Scottish Exec. made all schools teach Scottish Trad. Music as part of curriculum and funded this. The Southern region Scottish Borders

Dumfries and Galloway

Number of schools surveyed: 63

Number of schools surveyed: 76

Number of identified responses: 8

Number of identified responses: 16

Percentage of responses: 12.69%

Percentage of responses: 21.05%

16 respondents across both regions indicated that indicated that Scottish Traditional Music featured in the curriculum, though one qualified this by saying that it was “not as a discrete topic”. Seven of those who said no continued to answer questions in the survey, including several who indicated that there was indeed a degree of Scottish Traditional Music in the school due to extra sessions offered by visiting staff, occasional workshops for St. Andrew’s Day, evening classes etc. Their responses are included in the discussion below. Once again occasional workshops or other activities were the preferred option amongst 16 of the respondents. However, there was little or no indication of time allocation in the responses from Scottish Borders, with only three indicating a range from “classes learning traditional songs for town festival” to groups for about 20 mins” to “once or twice a year”; six of those who responded from Dumfries and Galloway indicated time allocations varying from “infrequent” to “1 half hour per one or 2 years in blocks every two years”. All 16 stated that classes took place within school hours, with three also offering after school activities. “Another teacher” was the pre-dominant answer concerning responsibility for the delivery of classes (12) though four of these responses indicated shared responsibility. In identifying the status of teachers involved, peripatetic was stated in ten responses, sometimes in support of part-time or full-time colleagues. Only two respondents from Dumfries and Galloway stated yes to the question on teaching method, citing Dumfries and Galloway’s education pack Sangs, Reels and High Jinks and Sing 40

around Scotland as teaching materials, while two from Scottish Borders stated that there was a teaching method (unspecified) in use, and one indicated the use of teaching materials (again unspecified). 15 welcomed further assistance, one teacher wondering if, as Learning and Teaching Scotland had produced a manual for dance in association with RSCDS, something similar in traditional music could be published. 19 also supported the idea of a central database, with one negative viewpoint expressed: No â&#x20AC;&#x201C; this would not be delivered by individual class teachers but more by specialists. One respondent in the Scottish Borders had received some formal music training (at degree level), another stated that their acquired experience was informal while the remainder had no musical training or did not respond. 11 in Dumfries and Galloway indicated some form of musical training from that received during their own school days to instruction during their teacher training. 13 respondents welcomed the idea of CPD. Further comments have been quoted elsewhere in this report. Anonymous and unplaced replies Number of schools surveyed nationwide: 2118 Number of anonymous and unplaced responses: 73 Percentage of responses: 3.44% Number of identified responses received nationwide: 408 Percentage of anonymous and unplaced responses relative to identified responses: 17.89%

A total of 73 responses received could not be placed in any local authority area; seven of these either gave individual contact names, or a school name only (which could be in any number of local authority areas) hence their consideration under a separate heading. Of the remaining 66 respondents, 48 indicated that their school featured Scottish Traditional Music in its curriculum, while 16 answered no and two did not complete the question. However, only five out of the 66 failed to complete the remainder of the questionnaire and therefore 61 respondents will be considered in the first part of this discussion.

Anonymous replies Occasional workshops were once again the preferred class format (31); 17 of these were the sole method of delivery, while ten were combined with other activities, seven with weekly classes and four with one-to-one tuition. Only two respondents indicated that one-to-one tuition was the sole means of delivery while eight indicated that one-to-one tuition was employed largely in combination with other formats. Two respondents indicated that their school relied on weekly classes only, while other activities by themselves accounted for a further nine responses. 36 respondents gave some indications of time allocations, though very few of these were specific. 50 indicated that these activities took place within school hours (one offering both options) while only one school relied on after school classes alone. Seven respondents took direct responsibility, with another three indicating shared duties. 33 delegated responsibility to another teacher, another commented that no-one was responsible for delivery (“just the occasional visitor”) while another stated “no teaching, just listening”. Peripatetic teachers were the predominant answer to the question on teacher status (23) with four of these working alongside part-time teachers. Ten were identified as “other” tutors (working with full-time teachers), three as part-time and three as full-time members of staff. Six stated that teaching methods and materials were in use (and of these last, the Borders Education Pack 16 was the only one identified), while four said no materials were used. 48 respondents welcomed further assistance (eight did not) while 49 supported the idea of a central database. 15 gave details of musical training, though few specified what training this was (Kodaly, ABC and the RSAMD featured in three responses); two other respondents misunderstood this question as referring to pupils’ training, 26 said that they had received no training, and 18 did not respond. 35 welcomed CPD while 20 did not; some of the viewpoints quoted below were somewhat negative: Would be useful for staff in schools to have access to this. The opportunity for teachers to tap in to training in this area would be positive. Yes – if staff showed an interest. No- I think we would use our music specialist to deliver education in this area. 16

See footnote on page 10.

Would find this difficult as no musical background. No – this would be way down the list.

Only six made further comments, (some of which have already been cited elsewhere in this report); others are reproduced below: Traditional Scottish music as such does not feature highly in the children’s lives and is almost irrelevant. However, a knowledge of [a] variety of instruments is always welcome to study influence on modern music. We would welcome more practitioners coming into school. Finally, in saying no to question 1, one of those not considered in the above discussion did qualify their answer with what might be seen as a request for assistance (in common with many around the country): We do have …recorder playing for Burns competition, violins playing at Assembly. This year we had a St. Andrew’s Ceilidh. We would love to do more. Unplaced replies One of the seven unplaced respondents stated that their school did not feature Scottish Traditional Music in its curriculum. All seven however completed that survey and so will be considered together in the final part of this section. Regarding question 2, other activities featured in three responses (one supporting one-to-one tuition) while occasional workshops (two), weekly classes (one) and no reply accounted for the remainder. Four gave somewhat vague indications of time allocations, while five indicated that classes took place within school hours, one after school. Only one respondent took direct responsibility, five delegated this and again one did not reply. Of the staff involved, one was identified as full-time, two were identified as peripatetic, and two as other, one of these last stating “we do not have any teachers of music this year”. No teaching method or specific teaching materials were identified, and all welcomed further assistance, two with comments:

Yes – and someone to deliver them! Yes – small 2 teacher [school] with no musical skills – need lots of help. Four welcomed the idea of a central database, two did not while one was unsure, observing that it was “difficult to comment – courses [are] often too difficult for us”. Five indicated some form of musical training having been received, largely through initial teacher training or in-service, though one stated that they had trained as a Kodaly teacher. Only one did not welcome CPD, while the rest did, although two had reservations: Yes – for those who were musical. Yes – only if this is at our level. Three made further comments; two of these are reproduced below, indicating perhaps a certain amount of detachment from the art form rather than its integration within the school curriculum: I am happy for specialist to undertake this area. I think that we would appreciate more opportunity to have specialist teachers in traditional music.

SECTION III: CURRENT TRADITIONAL MUSIC RESOURCES - A REPRESENTATIVE SELECTION Introduction Part of the current writer’s brief when conducting this survey was to take cognisance of the teaching material currently available, and to make recommendations regarding the possible production of new resources which might utilise specific teaching methodologies. However, the following discussion must be prefaced by reiteration of the fact that (as can be seen from the outcome of the survey above) only 12.99% of those who responded indicated that specific resources were used in the teaching of Scottish Traditional Music in their school; many of these were uncertain as to what these were and consequently did not specify. Others were content to leave this aspect to external providers: “the tutor uses his/her own” or “this is included as part of music programme” were statements received, and only a handful specified materials that were related to specific methodologies (but not Scottish Traditional Music)17 - namely Kodaly and ABC. The first impression gleaned by the author upon perusing many web-sites and various bibliographies was of a vast array of material, not necessarily specifically aimed at teachers but which could be made use of in a teaching situation. The second impression was of a lack of awareness among many people of the materials currently available, and the need to draw all of these “lists” together into one national database which could be accessed online. In the course of her investigations, the author also became aware of some new resource materials currently in production which will be published/broadcast after this report has been submitted (these are referred to at the end of this chapter). The author also noted that a number of schools cited Scottish Country Dancing as a means of partially fulfilling the school’s commitment to Scottish Traditional Music as well as Scottish culture in general, hence once or two dance resources have also been included as possible exemplars for future production of traditional music materials. Likewise there are one or two examples included which (at first glance) are outside the arts area altogether, but nonetheless could provide a new medium for the transmission of Scottish Traditional Music education. What now follows is a consideration of a sample of the resources available, which also draws on examples from Ireland, England and Wales – it is not intended to be a comprehensive listing, and not all of those listed in the bibliography are considered here. Not all resources can be covered in a survey such as this, but the author has aimed to cover those 17

Indeed, the forthcoming Kodaly educational resource in Gaelic which is referred to at the end of this section is, as far as the current author is aware, the first of its kind in Scotland.

that have been recently been published and thus readily available; some that teachers are known to use even though they may be out of print; those where the approach and/or presentation might be considered as exemplars (which include some single instrument tutors which would not necessarily be utilised within the primary school classroom); and those that are in the pipeline. The material considered, however, does illustrate an equally wide variety of approaches, 18 many contain a large number of tunes/resource materials while some also contain background and history and a few concentrate on the “how to” aspect and are more tutor-orientated. It is worth noting that very few of those resources contained in the sample are aimed specifically at the age group under consideration in this report (or their indeed their classroom teachers) and almost none bring together all of the various art forms that contribute to the traditional culture of Scotland. The Resources Barbour, F (ed.), Ingram, K. et al (1998) Sangs, Reels and High Jinks Dumfries, Dumfries and Galloway Arts Association Ltd. Format: Teacher’s resource pack in ring-binder folder, and CD Funded by/Supported by: Scottish Arts Council, Dumfries and Galloway Council, Groundbase Ltd. This resource is the result of a long period of research and development by many traditional music specialists in the Dumfries and Galloway region and brings together songs (words and music) for singing, songs associated with games (for which instructions are supplied) and instructions for dances (for which the music is provided on the accompanying CD). The CD also contains performances of the song material. Background to the music and details of the sources from which the melodies have been gleaned are also provided, and the approach is at times similar to that adopted in the dance resources cited below.

Many also illustrate a wide variety of cost: prices for many of the above ranged anywhere from £9 to £46. A minor feature perhaps, but one which could have a bearing on whether a teacher or school chooses to invest in a particular resource.

Bryan, V. (ed.) (1996, 2000) Ceòl nam Fèis [Music of the Fèis] (Vols. 1 and 2) Portree, Fèisean nan Gàidheal Format: Resource books of Scottish Traditional songs Funded by/Supported by: Proiseacht nan Ealan (Gaelic Arts Agency), Foundation for Sport and The Arts, Scottish Arts Council, Catherine McCaig Trust (Vol 1); Scottish Arts Council, Highlands and Islands Enterprise, HI-Arts, The Highland Council, Comunn na Gàidhlig, Urras Bròsnachaidh na Gàidhlig, and Comunn Gàidhlig Inbhir Nis (Vol.2). These relatively recent publications were cited by a few respondents in the course of the survey. Both are comprehensive collections of music, clearly set out, and contain very helpful bibliographies, with some historical background also included in Volume 1. Volume 2 differs slightly in that it has brief teaching notes at the end, but in general these volumes suit practitioners or tutors who have had some prior experience of teaching traditional music as the introduction to Volume 1 makes clear: It attempts to answer the need felt by many tutors in past years for music which works well in a Fèis teaching situation: tunes which appeal to learners of all ages and hold their interest, yet are simple enough for beginners or instruments to learn by ear or reading, and master in a short space of time. While the collections are intended to aid both singers and instrumentalists, the main emphasis is on singing: Singing for all also has the advantage of underlining the fact that all music is based on song…

Campbell, K. and McVicar, E. (2001) Traditional Scottish Songs and Music St. Andrews, Leckie and Leckie Format: Resource pack and CD Funded by/Supported by: Not applicable This publication provides a graded series of songs, tunes and dance music from around Scotland, as well as historical background, items linked to story-telling, translations of text, a glossary, and descriptions of instruments. Intended to address the Scottish elements contained in the 5-14 curriculum,19 the bibliography and discography supplied provide useful pointers towards further 19

Scottish Office Education Department (1992) Curriculum and Assessment in Scotland National Guidelines: Expressive Arts 5-14

study. The book is written and presented in a style that appeals to/ can be understood by teachers and pupils alike. A teachersâ&#x20AC;&#x2122; booklet is also available in the resource pack. Douglas, S. (1982) Sing a Song of Scotland Walton-On â&#x20AC;&#x201C;Thames, Thomas Nelson and Son Format: Tutor Booklet Funded by/Supported by: None Though it pre-dates the 5-14 curriculum by ten years, the links to other areas of the school curriculum are emphasised in the introduction to this resource (which again was referred to by respondents to the survey): Whenever possible the songs should be linked with other lessons to illuminate whatever the children are learning about their own country, be it history, geography, literature or art. Piano and/or guitar accompaniment (in the form of suggested chording and a brief section on guitar chord fingerings) are supplied, and the material is again intended to reflect many life situations, styles and genres. A history of the songs, and individual glossaries for each, are provided along with a brief bibliography and discography at the end of the book. Fisher, C. and Trezise, A. (1985, 1987) The Singing Kettle (1, 2, 3) Cupar, Kettle Records Format: Song/ Rhyme Books and records/cassettes Funded by/Supported by: None Though published over 20 years ago, these publications are still in use in schools around the country, and the material is drawn not just from Scottish sources, but from further afield such as Ireland and America.

Arranged for piano and/or guitar with suggestions for percussion

accompaniment (and recorders in Volume 1), background notes and explanation of words are supplied for every song/rhyme, while the layout, language and approach is stated in such a way as to appeal to both teachers and pupils alike.

Garrett, D. (1994) An Fhideag Airgid: Taoitear Fideig air son Ceol Gaidhealach [A Whistle Tutor for Highland Music] Skye, TM & CS Format: Tutor Booklet

Funded by/Supported by: Scottish Arts Council With a clear presentation, this publication is presented in both Gaelic and English, and combines hints on performance interspersed with regular explanations of the musical theory underpinning it. The language and layout would suggest that it is aimed at older learners who may wish to teach themselves the instrument without a teacher being present. The tutor also deals with posture, breathing and tonguing and provides illustrative repertoire as well as that designed to be a springboard for further study. Ivory, B., Ivory, O., Gordon, S.G. et al (2001) The Highland Bagpipe Tutor Book(1) Glasgow, The National Piping Centre Format: Tutor Book, CD and video Funded by/Supported by: Eric Wolf Rabinowitz, a former student of the National Piping Centre The first volume of a series, this publication acts not only as a tutor for the instrument, but also provides explanations of, and exercises for, the music theory associated with the Highland Bagpipe. While aimed largely at older students (both musical beginners, and those who are musically literate), the clarity of the layout and the presentation of this publication, particularly in terms of the photographs supplied concerning posture, could be one template to be considered should it be deemed necessary to issue new resources for younger primary school students. Apart from sections on posture, fingering, notation, and the history of the music supplied, a series of Appendices covering theory exercises (cross-referenced with material in the body of the book), alternative fingering for the pipe scale, notation and pitch, and extra repertoire is provided and the book is supported by demonstrations of the material on CD and on video. Kinnaird, A. (1989) The Small Harp- A Step by Step Tutor Shillinghill, Kinmor Music Format: Tutor Book and CD Funded by/Supported by: None A detailed book, aimed at complete beginners as well as classically-trained harpists, the manual provides thorough advice on buying and maintaining the small harp, as well as sections on tuning, reading musical notation, posture and hand positions. There are also sections on ornamentation, history of the melodies and advice on how to arrange for the instrument. Exercises and melodies are demonstrated on the accompanying CD by the author who also supplies spoken advice.

Learning and Teaching Scotland (2006) MusicWorks 2 with the RSAMD Glasgow, Learning and Teaching Scotland Format: DVD video and CD audio Funded by/Supported by: The Scottish Executive Education Department, Scottish Qualifications Authority, Glasgow Caledonian University, the Royal Scottish Academy of Music and Drama, the Tommy Smith Youth Jazz Orchestra, High Hold Productions This resource, which follows on from the MusicWorks 1 with the RSAMD DVD for classical music, is tailored to suit the requirements of NQ Music at Intermediate 1, 2, Higher and Advanced Higher levels and adopts the same format as the previous publication. This includes performances by students of the RSAMD Scottish Music Department, presentations outlining the background and history of the music presented, interviews with the performers whereby the construction of/and or the technique involved in playing a particular instrument is explained, and an extensive section on folklore presented by Dr. Margaret Bennett. Though aimed at secondary level students and teachers, this resource could provide a useful reference point for support and information for primary school teachers. MacCrae, M. (2000) Mair Sangs tae Sing: Traditional Songs Collection (2) Kilmarnock, Kilmarnock Folk Club Format: Teacher’s resource booklet and tape cassette Funded by/Supported by: Awards for All, East Ayrshire Council Following on from Volume 1 of this collection, this resource provides a further 12 songs of different styles and genres. As the background notes for teachers make clear, the collection is the outcome of a project designed to give school pupils access to, and participation in, traditional song performance which links the Scottish tradition to other cultures. Still in use in schools, notes on the song titles are supplied, and the publication is supported by recorded performances led by the author.

MacPherson, A. and Henderson, H. (2006) Iomairt Ciùil Òigridh – Pasgan nam Fìdeag [Youth Music Initiative Tin Whistle Resource Pack] Portree, Fèisean nan Gàidheal Format: Resource pack (loose leaf ring binder folder) and CD 50

Funded by/Supported by: Youth Music Initiative As with the Gaelic Song Resource Pack (see below), a great deal of material (drawn from Irish as well as Scottish sources) is presented within this folder which is graded (up to Grade 4) and comes in score form, with a teacher’s record chart. This publication contains a little of the “howto” factor to which the current author has previously referred, and the accompanying CD provides the aural support by means of a slower rendition of many of the tunes to allow for aural comprehension on the part of the student.

McGregor, J (ed.) (2006) Music – Scottish Traditional Music: Teacher’s Resource (MultiLevel) Glasgow, Learning and Teaching Scotland/National Qualifications Curriculum Support Format: Resource pack (loose leaf ring binder folder in folio size) and 3 CDs Funded by/Supported by: Local Authorities, Scottish Arts Council An extremely comprehensive publication, which covers the main instruments (including voice) of Traditional Scottish Music, the aim of this resource is set out in its Rationale: This resource offers guidance and encouragement to those who have indicated a wish to be more informed so that they can effectively support students in traditional music This and subsequent sections in the folder would suggest that the audience for this publication is the classroom teacher, or general music specialist, and that the tuition of their classroom students is understood as having been delivered elsewhere. The authors of each section are drawn from established performers and teachers of Scottish Traditional Music, and the publication supplies details of key agencies, web-sites, tuition, performance styles, care of instruments, definition of terms, resource material and bibliographies as well as examples of assessment by both personnel drawn from the Scottish Qualifications Authority, and traditional music practitioners. This is supported by recordings. While not specifically aimed at teachers in the primary sector, this resource provides a useful aid to understanding all the elements that go into the performance of Scottish Traditional Music; as one of the authors observes:

Scottish music is eminently approachable and easy to include in classroom work at all ages and levels. (V. Bryan in McGregor [2006], p. 15) McKenna, C. (2003) A Complete Guide to Learning the Irish Tin Whistle Dublin, Walton’s 51

Format: Resource pack (Tutor material and resources) and double CD Funded by/Supported by: None This is a comprehensive publication, using a mixture of ideas drawn from both the classical and traditional genres (but not any particular method), and music from both Ireland and Scotland. A brief description of the instrument, finger charts and biographies of some of the more notable exponents of the instrument are interspersed throughout. The language used appears to be aimed at older students and adults, rather than very young players, and the repertoire used progresses quite quickly to some testing pieces. Ornamentation features widely in the accompanying CD which has simple guitar accompaniment throughout. Mhàrtinn, A., Ghreumach, K., [Martin, A, Graham, K.] et al (2006) Iomairt Ciùil Òigridh – Pasgan na Òran [Youth Music Initiative - Song Resource Pack] Portree , Fèisean nan Gàidheal Format: Resource pack (loose leaf ring binder folder) and CD Funded by/Supported by: Youth Music Initiative A great deal of material is provided in this Gaelic song pack and again this resource appears to be aimed at those who have some prior experience in Gaelic song, as the printed collection is text only; the accompanying CD supplies performances of each song by established performers and tutors. The graded series of songs (some of which are drawn from genres outwith the Scottish tradition) comes with translations and a teacher’s record page, with exercises to be done (largely comprehension) at the end of each song. Basic phrases and vocabulary for Gaelic are also supplied.

Martin, C. and Hughes, A. (1998) The Scottish Folk Fiddle Tutor (2nd edition) Breacais Ard, Taigh na Teud Format: Tutor book and CD Funded by/Supported by: None

This publication, which is intended for beginners and for use either on its own or in tandem with other material, draws on a variety of melodies not just from Scottish Traditional Music but from other folk traditions and nursery songs. It also functions as a musical theory tutor at the beginning of the book, with lessons and written exercises to be filled in. Photographs are supplied by way of illustration of correct posture and bow hold. The publication is supported by a CD which demonstrates the exercises and melodies. Martin, C. (ed.) (2002) Traditional Scottish Fiddling: A playerâ&#x20AC;&#x2122;s guide to regional styles, bowing techniques, repertoire and dances Breacais Ard, Taigh na Teud Format: Tutor and student book Funded by/Supported by: Scottish Arts Council An extremely thorough resource, with advisors drawn from all round Scotland, this publication in addition to covering what it says in the title provides a history of the repertoire included and the performers/composers.

Again aimed at older players and those who have had some

experience in fiddling, the demonstration CD would nonetheless provide good examples for listening (and dancing) to in the classroom. A bibliography for those who wish to undertake further research into the historical background and/or acquire further repertoire is also supplied. Martin, N. (ed.) (2005) Exploring Trad. Belfast, Arts Council of Northern Ireland Format: DVD-Rom Funded by/Supported by: Arts Council of Northern Ireland A comprehensive introduction to Irish Traditional Music, this DVD-Rom contains over 10 hours of listening and viewing material which covers history, instruction, terms used, instruments, performers and composers and dance. Though there are many sections and sub-sections, each is clearly laid-out, the DVD is easy to navigate and the quality of production is excellent. Some of the video material is drawn from an earlier television series Bringing It All Back Home produced by Hummingbird productions, but now no longer available. With the incorporation of traditional music in Northern Irelandâ&#x20AC;&#x2122;s GCSE Music examination, the DVD is primarily aimed at the secondary sector (both teachers and students) and has been distributed to all secondary and special needs schools throughout the province. However, the format and information that it contains makes it an extremely useful aid for teachers at all levels. Miller, J., Hassan, S., Stollery, P. et al (2001) Music of Scotland Glasgow, Learning and Teaching Scotland 53

Format: Online resource which includes printed material, music scores and parts, audio and midi files Funded by/Supported by: Not applicable. A extremely thorough resource, assembled by a team of advisers from around the country and based on the original 1988 publication by Jo Miller, this is aimed at teachers and pupils from the secondary sector, but could be useful for teachers at primary level to access for information, and it could again provide a template for consideration should new resources be produced and/or a central database be assembled. A wide range of areas is covered: instruments/voices and resources, forms and styles, history, explanations of terms and concepts, and teacher notes with hints for inventing projects. Audio and Midi files support this, and a substantial list of written and recorded resources, as well as organisations and educational establishments, is also provided. Munro, A. (2005) Oideachadh nam Fèis – Ceòl na Fìdhle [A Fèis Tutor: Fiddle Music] Portree, Fèisean nan Gàidheal Format: Tutor and student book Funded by/Supported by: Scottish Arts Council, Fèisean nan Gàidheal, Highland Council, Iomairt na Gàidhealtachd, Bòrd na Gàidhlig Clearly presented, this publication is written in Gaelic and English throughout.

This is

particularly useful when dealing with musical terms. The language and layout are primarily aimed at young people, and it contains some historical background, definition of terms, and musical games; it also aims to teach not just the instrument but musical notation as well. A short bibliography is included at the end of the book together with some further resource material.

Quinn, S. (comp.) (1993) Traditional Music Education Pack Belfast, St. Mary’s University College Format: Resource pack for teachers which includes video Funded by/Supported by: Not applicable

Moulden, J. and Quinn, S. (eds.) (2002) Traditional Song Education Pack Belfast, St. Mary’s University College Format: Resource pack for teachers which includes CD Funded by/Supported by: The Cultural Traditions Group of the Community Relations Council of Northern Ireland Both of the above resource packs were produced in response to the new curriculum for primary and secondary schools in Northern Ireland which was introduced in the early 1990s. While focusing on the NI syllabus Key Stage 2-4 (ages 8-16), the editors, drawing on their respective backgrounds as a former Head of Learning Resources at St. Mary’s and a former Principal of Braidside Integrated Primary School, have brought together materials from all round Ireland and Scotland which include previously published texts and videos (such as Ciaran Carson’s Traditional Music of Ireland and Brian and Eithne Vallely’s Traditional Instruments of Ireland) as well as their own notes for teachers, resources and recordings. Links are made to the NI curriculum (specifically in the area of Cultural Heritage and Education for Mutual Understanding), but the notes supplied also make clear that this is a resource that can be utilised for other educational systems, and extensive bibliographies and discographies are supplied. Scottish Traditions of Dance Trust (1999) Angus Dances Education Pack Alloa/Forfar, Scottish Traditions of Dance Trust/Angus Council Format: Tutor booklet and CD Funded by/Supported by: Scottish Arts Council National Lottery Fund (as part of the New Directions programme) and Leader II Upland Tayside Scottish Traditions of Dance Trust (2001) Scottish Borders Dances Education Pack Alloa/Melrose, Scottish Traditions of Dance Trust/Scottish Borders Council Format: Tutor booklet and CD Funded by/Supported by: Scottish Arts Council National Lottery Fund (as part of the New Directions programme), the Cray Trust, the D’Oyly Carte Charitable Trust, the PF Charitable Trust The materials and approach for both of these publications were piloted beforehand in local schools, and draw their materials and performances from local culture and heritage. Both packs emphasise connections to the 5-14 Expressive Arts curriculum throughout, with lesson plans supplied for some of the dances demonstrating links to the skills and levels required by that syllabus; they also include suggested timings for the content and teaching concepts. Background to the dances is provided, and the accompanying CD supplies the music performed (and in some cases composed) by local musicians. 55

Strudwick, K. (2003)Prosiect – Alawon Fy Ngwlad [Project – Tunes from My Country] Caerphilly Caerphilly County Borough Council Format: Resource booklet for teachers and CD Funded by/Supported by: TRAC (Traditional Music Development Agency for Wales), Menter iaith Caerffilli, Caerphilly Borough Council The impetus for this project is stated as having come from a Scottish source in the form of a visit to schools in the area from the singer Isla St. Clair. Having become aware through this visit that children in these schools were unfamiliar with the traditional songs of their country, the author (as the Arts Development Officer for Caerphilly Borough Council) set about assembling material for use in schools. Selected according to genre, tunefulness, local association and child appeal, the songs are presented in both Welsh and English and are intended as a springboard for further investigation of Welsh traditional song. Notes on the 13 songs are supplied with indications of chordal accompaniment, and the booklet is supported by performances of the material on CD. Turnbull, F. et al (2001) Dance Scottish – A resource for teaching Scottish dancing in schools Edinburgh, The Royal Scottish Country Dance Society Format: Resources pack including tutor booklet, video and CD. Funded by/Supported by: Endorsed by Learning and Teaching Scotland This resource establishes links to the 5-14 Expressive Arts curriculum at the start of the booklet. It also gives the background to Scottish Country Dancing and the Society itself. 18 dances (which are graded in difficulty from beginner to advanced) are described together with diagrams, photographs and, where appropriate, an explanation of their titles. This version is supported by an audio CD which supplies the dance music, and a video which demonstrates teaching methods and the dances through performances by young pupils. Photocopying of the dance sheets is permitted by the Society (provided the source is fully acknowledged) and a brief list of further reference books is also included. This version of the resource is no longer available; however, it is currently being revised and updated to include a DVD, and will be re-launched in January 2008. Upton, E. and Paine, L. (1996) Up the Sides and Down the Middle Devon, Southgate Format: Resource book for teachers (cassette also available) Funded by/Supported by: South West Arts

Aimed at non-specialist primary school teachers (and initially piloted amongst them), this publication refers not only to the National Curriculum for Dance and for Music, but also includes a model for cross-curricular work using country dancing. Based on 18 dances from across England, as well as dances from Ireland, Scotland and Wales, it gives the background to the dances and encourages teachers and pupils to create their own. A glossary of terms is included, and a brief list of other resources that may be consulted. Upton, E. with Young, S. (2001) Singing Times: Teaching English Folk Song Somerset, Folk South West Format: Teacher book and CD Funded by/Supported by: Youth Music Initiative with funding from the National Lottery A thorough resource pack, 19 songs are provided here not only on the basis of their extensive use in schools, but also representing different styles and aspects of life, and links to social history (reinforced by photographs) and literacy. Aimed at “all teachers”, the links to the National Curriculum are made clear from the start, and the book supplies advice on how to sing (and how to communicate this to young students), how to learn, rehearse and perform, and how to compose new material. Suggestions for further resources, details of other training courses and contact details of other folk organisations are also provided, as well as advice on bringing in external performance groups. Photocopying of all but one of the songs is permitted for use in participative lessons or workshops or live performance, and performances of the material are supplied on the accompanying CD.

Wheeler, L. and Blackhall, S. (eds.) (2001) The Elphinstone Kist Aberdeen, The Elphinstone Institute/University of Aberdeen Format: Online resource, though CD of performances of material is now available Funded/supported by: The North East Scotland Heritage Trust and Aberdeen City Council (funding), the University of Aberdeen, the Elphinstone Institute Another source which was cited by many in the response to the survey, and originally intended to make new writing in North East Scots available to schools, the Kist is now a vast archive of material which not only includes written material both past and present, but also performances of a number of the songs/ballads. Extensive background information is also supplied.

considerable number of primary schools are listed amongst those groups that have contributed poems, songs and stories to the site (as Les Wheeler observed in conversation with the current author “it is important that the children create their own tradition”), and material from the Kist can be accessed and printed provided that this is for educational or private use, and that no 57

alterations are made. A CD The Elphinstone Kist of North-East Verse, Song and Music for Schools is now available.

Other resources/ some future developments Two resources (not primarily intended for teaching music but for teaching Gaelic) which the current author considered in the course of this review were Aon,Dhà, Trì20 and Air Splaoid!,21 both productions of Cànan. The former (supported

Comhairle na Gàidhealtachd

and

now out of print) consisted of a resource folder of songs for young children in the Gaelic language married to tunes drawn not just from Scottish traditional music but from many different genres. These were divided into categories (Clothes, Weather, The Sea etc.), and many were suitable for playground games. Notation was supplied for many of the songs, and the pack was supported by two audio tapes of performances. Air Splaoid! is a more recent development, developed by Cànan, hosted by BBC Alba, and funded/supported by an additional 11 organisations which include UHI Millennium Institute, Highland Council, Bord na Gàidhlig and Learning and Teaching Scotland. Allied to the Highland 2007 festival, this is an online resource based around 12 lessons (one per month) but which also contains games, quizzes and historical information. Participants choose an animated character to guide them in their studies which they follow around various locations in the Highlands linked to events taking place in Highland 2007. The course is hosted by BBC Alba, and is available through a number of outlets including Skillnet, The Highland Promise (for Highland schools) and Learndirect Scotland which utilizes a network of learning centres for students to attend for further support. The course makes use of current technology extras which are now familiar items, particularly for a younger generation, such as blogs, podcasts and You Tube. Both of these resources might provide templates for consideration by the Traditional Music Forum should it decide to produce classroom resources in the future.

BBC Learning: Around Scotland – Music/Air Ghleus The BBC Scotland Learning Unit has been involved over the summer of 2007 in filming three themed television programmes concerning the teaching of Scottish songs. Each programme has been filmed twice (in English and Gaelic) and the broadcasts which will alternate between the languages are scheduled to commence in November 2007. 20 21

Booth, J. and Campbell, M.A. (1999) Aon, Dhà, Trì [One, Two, Three] Cànan (2006/2007) Air Splaoid! [On a spree!]

Recorded in three schools in

Stenhouse, Milngavie and Cumbernauld, the series is tailored to the Curriculum for Excellence and aimed at the 10-12 year old age group; its themes are as follows: New/Old Songs (Seann Orainn Ura), Doing it Our Way (Dòighean Eile) and Showtime (Seall Seo). Teams of two traditional musicians work with students in each school on a particular song which is new to them,22 introducing them to traditional music, expanding this to consider the background and history and other instruments, to creating their own version of the material leading to a performance alongside the traditional music tutors at the BBC. The programmes are supported by teacher’s notes (again in Gaelic and English) on the BBC Learning’s website, 23 from which a link will lead the user to a further dedicated web-site which will be launched simultaneously with the broadcasts. Musicians such as Eddi Reader, Anne Lorne Gillies, Gillian Frame and Maeve McKinnon have been involved in the programmes, and the production (which stems from, and has been inspired by other initiatives such as YMI, Highland 2007 and the BBC’s own Year of Scotland’s Music) has been part-funded by the Gaelic Media Service (Seirbheis nam Meadhana Gàidhlig).

Bookstart Rhymetime Project Though not directly linked to the current discussion, this recently launched educational initiative for early years education is perhaps one that should be observed as it develops in the near future. Funded and supported by three organisations (the SAC funded Youth Music Initiative, Bookstart in Scotland, and Youth Music UK) the aim is to build on the success of the Bookstart programme24 by extending this to include musical development through the inclusion of musical materials within the Bookstart pack. Working with a range of other organisations such as libraries, healthcare and arts organisations, two local authorities (West Dunbartonshire and South Lanarkshire) are piloting the scheme and this initial phase of the project is intended to conclude in March 2008. Amongst the projected outcomes is the creation of a CD of songs, rhymes and stories, the production of a leaflet for parents emphasising the importance of musical development, and the training of local Bookstart Music Champions who will be mentored by music educationalists. The final outcome - namely the creation of a model which can be

The songs involved are Fareweel Tae Tarwathie, Ciad Turas Mhic Dhòmhanill a Ghlaschu (When I Came to Glasgow First) and Alasdair Mhic Cholla Ghasda (Alasdair, Son of Worthy Colla). 23 These are now accessible via the following links: http://www.bbc.co.uk/scotland/learning/primary/tunein and http://www.bbc.co.uk/scotland/alba/foghlaim/airghleus 24 The Bookstart scheme (administered by Booktrust and which has been in existence since 1992) is a UK wide programme concerned with the development of literacy skills in young children through the distribution of educational packs to their parents via health visitors.

replicated elsewhere- may have a bearing on the approach and content of music materials for the primary sector, including Scottish Traditional Music. Tobar an Dualchais A vast undertaking that is currently in its second year of its first phase, and which is not anticipated to finish until 2010 at the earliest, this is the preservation, digitising and placing online of over 12,000 hours of recordings from the archives of the School of Scottish Studies in Edinburgh, BBC Scotland and the National Trust for Scotland. Managed by Sabhal MĂ˛r Ostaig, supported by no less than 21 different organisations including the National Lottery through the Heritage Lottery Fund and the European Union, the director of the project, MĂ iread MacDonald, is confident that potential resources for use in the primary sector will be available in this vast archive; this therefore should be considered as a source in any future production of educational materials. Glow Extensive information about Glow, the brand name for the Scottish Schools Digital Network, may be found on its website as well as that of Learning and Teaching Scotland (see Appendix II below). In summary, however, this is the national schoolsâ&#x20AC;&#x2122; intranet which is currently being tested and rolled out to institutions around the country and which is scheduled to be installed in every school by the end of 2008. Intended to support and facilitate collaboration and access for all stakeholders in school education (teachers, students, Local Authorities etc.) and the Curriculum for Excellence, the system will supply cutting edge educational tools ranging from virtual learning environments and video-conferencing, to online materials and resources (including access to digital materials from national collections), a daily news service and e-mail. Given that online projects and resources are currently being developed (YMI, BBC, Tobar an Dualchais) and teaching portals in higher level education already exist,25 this development is something that should be taken account of in any future production of teaching resources.

Analysis of review of materials The author is well aware that the preceding discussion represents a small part of all published materials available. However, her findings to date have been that not only is there a need for a central database of relevant materials and resources for primary school teachers but there may 25

See also recent online developments at the University of Strathclyde (page 72 below).

well be materials required for the training/continuing professional development of both specialist and non-specialist tutors/teachers (see Section V below). It must also be said that, if many teachers still view Scottish Traditional Music as an external element, there is little point in producing new materials if those for whom they are intended have no intention of using them, preferring still to leave the transmission of the subject solely to external providers, a point which will be further addressed in Section V below. In the light of this, and the fact that new resources will be emerging in the short term following the publication of this report (some of which have information currently available, and others - like the projected Kodaly song pack in Gaelic, and the forthcoming Scottish Borders Council education pack- which are still in production), the current writer believes that the Traditional Music Forum should take some further time to consider these latest developments and the assembling of a central database before committing further finances towards the production of new materials.

Recommendations ď&#x201A;§

A central database of resources/materials suitable for the primary school sector should be assembled which is accessible for, and publicised to, all.



Cognisance should be taken of this and of new and emerging resources before committing further finances towards the production of new materials; in particular, the resources which are being currently developed in the early years sector should be monitored so that any future new materials for the primary school build on these.26



Consideration should be given towards working with relevant organisations to access and harness technology in the provision of traditional music education for teachers (both specialist and non-specialist) and pupils.



Consideration should also be given towards working in collaboration with other Scottish Traditional Arts organisations in the production of materials which would address crosscurricular issues, and aid acceptance of the artform by teachers and hence its inclusion within the school curriculum.

SECTION IV: INITIATIVES IN SCOTTISH TRADITIONAL MUSIC EDUCATION - A REPRESENTATIVE SELECTION Introduction 26

See recommendations on teaching methodologies in Section V below.

This section attempts to give a brief overview of some of the initiatives currently underway outwith the formal primary school system as well as the perspective of the local authorities on the subject. It has not been without its difficulties. Inaccurate or out-of-date information on websites, coupled with changes in contact details and personnel, and a range of different titles for those involved in overseeing the provision of traditional music within authorities have made it at times almost impossible to gain a clear picture of what is going on. In fairness, it must be said that much of what is going on is extremely positive and bodes well for the transmission of traditional culture. However, it should be also noted that there are so many initiatives underway that there is a danger of unnecessary duplication and possible waste of resources, both human and financial. On commencing this research it was immediately apparent that there are a great many traditional music educational initiatives/projects currently in progress at a local, regional and national level, far too many to be covered in a brief survey such as this. There are equally a great many individuals, festivals, sponsors and organisations working hard to deliver these (Blas, Ceolàs, Celtic Connections, Fèisean nan Gàidheal, Fèis Rois, RSAMD Youthworks, Scottish Arts Council both through the Youth Music Initiative and other funds, and Local Authorities to name but a few) and the effect has been positive and impressive. As may be seen from Section III many other sponsors have been behind the production of traditional music education resources, and all of this work is, in the current author’s opinion, reflected in the high profile given to traditional arts on Scottish network television and radio. Scottish Traditional Music education continues to flourish, and what follows here is a flavour of some of the initiatives now underway. The Celtic Connections Education Programme, based in Glasgow, commenced in 1998 and, to date, is estimated to have reached over 100, 000 children from all over Scotland through its programme of free school concerts during the Celtic Connections Festival at the Glasgow Concert Hall in January each year and its programme of taster workshops which run in schools both during the festival and throughout the year in time frames of between 5-8 weeks during the spring/summer and autumn/winter terms. Schools from 17 local authorities attended the festival in 2007, which is the largest attendance in the history of the programme so far. Many schools have requested follow-up sessions following the workshops, but at present funding restrictions do not permit the programme to respond to every request.

In operation since 2001, the Traditional Musicians in Schools scheme (a programme of visits and performances by traditional musicians co-ordinated and administered by Fèis Rois) has expanded since its inception to cover most of Scotland – it is intended that primary schools in all of the regions will have been visited by the end of 2007. Working with local authorities, Cultural Co-Ordinators and primary schools, and funded by the Scottish Arts Council, the scheme is based on a two-cycle revolving cycle which offers an initial visit with follow-on workshops concentrating on tin whistle, singing and group work. The scheme was awarded the Community Project of year at the BBC Traditional Music Awards in 2004, and, according to Allison Watson (Fèis Rois Education officer) some of those visited have requested further visits and assistance. Fèis Rois is part of the overall Fèisean nan Gàidheal association, the umbrella organisation for the 43 fèisean which currently exist around Scotland, and which has, through these, delivered traditional music tuition through the Youth Music Initiative to 6,211 pupils in schools in Highland and East Lothian Council areas in 2006-2007 alone. In a programme which is normally divided into three 4-week blocks of tuition, the options offered are normally tin whistle, Gaelic song, children’s song and group music.27 The Youth Music Initiative has supported a number of educational projects countrywide. In Fife, three one-year traditional music projects (aimed at pupils in P5) are currently underway in schools located in Kirkcaldy, Inverkeithing and Oakley. In St. Marie’s Primary School, Kirkcaldy, four groups of instruments (based on penny whistle, bodhran, guitar and violin respectively) have been formed, and are taught in small same instrument groups on a weekly basis before coming together to form a ceilidh band which performs to the school and the wider community in the summer term. In Inverkeithing Primary School, there are also four groups (here tuned percussion is taught in place of violin) which form larger and smaller groups as required and based on ability; all pupils also sing traditional Scots songs. Singing is also the basis of the project at Inzievar Primary School in Oakley where guitar, whistle and bodhran are also studied and which is now continuing through after school classes beyond its allotted timespan, such has been its success. However, all of the above projects are dependant on the continuation of YMI funding. YMI has also been behind “Music for Kidz”, a programme operated throughout Aberdeenshire by the “Gordon Gaitherin” and the “Buchan Boorach” to provide children with the chance to play traditional instruments and create music for local audiences. As a related issue, the YMI also funds the utilisation of the Kodaly method in teaching music in primary schools some of 27

See http://www.feisean.org/youth-music-initiative.html

which is transmitted in Doric. Performers and educationalists such as Ewan McVicar, Les Wheeler, Sheena Blackhall and Christine Kydd have all worked or are currently working in schools in the region and have produced resources for schoolsâ&#x20AC;&#x2122; use, and the Buchan Heritage continues to provide workshops to schools and produce packs relating to Doric and local culture. In Falkirk, YMI funding is helping to support the work being done by local organisations such as the Falkirk Folk Club, the Falkirk Fiddle Workshop and FĂ¨is â&#x20AC;&#x2DC;sa Mheadhan. This is being done as part of the Falkirk Traditional Music Project which was launched as a two-year programme in 2005. Its aims and objectives include the increasing of access to traditional music through activities such as workshops and programmes of lessons, the appointment of a musician in residence (Marc Duff) to research, collate and preserve the traditional music and stories of the area, and (arising from this last) to work with pupils to compose/create new material which will also give rise to traditional music resource packs for primary schools. Free tuition in a variety of traditional instruments is also being offered through after school and Saturday classes. Home to at least five traditional/folk festivals this year alone, and with a strong focus on fiddle tuition (it is estimated that over 140 school pupils receive fiddle tuition at any one time, with 7 full-time instructors employed in schools across the region) the vibrant music culture that exists in Shetland has recently seen another development in the appointment of a designated traditional music officer; YMI funding has also allowed the establishment of a two-year project based in five areas in the islands for young people to acquire the different traditional styles and techniques of fiddling from older players so as to pass on and conserve the tradition. A study is currently being undertaken concerning the possible introduction of higher and further education music courses which involves Shetland Arts Trust, Shetland College and other associations. In Scottish Borders, a traditional and world music development post has recently been created. Funded by YMI, and with an initial duration of one year, the remit of this position includes the development of a traditional and world music instrumental instruction programme in primary schools, utilising the skills of the locally based Bridgebuilders programme (a programme linking traditional musicians and schools) to assist this, creating opportunities outwith the schools for young people to play and perform, to contribute to Continuing Professional Development programmes in the area, and to support the production of the proposed new traditional music and song education pack.

In Edinburgh, two full-time bagpipe tutors have recently been appointed as part of the city Council’s Arts and Learning/Instrumental Music tuition team.

Funded through the YMI

initiative, the tutors now have approximately 570 chanter pupils (drawn from Primary 6 and Primary 7 classes in the city) from which it is hoped an Edinburgh Pipe Band will eventually be formed. Many of the city’s string tutors include Scottish Traditional Music within their tuition programme and in this way it is estimated that around 1,000 young pupils will have been exposed to the genre at some stage. The establishment of a full-time job-share position for clarsach tuition has resulted in an expansion of numbers to around 80 students, though this is largely drawn from the secondary sector. With all of these developments complementing work already being undertaken by such organisations such as Craigmiller Ceilidh Club and Singing Out!, the formal and informal sectors of traditional music education within the city have recently been brought together in the form of traditional musician and teacher Fiona Dalgetty who has been appointed as one of the Arts and Learning Team’s Cultural Co-Ordinators on a part-time basis. In Dumfries and Galloway, the most recent development has been the opening of the CatStrand community arts centre in New Galloway, part funded by the Scottish Arts Council through its National Lottery Small Grants programme. Managed by the Glenkens Community and Arts Trust, and intended as a venue for activities, events and conferences, from October 2007 it will be home once a month to the latest project from the RSAMD Youthworks programme which will provide tuition in traditional music for young students of Primary 4 age and upwards (as well as classes for adults) in fiddle, whistle, accordion, guitar, song, dance and group work. With so much traditional music education activity going on around Scotland (and the above examples only represent a fraction of what is currently in progress), questions must be asked as to (a) why many are unaware of what is available and/or are unable to access this and (b) why in many cases something more sustainable long term within the schools that are the beneficiaries of visits and workshops does not appear to have occurred. Finance, as can be seen from some of the survey responses, and to judge from the responses of some of those that the writer contacted, is a concern; many of the initiatives have a finite shortterm duration and it is accepted that it is impossible to sustain them indefinitely (indeed the intention of many was to “kick-start” something that could be carried on when the initial impetus had finished). The difficulty has been to locate/plan funding for this eventuality, which begs the question as to whether they should have commenced in the first place, if only a small percentage 66

of the current school-going generation will have had access to them (a problem not unique to traditional music; many classical music projects are facing the same dilemma). There are joint initiatives between authorities (witness the appointment of a Gaelic Development Officer for Inverclyde, Renfrewshire and East Renfrewshire), and yet it remains the case that many who are working to promote traditional arts within local authorities are sometimes unaware of work going on in other regions. This also extends to some traditional arts organisations being equally unaware of the work of others and it is clear from many of the responses to the survey that a lot of this hard work is bypassing the primary non-specialist teacher. By the same token the good work achieved during the external providersâ&#x20AC;&#x2122; visits through workshops and projects is not necessarily leading to something more permanent. Possible factors which could be contributing to the lack of awareness are the following: a) Just as there is a vast array of personnel involved in traditional music education in the informal sector, so there is a wide variety of posts and titles for those who are responsible for or who could be involved in the co-ordination of traditional arts activity in a particular region â&#x20AC;&#x201C; Cultural Co-ordinators (of which there may be more than one depending on the Local Authority), Creative Links Officers, Arts Development Officers, Instrumental Service Managers, and YMI Co-ordinators who may also be one of the foregoing, or not, again depending on the region â&#x20AC;&#x201C; this list is endless and varies from region to region. b) The information relating to traditional arts and music contained on some web-sites in terms of currency, accuracy, clarity and accessibility also varies considerably; frequently, the author found that names and contact details were out of date. c) A great many people were kind enough to give help, advice and information to the current author in the course of the research for this report and their contribution is gratefully acknowledged in Appendix I. However, the author is of the view that many of those charged with the development of traditional arts have a great many more artistic areas to deal with within their remit, and are stretched to do so. A further answer as to the lack of sustainability within the school curriculum may lie in the discussion concerning the training of teachers which is considered in Section V below.

Recommendation

ď&#x201A;§

Consideration should be given to the establishment of a dedicated, designated and accessible focus or reference point (possibly through a post with a consistent title and publicised to all) for the traditional arts within each region for all stakeholders, and, in particular, the primary school teacher, as a way of providing clarity, information and assistance. (This is a point which will be discussed again in Section VI below.)

SECTION V: TRAINING

Introduction There are a great many training initiatives in Scottish Traditional Music currently underway in Scotland, both full-time and part-time, formal (that is to say leading to a qualification) and informal. However, many are designed for those working in the secondary sector, or who already have some experience as traditional music tutors/performers, while few concentrate on that which is the main focus of this report, namely the primary sector and more particularly the nonspecialist classroom teacher. A small number of the respondents to the survey indicated that they had received some musical training in Scottish Traditional Music either through their primary degree course or through a postgraduate diploma in education. However, as some respondents also indicated, the musical skills and/or experience of those embarking on what might be termed mainstream primary education courses vary considerably from those who have some musical experience prior to tertiary level education to those who have none at all, thus making specific knowledge and training in the teaching of Music, let alone Scottish Traditional Music, difficult to deliver to the prospective classroom teacher. Furthermore, the musical training associated with these courses is frequently delivered within the context of a general music programme, which in turn forms part of an Expressive Arts module (containing the other elements of Art & Design, Drama and Physical Education) which is taught alongside other subjects such as Mathematics, Science and ICT. With the inevitable time constraints involved in ensuring that all areas of the primary school curriculum are covered in the teachersâ&#x20AC;&#x2122; training, the risk of an all too brief exposure to Scottish Traditional Music is quite high, and it is easy to see how quite a few primary school teachers can feel completely at a loss when faced with teaching Scottish Traditional Music to their young pupils. The greater difficulty regarding the training of primary school teachers in the delivery of very full and varied school curriculum is increasingly being recognised by the higher education sector which is developing new courses to support and encourage teachers towards Continuing Professional Development following their initial teacher training. Currently, the options available to those wishing to become primary school teachers are either to undertake a undergraduate or postgraduate degree course in education, or to combine their first degree (which may or may not be school education-based) with further training by means of a Professional Graduate Diploma in Education (Primary). 28 There are currently six Higher 28

Basic competence in English and Mathematics are also requirements, and previous experience of working with children of primary school age is also cited as desirable for entry to primary education courses.

Education Institutions in Scotland (listed below)29 which offer undergraduate degrees in Primary Education and the PGDE. Most degree/diploma courses in education require full-time study (which, in the case of B.Ed. and PGDE students include school placements); there are, however, growing signs that more flexible routes to qualification through part-time study/distance learning are being developed/implemented as cognisance is taken of the fact that those who wish to exchange their current career for one in teaching often cannot afford the luxury of taking time out of employment to do so.30 This viewpoint also extends to existing qualified teachers who wish to continue their professional development, best illustrated through the establishment of the Chartered Teacher programme.31

Indeed the flexibility offered by this programme in the

selection of optional modules of study could potentially be something to be considered in the development of courses to assist and encourage the primary school teacher in the study of Scottish Traditional Music.32 The following section commences with a consideration of some of the third level training currently on offer in Scotland which could be directly applicable to those working in the primary school sector, focussing on mainstream education degree/diploma courses, music education degrees, and those where Scottish Traditional Music is specifically mentioned amongst the course modules on offer. It also highlights some more recent advances within the third level sector which might assist the primary school teacher through CPD or where the potential exists either for the inclusion of Scottish Traditional Music training within a course, or for a possible template for independent traditional music course development. Some other training options are 29

These are the universities of Aberdeen, Dundee, Edinburgh, Glasgow, Strathclyde and the soon to be re-named University of the West of Scotland, formerly the University of Paisley which merged with Bell College in August 2007. The UHI Millennium Institute also offers a Professional Graduate Diploma in Primary Education in association with the University of Strathclyde (see page 75 below). 30 An example of this is the PGDE (Primary) which is now offered by the universities of Aberdeen and Strathclyde in part-time mode. 31 The Chartered Teacher programme (a voluntary pathway for Continuing Professional Development for teachers) was established in 2003, following the agreement drawn up between the Scottish Executive, teachers’ organisations and local authorities, expressed in the document A Teaching Profession for the 21st Century (Scottish Executive, 2001). Applicants for this programme, who must be fully registered with the General Teaching Council for Scotland and with some years’ teaching experience behind them, register for a course of study (usually leading to a Master’s degree) which has been designated as having met the Standard for Chartered Teacher. Normally achieved through part-time study, the award contains intermediate awards of Postgraduate Certificate and Diploma. Applicants are required to complete four core modules, which are common to all of those who provide this qualification, four optional modules which (depending on circumstances) may be selected not just from the institution of registration but from other institutions in the programme, and a work-based project/dissertation. The institutions who currently offer modules leading to this award are the Universities of Aberdeen, Dundee, Edinburgh, Glasgow, Napier, Stirling, Strathclyde, West of Scotland, the Open University and City & Guilds/Rocket Learning. The collaboration between the universities of Edinburgh, Glasgow, Strathclyde and the UHI Millennium Institute has resulted in the publication of a joint catalogue of option modules available. Further information can be accessed at the web-sites of the Scottish Government at http://www.scotland.gov.uk/Publications/2003/07/17538/22895 and/or General Teaching Council for Scotland at http://www.gtcs.org.uk/ProfesionalDevelopment/CharteredTeacher/CharteredTeacher.asp 32 See recent developments at the University of Aberdeen (pages 70 and 71 below).

then reviewed, specifically those available for the Scottish Traditional Music tutors. While, strictly speaking, this could be said to fall outside the main thrust of this report, it remains the case that such tutors (in addition to providing classes in the community as a whole) are frequently being engaged to supply classes/workshops within primary schools as an aid to, or in place of, the primary school classroom teacher. Here too, some of the initiatives might merit consideration as a form of CPD for primary school teachers. The discussion then concludes with a review of methodologies from other musical styles. Training: University sector At the University of Aberdeen, the study of Scottish Traditional Music can be pursued by students through the School of Education/Department of Music’s BMus and BMus with Honours (Education) degrees which are of four years’ duration; the latter degree qualifies students to teach in secondary schools. The subject is covered in the core curriculum as part of the Music in Scotland course in the first two years of study; the study of traditional music is available as an option in Year 3, and the course is open to traditional instrumentalists who may present performance on traditional instruments as part of their final year assessment. The Music department also has an input when required into the School of Education’s B.Ed. (Primary Education) degree, though again traditional music is not a specific subject but included as part of a more general musical overview; the musical abilities of students for this degree can be quite wide ranging and include those with little or no musical training prior to entering the programme. The University also offers a wide range of postgraduate courses in education. Within its Continuing Professional Development portfolio of courses there has been a recent development which has potential ramifications for the training of the primary school teacher. Entitled “Music A Pathway to Learning”,33 a short free-standing course was instituted by the University in May 2007, and is led by tutors from the National Youth Choir of Scotland. Based on the Kodaly method and specifically aimed at primary school teachers, the course is intended to equip both class teachers and specialists with the skills and tools to provide a “child-friendly music programme”.34 The course may be completed as a programme within itself, or may count as 15 credits towards the University’s postgraduate qualifications including an M.Ed. This could potentially provide a template for the development of a similar course in Scottish Traditional 33

Further details are available in University of Aberdeen (2007) Opportunities for Continuing Professional Development 2007-2008 accessible via the web-site at http://www.abdn.ac.uk/education/programmes/cpd.shtml 34 Ibid.

Music by those involved in the delivery of training in this subject in Scotland, not only with a view to instituting a “child-friendly music programme” but providing a “primary school teacherfriendly course” as well. The Royal Scottish Academy of Music and Drama includes a module on Scottish Traditional Music within its four year Bachelor of Music Education Degree, a degree course for secondary school teachers (though consideration/experience of the primary sector also forms part of the programme) which is jointly taught and administered by the RSAMD and the University of Glasgow (Faculty of Education); supervised teaching practice in the classroom forms part of the curriculum.35 The Academy’s BA (Scottish Music) degree was the first of its kind in the UK. It is now one of two four year honours courses offered by the institution, the second being the BA (Scottish Music-Piping) which is taught and administered with the National Piping Centre. Both offer a wide variety of skills, amongst which is an education module (which includes techniques of teaching).

Students are not only coached in teaching methods but are also

supervised in a variety of teaching situations. The RSAMD has recently instituted exchange links with the Irish World Academy of Music and Dance at the University of Limerick which is also pursuing training options in its recently instituted degrees in Traditional Irish Music (see Section VI below). The University of Strathclyde, through its BA in Applied Music degree course, offers training in Scottish Traditional Music as part of its curriculum which is intended to cover elements of academic study, education and performance. Students follow a core curriculum for the first two years of the course, but can thereafter tailor the course to their own specific interests and aspirations. The course can be taken over three (pass degree) or four years (honours degree). It is therefore possible to specialise in Scottish Traditional Music, but many students take advantage to combine their musical studies with elements of the other styles and genres (such as rock and pop) on offer within the institution. Classes are provided in Music in Community and Education contexts, within which students can access a variety of placements in such areas as community education, schools, hospitals etc.- again depending on their own interests and aptitude. The University has recently developed links with the UHI Millennium Institute in the delivery of its PGDE course. The department has links with other organisations involved in education and/or outreach such as Stow College (where BA Applied Music students have been working through placements with Stow students on that institution’s HNC course – see page 74 below), Celtic Connections, Fèisean nan Gàidheal (again see below), the National Piping Centre, and, more 35

See the RSAMD’s web-site at http://www.rsamd.ac.uk

recently, the RSAMD. Another recent development is Celtic Community Radio which (thanks to a Lottery grant) will be online from August 2007 and available worldwide through the internet. Devoted to the broadcasting of all types of Scottish music and facilitated through the Community Media Association, its Internet stream is relayed to a studio at the University of Strathclyde, from where it is then sent to a server for wider distribution. Most recently involved in the broadcast of the Scottish International Piano Competition, it will broadcast classes and act as a portal for the university, the RSAMD and the National Centre of Excellence in Traditional Music at Plockton High School. The newly established (2006) BA in Gaelic and Traditional Music is offered by the UHI Millennium Institute at its campus at Sabhal Mòr Ostaig on the Isle of Skye, in full-time or part-time mode. In its full-time mode, the course is at present taken over three years, though it is anticipated that a fourth honours year will be introduced which will include an exchange programme with the University of Limerick (see Section VI below). Intended to produce graduates highly competent in Gaelic, advanced performance skills and theoretical knowledge, it is anticipated that the employment opportunities available to graduates will include a career in education.

In delivering the course, the college is drawing on its extensive library, its

management of the Tobar an Dualchais project, and its development of online materials, as well as its links with other educational establishments both at home and abroad. A development not directly related to music training, but one that could be considered as a possible template for the training of traditional musicians (particularly in the light of established links between the Traditional Music Tutor Training Network, Stow College and the University of Strathclyde), is the programme currently in operation in a partnership between UHI, the University of Strathclyde, and the councils of Argyll and Bute, Highland and the Western Isles. A Professional Graduate Diploma in Education in Primary Teaching, this teacher training scheme allows students to access tuition through technology rather than formal attendance at college, thus overcoming difficulties posed by geography or the need to continue employment while studying. According to the UHI annual review,36 21 students have benefited so far from this course (with a further 30 students currently enrolled).37

UHI Millenium Institute (2006) Review 06 page 12. In another example of co-operation between institutions it was announced in June 2007 that a working party would be set up to investigate, and report with recommendations for, the establishment of a Fèis Academy which would promote traditional music, drama and dance. The four institutions involved are the UHI Millennium Institute, Sabhal Mòr Ostaig, Fèisean Nan Gàidheal and the Royal Scottish Academy of Music and Drama. It is anticipated that a decision on this will be forthcoming before the end of 2007. See http://www.feisean.org/FeisAcademy 37

Technology also plays a part in the delivery of Continuing Professional Development courses offered by the University of Dundee (School of Education, Social Work and Community Education). In its M.Ed. which leads to Chartered Teacher Status and is available through parttime study and distance learning, there are a vast range of optional modules amongst which is one designated “Music in the Primary School”. In this course the School employs technological media in the delivery of tuition, including the Virtual Learning Environment, thus overcoming potential difficulties posed by distance learning. In its portfolio of education qualifications (of which many are specifically targeted at primary school teachers) “Arts in Education” is cited as one of the possible optional courses associated with the University of Glasgow (Faculty of Education)’s MSc/M.Ed. in Educational Studies degrees. One potential future development which might supply additional training in the Expressive Arts for primary school teachers is the proposed Postgraduate Certificate in Education (Primary Expressive Arts)38 which by its very title recognises the importance of the category within the primary school curriculum. It is intended that this course (which is requires completion of three modules worth 20 credits each) will commence early in 2008. The University of Edinburgh has long supported the study of Scottish heritage and culture (including Scottish Traditional Music) in many forms, not least in its degree courses. 39 Currently, amongst the range of postgraduate qualifications in education offered by the Moray House School of Education, the MSc. Education degree is available in full-time (1 year) or part-time (24-36 months) mode and allows for optional courses to be chosen from other schools within the University, providing, therefore, the potential for modules from the university’s School of Literature, Languages and Cultures (Celtic and Scottish Studies) courses to be incorporated into this degree. The School itself offers an MA (Honours) 40 in Scottish Ethnology which includes the study of Scottish Traditional Music and which, amongst many career pathways covered by its programme, lays the foundation for teaching at all levels, including primary. Training: Other initiatives – Further Education sector and independent providers

See University of Glasgow (Faculty of Education) web-site for course information (accessible via http://www.gla.ac.uk/faculties/education/programmesandcourses/postgraduate/taught). The University is also proposing to introduce a new four year Master of Arts (Honours) in Education with Primary Teaching Qualification within the next two years, subject to the approval of the University Senate. 39 See Francis (1999), pages 23 and 76. 40 This is a four-year honours undergraduate course (though students can graduate with an MA [general] in Year 3); further information may be accessed via the course web-site at http://www.celtscot.ed.ac.uk/undergraduate.htm

Many Further Education Institutions offer Certificate and Higher National Diplomas in Music, though few mention Scottish Traditional Music specifically as forming part of their courses. The following are examples of some of those who do. Amongst the academic partners of the UHI, Lews Castle College offers further education diplomas in Gaelic language and Music through its Learning Centres on Benbecula and Uist, whilst the former campus also provides tuition leading to a Higher National Certificate in Music Performance which focuses largely on traditional music, and which can be the next stage for those who have completed the FE Diploma. Sabhal Mòr Ostaig also offers a range of shorter courses in traditional music, both on campus and through its outreach and learning centre of Ionad Chaluim Chille on Islay, the former facility offering Higher Education Certificates in Gaelic, which have optional modules in either Music, or Music Performance and Gaelic Song. The North Highland College with campuses at Thurso, Alness, Dornoch and Wick offers tuition in bagpipe and fiddle at National Certificate level. Amongst its courses, Stow College (based in Glasgow) offers two which are of relevance to the current discussion, namely the HNC in Traditional Music, and the Certificate in Music Tuition. The former course is comprised of one-year full-time study intended to develop skills in musicianship and composition in traditional/folk music, and may constitute the first year of a degree programme at the University of Strathclyde. The latter course, which is delivered in collaboration with the university and with the Traditional Music Tutor Training Network,41 concentrates on generic music tuition skills such as delivery and assessment, coaching individual learners, managing the teaching/learning environment etc. A Professional Development Award (Certificate in Music Tuition) which was validated by the Scottish Qualifications Authority in June 2004, it is co-ordinated by the Training Development Officer of Fèisean nan Gàidheal, Iona MacDonald, and is available in several centres around Scotland and through distance learning. The course may accredit prior learning where appropriate, and development of the next award (the Advanced Certificate which will include modules specific to Scottish Traditional Music) is at an advanced stage at the time of writing. Based in Edinburgh, the Adult Learning Project Scots Music Group (which is affiliated to the Traditional Music Tutor Training Network, and which has a number of its own affiliates including the Edinburgh Youth Gaitherin) provides day and evening classes for almost every age, level of proficiency and instrument, as well as classes in dance and coaching for those who 41

A consortium which is comprised of Fèisean nan Gàidheal, Fèis Rois, ALP Scots Music Group, National Centre for Excellence in Traditional Music, RSAMD, Scottish Arts Council and others.

want to take part in sessions. This last category provides music online both in written notation and audio file for those who wish to practise in advance of the class itself. The group has also recently (April 2007) instituted a series of training workshops for traditional music tutors, both from within and outside the organisation. Structured around the collective experience of the tutors within the Scots Music Group, the programme so far has focused on group work skills, as well as considering potential problems of teaching traditional music such as effective teaching by ear etc. Funded by the Scottish Arts Council, more training sessions are scheduled, though the programme is at present intended to conclude in June 2008. Ways and means of allowing the programme to continue beyond that date are currently being investigated. Training: Other methodologies One of the tasks assigned to the current author in undertaking this research was to review music teaching methods in other styles (in particular that of classical music) and to make recommendations she felt appropriate for the possible application of such methods to the transmission of Scottish Traditional Music.

What follows is a brief overview of these

methodologies, all of which are currently being utilised in and around Scotland. The International Kodaly Society42 (founded in 1975) is in operation in 34 countries worldwide, and has a number of affiliated organisations, amongst which is the British Kodaly Academy.43 In Scotland, the dissemination of the Kodaly principles has been largely spearheaded by the National Youth Choir of Scotland which has been running courses and workshops for teachers and children, as well as training youth choirs, for many years. The Kodaly method for children is founded on the principles of commencing musical education as soon as possible beginning with singing games and rhymes, using tonic sol-fa where appropriate and material which is selected from both folk and specially-composed resources. It is tailored to each stage of the childrenâ&#x20AC;&#x2122;s development, and is particularly concerned with the preservation of the young voice. It provides the foundation for progression to instrumental study if required, 44 and its application to music training in Scotland has in the main been focused on classical music. However, as can be seen from the results of the survey, its application to other genres has been gradually emerging around the country, and the latest development of which the author is aware is the production of a Kodaly resource pack in Gaelic songs currently being formulated on the 42

Amongst its aims and objectives, the Society works to promote the educational principles propagated by the Hungarian composer, musicologist and teacher, Zoltan Kodaly (1882-1967) which evolved from his extensive study of Hungarian Traditional Music. 43 See Appendix II for contact details. 44 The Colourstrings method is one such programme that has evolved for young string players.

Isle of Lewis (with input from other regions such as Argyll and Bute) which is due for publication in the near future. On a related topic, the new postgraduate short programme (“Music – A Pathway to Learning”), recently instituted at the University of Aberdeen and which has been mentioned earlier in this report, is based on the Kodaly method and specifically aimed at primary school teachers.45 Given these latest developments and the Kodaly programme’s evolution from the folk tradition, this method would appear to be one of the most accessible and amenable to the transmission of Scottish Traditional Music both for primary school teachers and their pupils. Devised and developed over a ten year period by the Scottish jazz musicians Tom and Phil Bancroft, the ABC Creative Music method of musical training has been piloted and utilised in several local authorities in Scotland including Edinburgh, East Ayrshire and Dumfries and Galloway. It is designed to cover all age groups from nursery to adult, and is particularly targeted at non-specialist teachers. The method uses a mixture of musical and non-musical elements - verbal, visual, colours, shapes and sounds - to encourage the confidence and skills of both pupils and teachers to compose, improvise and perform (“using the familiar to teach the new”). It is also designed to address the creativity requirements of the 5-14 curriculum as well as inculcating motor, memory and listening skills in a way that is enjoyable and memorable for all concerned, again a method that might be accessible for Scottish Traditional Music tuition. This method was also cited by a few of the respondents to the survey. The Dalcroze method, founded on the educational principles of the composer and educationalist Emile Jacques Dalcroze,46 utilises solfa based on the Kodaly method. However, this is only one of three elements (the others being Improvisation and Rhythmics), and the method’s application covers not only music, but other performance arts as well, the link between music and dance being particularly important. With a slightly stronger profile in England than in Scotland (though Angus Council has committed heavily to its employment in general music tuition in schools), it is designed to develop co-ordination, creativity, listening skills, a command of different musical styles and comprehension of musical elements such as rhythm and structure through movement and improvisation using singing, percussion and other instruments.

See page 70 above. Emile Jacques-Dalcroze (1865 – 1950), who worked at the Geneva Conservatoire, and who was strongly influenced by the rhythms of oriental music and classical poetry in the evolution of his method. The headquarters of the Dalcroze network are located at the Dalcroze Institut in Geneva, but its UK work is administered by the Dalcroze Society in London (see Appendix II). 46

Based on the teachings of the German composer Carl Orff,47 the Orff approach (and not method, as the Orff Society UK web-site makes clear) to music education started with a consideration of the rhythm of language as well as his involvement in the foundation of a school of gymnastics in Munich during the 1920s. As an educationalist, Orff is remembered for two bodies of work produced almost thirty years apart; the first was a range of musical publications dating from the 1920s and entitled Orff Schulwerk, and the second -which appeared between 1950-1954 - called Musik für Kinder. Modifications made by Orff to a basic model of a xylophone resulted in the creation of a series of struck percussion instruments (related to the xylophone) which bear his name, and it is these combined with movement, speech and singing which are employed to encourage aural skills, improvisation and performance and which lead to the use of standard and non-standard notation of musical ideas. Intended to embrace all arts forms, the approach has been found to be particularly suitable for children with special needs. One respondent to the survey cited this approach as being amongst the musical training received. Again, based on language and the way in which children acquire language skills through listening, the Suzuki method (named after its creator Shin’ichi Suzuki)48 begins as soon as possible in the child’s life, with observation by the child for a period of time of the teacher and other children playing/performing before the pupil begins to play himself/herself. Children also listen to recorded music, and therefore introduction to formal musical notation is delayed while aural skills are developed. Lessons are normally a mixture of one-to-one tuition and group work, and parents are closely involved from the beginning, attending lessons, aiding children with their practice and acting as their support. Prolonged exposure to being observed by others, therefore, helps to overcome any fear of public performance. The potential difficulty with this approach is that it is more suitable for those who can train, or who have trained, as music teachers/tutors (rather than for primary non-specialist teachers) as demonstration and performance of the specially tailored Suzuki repertoire by the teacher is part of the method. Nonetheless, there are quite a number of Suzuki practitioners active in music teaching in Scotland, and the author is aware of instances of the method’s application to the teaching of traditional music, North Ayrshire being one such example. Analysis of the training review

Carl Orff (1895-1982) whose earliest involvement with music education came through his association with the Günther School of Gymnastics founded by Dorothy Günther. His work as an educationalist, however, was interrupted by the Second World War. 48 Shin’ichi Suzuki (1898-1998), Japanese educationalist and violin teacher.

In the light of the above review, it seems clear that one of the reasons for primary teachers’ wariness or complete lack of confidence in tackling the teaching of Scottish Traditional Music is the fact that their exposure to this subject during their training is frequently of very short duration, if at all. This would go some way towards explaining why many prefer to depend on external providers to deliver classes and workshops, and it must be said that the experiences of those schools that have done so have been extremely positive. However, it is also a fact that many respondents also feel ill-equipped to sustain what has been brought to the classroom through classes, workshops or projects by external providers beyond the life-span of those events. The author is not advocating that such “external” visits cease – fresh perspectives, the immediacy of a “live” performance and the excitement and stimulus for young children of something different happening in the school is always very welcome. However, in the course of her research, the author has been made aware that funding either for the school, or for the external tutors, to provide such programmes is often limited and uncertain and that this uncertainty regarding the funding required (either in terms of reduction or termination) could give rise to a lacuna in the provision of classes in Scottish Traditional Music which at present cannot be filled by many primary school teachers. With regard to the original brief for this report, care should be taken if selecting a particular methodology to follow; a great deal of the tuition given by traditional musicians over the years without recourse to a specific method has produced effective results. Again, the value of an input of fresh perspectives from the methodologies considered should not be ruled out and may help/boost existing teaching styles but should not be imposed. However, the use of one or more of the above methods/programmes to aid primary school teachers should be considered, in association with the production of materials for CPD, and the possible production of materials for young pupils.

Recommendations 

A distinction needs to be made between the development of training for the primary school non-specialist and that of Scottish Traditional Music tutors, both in terms of approach and resources/materials.



The author is of the opinion that the musical training (which includes Scottish Traditional Music) of primary school teachers needs to be reviewed particularly in the light of the findings of this survey and the forthcoming Curriculum for Excellence.



Such training needs to be accessible and achievable for these teachers (and be seen to be so) – in this regard, the recognition of the validity of part-time study needs to be extended and technology needs to be harnessed and developed further in order to enhance accessibility.



In providing such training the cross-curricular advantages of employing Scottish Traditional Music (and dance) in classroom teaching to address the requirements of the school syllabus need to be emphasised, so as to dispel the idea that Scottish traditional culture (and Scottish Traditional Music in particular) is an extra element to be endured, and not enjoyed.



Consideration should be given to the development of modules for accreditation at the very highest level eg as partial fulfilment of the requirements for a qualification which is professionally recognised, such as the Chartered Teacher programme.



The use of one or more of the above methods/programmes to aid primary school teachers should be considered in association with the production of materials for Continuing Professional Development.



Training for Scottish Traditional Music tutors should be continue to be supported and developed with accreditation for those who wish it.

SECTION VI: IRELAND – A BRIEF COMPARISON Introduction

In many respects the situation in Ireland resembles that of Scotland. There are, and have been for many years, many educational initiatives in traditional music education outwith the school sector (such as that provided by such organisations as Comhaltas Ceoltóirí Éireann, Na Píobairí Uilleann, The Francis McPeake School of Music, the Armagh Pipers’ Club etc.) and the provision of such education within schools is in many cases but a small part of the curriculum, with external visits by specialists being relied on. However, both Arts Councils are strongly committed to supporting the traditional arts countrywide; 49 in the Republic of Ireland, in particular, the support for the traditional arts has increased significantly in the last few years. In the context of this report, it is not here proposed to consider every initiative currently underway, but to focus on just some of the more recent developments with a brief overview of the training available. A number of events have recently occurred in the Republic which are directly affecting the provision of Irish Traditional Music in schools. Subsequent to the passing of the Arts Act (2003),50 An Chomhairle Ealaíon51 announced a new policy for traditional arts in 2005, and is currently completing the second year of a three-year Traditional Arts initiative, 52 which is “designed to stabilise existing key players and consolidate a basic infrastructure for the traditional arts while allowing scope for new ideas, projects and partnerships to emerge”. A total of €3,000,000 (approximately £2,000,000 at the current exchange rate) has been allocated to this initiative for its first full year by the Council (with continued funding thereafter) while a further €500,000 (£333,000) has been received from the Minister of Arts, Sport and Tourism. An Chomhairle Ealaíon describes its intention through this initiative to “prioritise the traditional arts for a fixed period, in order to realise the ambition of fully mainstreaming the traditional arts within the Council’s activities”.53 The Council has given a commitment to “stabilise existing key players…to consolidate a basic infrastructure for the traditional artforms, artists and arts practices (working with local arts officers)” and to “develop and support networks and partnerships between key players”.54 In a more recent development, An Comhairle Ealaíon has 49

Indeed both councils have recently come together in a joint funding initiative for traditional arts and language arts entitled “Turas”/”Journey” which was recently launched at the Magee Campus of the University of Ulster. See http://news.ulster.ac.uk./releases/2007/3159.html 50 Oireachtas na h-Éireann/The Government of Ireland (2003) Arts Act ; this repealed all previous arts acts in the Republic of Ireland, and confirmed the continuing role of An Comhairle Ealaíon, while also conferring certain functions in relation to the arts on the Minister for Arts, Sport and Tourism. 51 The Irish title for the Arts Council of the Republic of Ireland; this terminology will be hereafter to distinguish between this body and the Arts Council of Northern Ireland. 52 An Chomhairle Ealaíon/The Arts Council (2005) Tionscnamh Ealaíon Traidisiúnta/Traditional Arts Initiative 2005-2008 53 54

Ibid. Further details may be accessed at http://www.artscouncil.ie/areas_of_work/actions/traditional_arts_actions.aspx

instituted a similar post to that of the Traditional Arts Officer of the Arts Council of Northern Ireland in order to take its policy forward. In a separate educational initiative, the Irish Government took the decision in 2004 to supply every primary and secondary school in Ireland with an internet broadband connection, 55 in a programme which is being gradually rolled out across the country and which is intended to place the Irish system at the forefront of 21st century education. This will have major implications for both teachers and pupils and has resulted in at least one initiative funded by An Chomhairle Ealaíon in Irish Traditional Music which has evolved to include contacts further afield in America and Australia (see page 84 below). The curriculum for primary schools in Northern Ireland was revised in the early 1990s to take account of cross-curricular themes (including Cultural Heritage in which traditional music is featured); it has been the subject of further and ongoing review and revision since 1999 and the new curriculum (together with that for post-primary schools) is to be gradually phased in over the coming months commencing in September 2007.56 In contrast to the Republic of Ireland, funding for the arts in Northern Ireland appears to have come under strain recently and this situation has been the subject of recent debate within the Assembly. 57 Nonetheless, the Arts Council of Northern Ireland has, for many years, sponsored a number of programmes and projects in traditional music through its many funding programmes, and has a specific post – Traditional Arts Officer – which carries responsibility for developments in this area, recent examples of which include the Traditional Music Archive (housed in Belfast Central Library within the existing Archive of Classical and Contemporary Music), production of music book resources (such as the fiddle tune publications produced by Josephine Keegan and the songs collections of Padraigín Ní Uallacháin) as well as a promotional CD (New Folk, Roots and Traditional Music from NI) and an educational DVD (Exploring Trad.) which has been discussed in Section III. What now follows is a brief overview of some of the educational initiatives and training opportunities in operation in the island of Ireland. 55

See details contained in Irish Government statement of 24 February 2004, accessible on http://www.education.ie/robots/view.jsp?pcategory=10861&language=EN&ecateorgy=40 This followed on from the government’s ICTS development programme, Schools IT 2000 which was launched in 1997. 56 See details on the web-site of the Council for the Curriculum, Examinations and Assessment , accessible at http://www.ccea.org.uk; further information is also available at Northern Ireland Curriculum, accessible at http://www.nicurriculum.org.uk . 57 See the statement by the Arts Council of Northern Ireland accessible via http://www.artscouncil-ni.org/news/2007/new05102007.htm . According to the motion placed before the Assembly on 9th October 2007, funding for the arts in Northern Ireland is less per capita than in the other regions of the UK.

Prior to the passing of the Arts Act, Roscommon County Council with the aid of a number of sponsors58 established a project59 in March 2003 for the development of the traditional music, song and dance in the Roscommon area, led by Dr. Liz Doherty, Traditional Arts Specialist with An Chomhairle Ealaíon. Following consultation with practitioners in the sector, a Traditional Arts Forum for the area (the first of its kind in Ireland) was established to manage and develop a number of new initiatives as follows: 1) Traditional Arts education (primary schools) 2) Marketing of existing activities 3) Performance and performance development 4) Professional development for traditional artists 5) International links and contexts. Of particular interest to the current report are items 1, 2 and 4 of the above. Some of the actions listed under these headings include the intent “[to] bring together musicians, dancers and storytellers and organise training in the delivery of primary school education programmes… provide subsidies to primary schools for the utilisation of the programme. …develop a bank of instruments to support the project …develop a website for traditional arts in the county…make services/products more widely accessible, develop online archive of traditional arts…integrate professional development into existing projects commencing with a programme of training for working with children”.60 The Traditional Arts Network has been established as an online facility for Roscommon, and a glance at the Roscommon Flute Players Society 61 through this link shows some of its work undertaken in 2006 which meets some of the aims listed under item 1 above; work is still in progress regarding the other initiatives. According to the Council’s recently appointed Arts Education and Development Co-Ordinator, Avril Carr, the concept behind items 1 and 4 is to publicise and further support traditional musicians already working in schools, and to encourage more live music in that context. The project is currently aiming to involve primary school teachers more closely in the development/planning process with the visiting musicians, particularly in the light of the revised Primary School Syllabus (1999). 62 6 58

These were the Mid-South Roscommon Rural Development Company, the Arigna Catchment Area Community Company, the European Union and An Comhairle Ealaíon. 59 Further details may be accessed from the web-site http://www.roscommonarts.com/trad/back.htm 60 Again, further details concerning these initiatives can be obtained from the web-site at http://www.roscommonarts.com/trad/project.htm 61 See details at http://www.roscommonarts.com/trad/event.htm 62 Oireachtas na h-Éireann/The Government of Ireland (1999) Curaclam na Bunscoile: Ceol [Primary School Curriculum: Music]. Support and guidelines for Primary school teachers is also accessible through the web-site of the National Council for Curriculum and Assessment at www.curriculumonline.ie , also through the Primary Curriculum Support Programme’s own web-site at http://www.pcsp.ie . This curriculum has resulted in a more

schools in the county are funded every year by An Chomhairle Ealaíon and Roscommon County Council for 60 hours of traditional arts tuition. Taking its cue from Roscommon, the Arts Office of Clare County Council (supported by An Chomhairle Ealaíon) established its own Traditional Arts Forum in November 2006 with the aim of “assisting individuals and organisations to work together on shared projects of interest, thereby putting them in a stronger position for accessing funding at national and local level.”. 63 Further meetings of the Forum have taken place with a view to drawing up a programme of traditional arts projects, again particularly those supporting the county’s Artists in Schools scheme, which is currently in abeyance (while it is reviewed in the light of the new Forum) but which will be re-activated in 2008. In conversation with the current author, the county’s Traditional Arts Specialist Tara Connaghan also highlighted the provision of bursaries by Music Network Ireland64 to attend its outreach and education course (run over three weekends in Autumn, Winter and Spring), for which some of the county’s traditional music tutors have registered. The Forum is currently looking at establishing a central online system bringing all events currently underway in the county together so as to avoid clashes of major events such as concerts and festivals. The Deis Scheme was the first to be established as a result of the Traditional Arts Initiative which was “aimed at encouraging and facilitating the traditional arts community.”. 65 Introduced in September 2005, the scheme provides funding for “one-off” or short-term projects only, and considers proposals for traditional arts projects alone, or traditional arts in association with other artforms, provided that such projects are outside other Council funding areas (such as travel or festivals) but in line with An Chomhairle Ealaíon’s traditional arts policy. Throughout 2006 a number of projects have been funded through this scheme, ranging from the production of tutor material to developing a programme of Irish Traditional Music in primary schools, to extending a website that allows children to learn traditional music online. Regarding this last, James Donohoe, a traditional music teacher based in Westmeath and Roscommon and a Deis award recipient, has responded to the technology now being installed by creating and expanding an interactive web-site, and an online system, by which traditional music may be taught. Currently integrated syllabus embracing all arts subjects (and In-Service training for teachers has been provided by the Department of Education), but it still remains the case, as with Scotland, that the length of time devoted to traditional arts or its employment in the school curriculum remains at the discretion of the individual Head Teacher or classroom teacher. 63 Further details may be accessed via http://www.clarecoco.ie/news/clare_art.html 64 Details available at http://www.musicnetwork.ie 65 “Deis- Description” An Chomhairle Ealaíon/The Arts Council (2005) Tionscnamh Ealaíon Traidisiúnta/ Traditional Arts Initiative 2005-2008; details also available via the web-site at http://www.artscouncil.ie/en/view_fund.aspx

in its third year of development, this project has been made possible not only through the support of the Irish Arts Council (and the assessment and support of Dr. Liz Doherty), but also through collaboration with the Traditional Arts Forum in Roscommon (in whose area the first stage of the project was piloted), the Athlone Education Centre and Apple Computers. Beginning with an introductory model web-site containing 10 lessons, the project has evolved to the stage of a “virtual classroom” having been created with a suite of music classes at beginner, improver, and advanced levels, and broadcasts to schools in America and Australia. Other recipients include Frank Torpey, proprietor of the Wexford-based company Mad for Trad. who, prompted by the issue of the new Primary School curriculum, has developed a programme of Irish Traditional Music (comprising information on instruments, tunes, rhythm and metre, and performances by young traditional musicians) for use in the primary school on CD-Rom and in written format. Entitled Cuisle (Pulse) the programme was piloted in local schools in May 2007 with great success. According to the former Traditional Arts Officer of the Arts Council of Northern Ireland Paul Flynn,66 2007 has seen an upsurge in applications to the council’s SIAP (Support for Individual Artist Programme) from those from the traditional arts sector, which provides assistance with projects, travel grants and residencies. Available to those domiciled in the country, applicants must have contributed to artistic activities for a year before applying, but the scheme excludes prolonged periods of further education study, establishment of web-sites or those already in receipt of Council funding. Recipients this year have received funds for such projects as purchasing musical instruments, CD production and music tutorials. A number of educational organisations are in receipt of funding from the Arts Council of Northern Ireland under the Annual Support for Organisations Cultural Traditions Programme, such as Altnaveigh House, the Belfast Set Dancing and Traditional Music Society, and the Armagh Pipers’ Club. One such organisation is the Francis McPeake School of Music in Belfast, which provides mainly evening and weekend classes for all ages, though its tutors also visit schools in the district. The school, which is 30 years in existence, has recently developed two new initiatives: a rural programme of tuition to be brought to schools outside the city, and an online interactive tuition system which is anticipated to become active with the launch of the school’s new website at the end of October 2007. Another educational body is the long-established Jigtime Programme,67 a small performance group committed to bringing traditional music to pupils in 66

Recently appointed to a similar post in An Chomhairle Ealaíon. For further details, see the Jig Time Programme accessible at http://www.ccruni.gov.uk/research/directory/jpoim.htm . This programme has also been cited by the Roscommon Traditional Arts Forum as providing the model for the implementation of its first project (see page 82 above). 67

schools at primary level. The format is comprised of performances, explanations of the instruments, history and the social context, and cross-curricular themes. Follow-up materials in the form of the Exploring Trad DVD are supplied to the teachers, and the programme has been brought to over 800 schools both north and south. Training The opportunities for training both within the formal and informal sectors in Ireland have also increased considerably in recent times; most higher education establishments now offer modules or pathways in Irish traditional music within their undergraduate music or education degree programmes, with one such (the Irish World Academy of Music and Dance) offering a four year degree course in traditional music and dance. However, as with Scotland, few courses are specifically targeted at the primary school non-specialist sector, and the postgraduate diplomas in education, which fulfil the same function as the PGDE in the UK, also suffer the same difficulties in covering music (including traditional music) as their Scottish counterparts. Of most relevance to the current discussion in this report are the teaching degrees available, and a separate training initiative established by Comhaltas Ceoltóirí Éireann. A traditional Irish Music option is offered in the four year Bachelor of Music Education honours degree (established in 1986) for secondary school teachers, a course which is jointly taught and administered by the DIT Conservatory of Music and Drama, the Royal Irish Academy of Music, Trinity College School of Education and which is validated by Trinity College. As with its sister qualification at the RSAMD, students undergo teacher placements during their course of study, allowing them to apply the skills they have acquired through lectures/tutorials in the area in which it is intended that they will find employment following graduation. Mary Immaculate College of Education in Limerick (which is now academically associated with the University of Limerick) offers a module in Irish Traditional Music within its B.Ed. degree for Primary School teachers, as does St. Patrick’s College in Drumcondra in Dublin and St. Mary’s University College in Belfast. The Irish World Academy of Music and Dance based at the University of Limerick established a Bachelor of Arts in Irish Traditional Music and Dance degree in 2002, an honours programme of four years’ duration. While the main thrust of this programme is towards producing the future generations of young traditional music performers, it nonetheless recognizes that employment opportunities come through a range of different skills; consequently modules are offered in Community Music & Dance and Music & Dance Education. Upon completion of the course, graduates can undertake a postgraduate teaching diploma which will 86

enable them to become secondary school teachers. Graduates may also progress to postgraduate study within the department on such courses as the MA in Irish Traditional Music Performance which (like the undergraduate course) can enhance their teaching as well as performance skills, or the MA in Community Music. The Academy has exchange links with both the Royal Scottish Academy of Music and Drama and Sabhal Mòr Ostaig (see Section V above). In 1980 Comhaltas Ceoltóirí Éireann established its teachers course leading to its teaching diploma qualification (Teastas i dTeasgasc Ceolta Tíre) in Irish Traditional Music.68 Intended for those with some experience of teaching and performing Irish traditional music, it is held as a week-long intensive course normally in July each year, and is comprised of lectures in musical styles, theory, supervised teaching practice and instrumental tuition, with a final examination at the conclusion of the course, the results of which - when combined with the course tutors’ evaluations - are used to decide if the diploma is to be awarded. More recently, Comhaltas Ceoltóirí Éireann has committed to extending the provision of this course for primary, postprimary and trainee schoolteachers who are accomplished traditional musicians. 69 It has also committed itself (with the approval of the Department of Education and Science) to the provision of an In-service course for primary school teachers to facilitate the teaching of traditional arts. Analysis of overview As already observed, there are many similarities between Scotland and Ireland in the provision of traditional music training for teachers as well as difficulties in its transmission to those of school going age: while some of the teaching materials produced in Ireland have been considered in the course of the review in Section III above, the current author is not aware of a great many resources which are specifically targeted at the primary sector or non-specialist teacher. However, in terms of this Section (and in the context of this report with regard to aiding access to knowledge, support and increasing communication and awareness) the author would reiterate that the appointment/designation of a specific individual for the traditional arts in each authority in Scotland (such as that outlined in the Roscommon and Clare models above) who would act as a focus/reference point for all stakeholders in the traditional arts field (from performers to specialist

tutors,

organisations,

general

teachers

etc.)

and

facilitate

clarity

and

Accessible via the web-site www.comhaltas.ie/education/ttct_exam/ See also Traditional Music Tutor Training Network (2003) Proceedings of the 2nd National Seminar - Credit and credibility: Traditional Music Tutoring Issues examined p. 16 69

Comhaltas Ceoltóirí Éireann (2006) Development Programme for the Irish Traditional Arts , p.26

communication/awareness of the traditional arts within the authority is something to be considered. It would, however, require consistency of title and responsibility across the country as a whole in order to create an infrastructure, and the author is aware that adding yet another title to the long list that already exists might exacerbate rather than solve a problem. Alternatively, consideration could be given to the possible appointment of a Traditional Arts Officer within Creative Scotland70 so as again to provide a focus/reference point for the traditional arts (including Scottish Traditional Music) nationwide.

Recommendation ď&#x201A;§

Further to the recommendation of Section IV above, 71 consideration should be given to the possible appointment of a Traditional Arts Officer within Creative Scotland so as to provide a focus/reference point for the traditional arts (including Scottish Traditional Music) nationwide.

The proposed new arts funding body which the Scottish Government intend to establish as a result of the forthcoming merger between Scottish Arts Council and Scottish Screen. 71 See page 67.

SECTION VII: SUMMARY, CONCLUSIONS AND RECOMMENDATIONS

Summary The main points of the various sections of the report are herewith summarised as follows:-

Sections I and II outlined the results of the nationwide survey conducted amongst over 2000 primary school teachers, giving the national and regional viewpoints respectively. The following facts emerged: 

Some form of Scottish Traditional Music tuition was in evidence in the vast majority of those schools which responded to the survey; however there is a perception on the part of many respondents that Scottish Traditional Music is at times an external element or an add-on to the curriculum.



Many respondents are happy to leave the teaching of it to others.



There would appear to be a lack of confidence in approaching the subject, compounded by the treatment of the subject as external and the lack of specific musical experience on the part of many of the respondents.



Many respondents indicated that their students experienced traditional music through dance.



Many were not aware of initiatives that could be harnessed in the transmission of traditional music tuition, or of specific teaching methods.



Funding and the short term nature of some of these initiatives was also a major concern for many respondents.



A majority welcomed further assistance with resources, a central database, and were in favour of Continuing Professional Development.



The need to make Scottish Traditional Music relevant to the 21st century was also highlighted.



Just over a third of those who responded would be happy for further contact to be made with the Traditional Music Forum.



Some regions responded better than others to the survey.



The vast majority of respondents were enthusiastic and supportive of the subject and the survey.

Section III gave a brief review of some of the teaching materials in use, currently available or in development. The following issues were raised: 

There is a vast array of materials available; however, very few of these are targeted specifically at primary school pupils, or, more importantly, their classroom teachers.



However, many are not aware of the materials that do exist – this is due to the fact that information concerning these exists in many different areas and on many web-sites or in local knowledge only.



There is a need for a central database of relevant materials and resources for primary school teachers and there may well be materials required for the training/continuing 90

professional development of both specialist and non-specialist tutors/teachers (see Section V). 

Caution should be exercised before committing further financial resources to the production of new resources/materials.



Some approaches/materials from other organisations could be employed in Scottish Traditional Music tuition, and therefore consideration should also be given towards working in collaboration with other organisations in the production of resources.

Section IV considered a representative sample of other traditional music education initiatives currently underway within the local authorities. The following points were made: 

There are a great many initiatives in progress at present, representing co-operation between individuals, organisations, sponsors and local authorities, and which are or have been very successful; however, many of these are short-term.



The continued funding of these initiatives is a concern.



In many cases there is a lack of awareness of what is available and how to access it.



There is a lack of consistency regarding posts/titles of responsibility charged with the coordination of traditional music activities across the country, with web-site and contact details not always accurate, thus making accessing information difficult.



Some of those charged with this responsibility have other arts areas which also require their attention and are therefore stretched to cover every sector.

Section V considered the training available for Scottish Traditional Music. The following were the main issues raised: 

There are many courses available, but not necessarily specifically targeted at primary school teachers – Scottish Traditional Music frequently suffers from having to be included as part of a different type of “crowded curriculum”.



One of the reasons for primary teachers’ wariness or complete lack of confidence in tackling the teaching of Scottish Traditional Music is the fact that their exposure to this subject during their training is frequently of very short duration, if at all.



Should external providers (for whatever reason) be unable to continue to provide tuition in Scottish Traditional Music, this could give rise to a possible deficit in the provision of classes in this subject which at present cannot be filled by many primary school teachers.



In spite of the foregoing, some new training initiatives are underway.



A great deal of the tuition given by traditional musicians over the years without recourse to a specific method has produced effective results. However, there could be value in the 91

input of fresh perspectives from the methodologies considered in this section of the report. Section VI gave a brief overview of some of the more recent developments in traditional music education in Ireland, namely: 

The situation is broadly similar to that which pertains in Scotland.



Both Arts Councils are strongly committed to the promotion of traditional arts.



A specific post with responsibility for traditional arts now exists in both Arts Councils.



Significant developments have recently taken place in the Republic of Ireland including the revision of its primary school curriculum, the Government-led initiative to install broadband facilities in every primary school, and the commitment of An Chomhairle Ealaíon to traditional arts (particularly in terms of finance and the consolidation of a basic infrastructure nationwide).



There are more opportunities than ever before for training in Irish Traditional Music education, though few courses/programmes are specifically targeted at primary school teachers.

Conclusion There are currently many approaches to the transmission of traditional music; while not for one moment advocating that everything should coalesce into one standard approach, which would stifle creativity, growth, variety and individual style, nonetheless this very diversity may work against progress. As one of those interviewed by the author stated, there is a danger of reinventing the wheel many times over which is an unnecessary duplication of resources, both human and financial, and may lead to lack of communication and confusion. This diversity extends to all areas considered by this report– there are a myriad of organisations working in the area of traditional music education (both formal and informal) whose considerable contribution to and/or financial support for traditional music must be hailed and acknowledged, but some of these organisations are not aware of the work being done by others, and, if we are to judge by the sample of responses that came back through this survey, their work is either bypassing many schools who are not aware of what is available, or not necessarily creating something that is sustained following a visit, workshop or short-term project. Many people are not aware of either local, regional or national initiatives underway and this is not necessarily confined to primary school teachers alone – lack of communication and awareness have been recurring issues at all levels and with all the stakeholders with whom the current author was in contact. At government 92

level, the responsibility for traditional arts development varies from authority to authority, and here again a myriad of titles and positions working in the arts sector can be encountered, making ascertaining exactly what is underway in the various regions and precisely who is responsible difficult. Information on some web-sites is not always kept up to date, which compounds the difficulty, and links from council homepages to traditional arts news are not always clear or readily available. The present writer would advocate greater clarity being sought in this area (a point to be borne in mind should the assembling of a central database for traditional music resources for primary teachers go ahead), and (without wishing to add to the number of arts titles that already exist) greater consistency re. the titles of those responsible. More and better communication between authorities, arts organisations and educational establishments as well as within organisations would greatly aid progress. Cross-curricular co-operation between traditional arts organisations (particularly in the matter of the production of primary school classroom resources) would greatly assist acceptance of traditional music and counteract the perception of it as an extra rather than something that should be a natural part of every-day life. The Traditional Music Forum should look at emphasising the benefits of teaching other areas of the curriculum through Scottish Traditional Music. Consideration of approach/resources produced by other education organisations, not necessarily arts-based, and consultation and co-operation with these establishments would aid appeal and give a fresh perspective. In this regard, the harnessing of modern technology to communicate, inform, support and train would appear to be the way forward, and would appeal to a younger generation for whom podcasts, downloads and webcams are a way of life – it also overcomes the very real problem for many teachers of topography and distance. Cognisance must be taken of developments in educational resources in both early years and secondary level– in many respects this highlights an emerging problem, namely an omission in both teacher training and a lack in the production of teaching resources at primary level which could disrupt the educational continuum. That being said, there are a great many materials being used by tutors in the traditional music sector in primary schools which are not necessarily published formally (“the tutor writes/uses his/her own” was a frequent response in the survey). In the area of training, links are being forged by the formal and informal sectors, as can be seen in Section V above. What is required is the need to inform and instil enthusiasm, confidence and competence in the primary school teacher and/or head teacher, and therefore a review of the musical training received through initial teacher training programmes might be necessary in the light of the Curriculum for Excellence. Indeed the potential exists to develop accreditation in 93

traditional music at the very highest level in the formal sector either wholly or as part of a module for professional recognition, 72 something, which if handled correctly, might prove attractive. Above all, the impression amongst primary school teachers that traditional music is for the elite or specialists only (an image problem which also exists for classical music, but not, it would appear, for rock and pop) needs to be counteracted by one that shows that traditional music is accessible, fulfils not just cultural syllabus requirements but those of cross-curricular and social issues, and is above all fun. In many of the responses received, there were concerns expressed about the funding needed to maintain existing projects, and/or the uncertainty that, in cases where funding had a limited time frame, whether or not an initiative or project would continue in the long-term. In cases where this is not possible the role of the primary school teacher in continuing to inform, educate and inspire their pupils regarding their cultural heritage will become even more important.

Final Recommendations 1) The production of a comprehensive central database of teaching resources, materials, discographies, bibliographies and online resources which is accessible by all and publicised to all. 2) This should be continually reviewed and updated and include, for example, all websites relevant to teaching. 3) The Traditional Music Forum of Scotland should continue its role of encouraging traditional music education across the board; in addition the Forum could have a role in 72

The short course based on the Kodaly method, instituted by the University of Aberdeen might provide a model in this regard.

lobbying the Education Department of the Scottish Government concerning the need for continuity. 4) The TMF should advocate Continuing Professional Development for primary school classroom teachers who wish it (particularly those who are non-specialists in traditional music), possibly with accreditation, together with training for specialist tutors (whose background is outwith the formal education sector). The TMF should work with the relevant bodies on the creation of suitable courses and events. 5) It may be that new resources created on behalf of the TMF are required for CPD, young pupils or specialist tutors, but careful consideration of existing/emerging resources should be given before any work goes ahead - this may well depend on the assembling of the database as outlined in proposal 1 above. 6) If the TMF decides to create new resources for use in the primary school classroom, it should give consideration to working in collaboration with other Scottish Traditional Arts organisations in the production of materials which would address cross-curricular issues, and aid acceptance of the artform by teachers and hence its inclusion within the school curriculum. 7) The TMF should work to counteract the myth that music is only for the “talented” or the “expert”.

This should come through in any literature, training programmes and/or

workshops that might be provided by the Forum. 8) Online learning for CPD, or class tuition for primary school students in remote areas where tuition in Scottish Traditional Music is not easily accessible, may well be the way ahead in allowing the TMF to reach the widest audience possible at the lowest cost. The Forum should consider working with relevant organisations to access and harness technology in the provision of traditional music education for teachers (both specialist and non-specialist) and pupils. Appendix I – Further Acknowledgements I am grateful to the following individuals who provided help, advice, support and information: David Atherton, Creative Links Officer, Aberdeenshire Council Donella Beaton, Chief Executive, Cànan, Isle of Skye John Blair, Gaelic Development Officer, Inverclyde, East Renfrewshire and Renfrewshire Councils

Dr Katherine Campbell, Lecturer in Ethnomusicology, Celtic and Scottish Studies, University of Edinburgh Avril Carr, Arts Education and Development Co-ordinator, Roscommon County Council Tom Clarke, Jigtime Music Programme, Belfast Tara Connaghan, Shannon Area Regional Arts Co-ordinator, Traditional Arts Specialist Office, Clare County Council Petrea Cooney, Youth Music Officer, Scottish Arts Council Arthur Cormack, Director, Fèisean nan Gàidheal Fiona Craig, Cranhill Primary School, Glasgow Tom Dalzell, Education and Outreach Manager, Celtic Connections Diana Dixon, Administrator, Scottish Traditions of Dance Trust Dr. Marion Doherty-Hayden, Head of Music, St. Patrick’s College, Drumcondra, Dublin James Donohoe, Traditional music tutor and Deis award recipient, Co. Westmeath Paula Dundon, Adminstrator, Irish World Academy of Music and Dance, Limerick Lesley Dunlop, Creative Links Officer, Glasgow City Council Nick Fearn, Arts Development Officer, Moray Council Fiona Ferguson, Cultural Co-Ordinator, Falkirk Council Donald Finlayson, Manager Instrumental Services, East Renfrewshire Council Paul Flynn, Traditional Music Development Officer, Arts Council of Northern Ireland David Francis, Convenor, Traditional Music Forum Tony George, Principal Officer Instrumental Music (North and West Neighbourhoods), Edinburgh City Council Neil Girvan (Director) and the staff at Axis Media, Glasgow Eunice Henderson, Shetland Fiddle Instructor, Bell’s Brae Primary School, Shetland Ingrid Henderson, Lochaber Development Officer, Fèisean nan Gàidheal Clare Hoare, Cultural Co-Ordinator, Stirling Council Craig Jackson, Schools and Examinations Officer, Royal Scottish Country Dance Society Mrs Elizabeth Johnson, Head teacher, Auchtertool Primary School, Fife Susie Kelly, Traditional Song Development Worker, Arts Development Scottish Borders Council Louise Lammie, Cultural Co-Ordinator, South Lanarkshire Council Jean Leonard, Orkney Traditional Music Project Irene Lawson, Head teacher, Johnshaven Primary School, Johnshaven by Montrose Kirsty Lawrence, Alehousewells Primary School, Kemnay, Inverurie Kate Lawrie, Finance and Administration, Royal Scottish Country Dance Society 96

Alison Leith, musician, peripatetic teacher and project co-ordinator, Aberdeen Gica Loening, Adult Learning Project Scots Music Group, Edinburgh Margaret MacCrae, author of Mair Sangs tae Sing (East Ayrshire Resource Pack) Iona MacDonald, Training Development Officer, Fèisean nan Gàidheal Jo MacDonald, Gaelic Department, BBC Radio Scotland Mairead McDonald, Director, Tobar an Dualchais Susanne MacDonald, Sleat Primary School, Teangue, Isle of Skye John Norman MacLeod, Director of Academic Studies, Sabhal Mòr Ostaig Gayle Martin, Cultural Co-Ordinator/YMI Officer, Falkirk Council Alison Mainland, Head teacher, Rousay Primary School, Orkney Ian MacAulay, Business Manager, Community Services, Scottish Borders Council Niamh McCabe, Artists’ Services Officer, Irish Arts Council Rae McEachan, Highland Youth Music Initiative Officer Lorna McLaren, YMI Co-Ordinator, Aberdeenshire Council Francis McPeake, Principal, The Francis McPeake School of Music, Belfast Aileen Monaghan, Learning and Teaching Scotland Rebecca Murdoch, Head teacher, Craigdhu Primary School, East Dunbartonshire Anne Neilson, Traditional Music Forum of Scotland Mary Nugent, Lecturer, Marino Institute of Education, Dublin Helen O’Brien, Cultural Co-Ordinator, Perth and Kinross Council Irene Pandolfi, Team Leader, Expressive Arts, Learning and Teaching Scotland Dougie Pincock, Director, National Centre of Excellence in Traditional Music, Plockton High School Dr. John Purser, Course Leader, BA in Gaelic and Traditional Music, Sabhal Mòr Ostaig Sean Quinn, Glens Music (formerly Head of Learning Resources at St. Mary’s University College, Belfast) Andrew Ross, Educational Development Officer (Expressive Arts), Angus Council David Sherratt, Head teacher, Scoraig Primary School, Scoraig, Dundonnell Mark Sheridan, Head of Creative and Aesthetic Studies/Director of Celtic Music Radio, University of Strathclyde Dr. David Smith, Senior Lecturer in Music, University of Aberdeen Gerald Strother, Producer, BBC Learning (Scotland) Sandra Taylor, YMI Officer, Fife Council Siân Thomas, Director, TRAC: Folk Development for Wales Kay Thomson, National Director, Traditional Music and Song Association 97

Frank Torpey, Deis award recipient and proprietor of Mad for Trad. Yvonne Wallace, former Creative Links Officer, East Renfrewshire Council Allison Watson, Fèis Rois Education Officer Les Wheeler, Research Associate, Elphinstone Institute Kathryn Wilkie, Cultural Co-Ordinator, Arygll and Bute Council Richard Wemyss, Music Development Officer, Shetland Arts

Appendix II – Bibliography, resources and web-sites Bibliography Ackrill, J. (1999) Common Chords: A Music Strategy for the City of Edinburgh 1999 Edinburgh, Edinburgh City Council An Chomhairle Ealaíon/The Arts Council (2004) Towards a policy for the Traditional Arts Dublin, The Arts Council of Ireland An Chomhairle Ealaíon/The Arts Council (2005) Tionscnamh Ealaíon Traidisiúnta/Traditional Arts Initiative 2005-2008 Dublin, The Arts Council of Ireland 98

An Chomhairle Ealaíon/The Arts Council (2005) Traditional Arts – Background Discussion Paper Dublin, The Arts Council of Ireland (accessible via http://www.artscouncil.ie) An Chomhairle Ealaíon/The Arts Council (2005) Arts Council Consultation Process – Meeting on Traditional Arts Report Dublin, Interactions: Creative Strategies for Business (accessible via http://www.artscouncil.ie) An Roinn Oideachais agus Eolaíochta/Department of Education and Science (1997) Schools IT 2000 – a policy framework for the New Millennium Dublin, Stationery Office An Roinn Oideachais agus Eolaíochta/An Roinn Cumarsáide, Mara agus Acmhainni Nádúrtha [Department of Education and Science/ Department of Communication, Marine and Natural Resources] (2004) “€18 Schools Broadband Rollout announced by Government”, Irish Government press release, Dublin (accessible via http://www.education.ie/robots/view.jsp? pcategory=10861&language=EN&ecateorgy=40 ) Broad, S. and France, J. (2005) The Participants’ Story: Attitudinal Research on the Fèis Movement in Scotland Glasgow, Royal Scottish Academy of Music and Drama National Centre for Research in the Performing Arts Ceòlas (2005) Annual Report (2005) South Uist, Ceòlas Collinson, F. (1966) The Traditional and National Music of Scotland London, Routledge and Kegan Paul Comhaltas Ceoltóirí Éireann (1980) Teastas i dTeagasc Ceolta Tíre [Diploma in Traditional Irish Music] Monkstown, Comhaltas Ceoltóirí Éireann (accessible via http://comhaltas.ie/education/ttct_exam ) _______________________. (2006) Development Programme for the Irish Traditional Arts Monkstown, Comhaltas Ceoltóirí Éireann (accessible via www.comhaltas.ie/press_room/detail/development_programme ) Cormack, A. (1996, 1997, 2000, 2002, 2006) Annual Reports Portree, Fèisean nan Gàidheal Council for the Curriculum, Examinations and Assessment (2006) The Revised NI Curriculum – Planning for Implementation Belfast, Council for the Curriculum, Examinations and Assessment Cudmore, P. (1996) Consultation: Does Scotland Need a Traditional Music Development Agency – Preliminary Report Edinburgh, Scottish Arts Council Curriculum Review Group (2004) A Curriculum for Excellence Edinburgh, Scottish Executive Diamond, P. (2003) Cultural Activities in Moray Schools – Report Elgin, Moray Council/Scottish Arts Council Douglas, S. (1996) Is Our Tradition Living? article in The Living Tradition (10) Kilmarnock, Folk Music Dumfries and Galloway Council (1998) An Arts Strategy Dumfries, Dumfries and Galloway Council Department for Community Resources 99

Dundee City Council (2001) Leisure and Arts Department

Cultural Strategy 2001-2006 Dundee, Dundee City Council

Edinburgh City Council (1999) Towards the New Enlightenment: A Cultural Policy for the City of Edinburgh 1999 Edinburgh, Edinburgh City Council Fearne, N. (2001) An Arts Development Strategy for Moray 2002-2005 Elgin, Moray Council Fèisean nan Gàidheal (2005) Plana-leasachaidh 2005-10 [Development Plan 2005-10] Portree, Fèisean nan Gàidheal Fèis Rois (2006) December Newsletter (4) Dingwall, Fèis Rois Francis, D. (1999) Traditional Music in Scotland – Education, Information, Advocacy Edinburgh, Scottish Arts Council Glenkens Community and Arts Trust (2003) The Glenkens Music and Arts Centre – Development Prospectus Castle Douglas, Dumfries and Galloway Council/Scottish Enterprise Dumfries and Galloway Heywood, P. (1996a) A National Development Agency for Traditional Music, editorial in The Living Tradition (14) Kilmarnock, Folk Music ___________. (1996b) National Policy for the Traditional Arts, editorial in The Living Tradition (24) Kilmarnock, Folk Music Learning and Teaching Scotland (2006a) Annual Review 2005-2006 Glasgow, Learning and Teaching Scotland __________________________. (2006b) Teaching Scotland

Strategic Plan 2006-2009 Glasgow, Learning and

__________________________. (2006c) Glasgow, Learning and Teaching Scotland

A Curriculum for Excellence: Newsletter (4)

Lews Castle College (2005) Prospectus 2005-2006 Stornaway, Lews Castle College Lorne Gillies, A. (2006) Aithisg Iùl Ciùil – Gaelic Music Conference Report 2006 Stornaway, Proiseact nan Ealan/The Gaelic Arts Agency Maclennan, M. (2006) Inverness Traditional Music Classes Annual Report (September 2005 August 2006) Inverness, Highland Council Education, Culture and Sport Martin, K. (ed.) (2006) Fèis: The First Twenty-five Years of the Fèis Movement Portree, Fèisean nan Gàidheal Martin, K. and Cormack, A. (2004) Fèisean nan Gàidheal – strengthening communities, transforming tradition Portree, Fèisean nan Gàidheal Martin, L.C. (1998, 2007) Extracts from Core programme for Tutors: a synopsis Edinburgh, Royal Scottish Country Dance Society 100

McGraill, S. (2005) Mad for Trad, article in The Living Tradition (65) Kilmarnock, Folk Music Munro, A. (ed.) (1996) The Democratic Muse: Folk Music Revival in Scotland (revised edition) Aberdeen, Scottish Cultural Press Orkney Council (2006) Developing Orkney through the Arts: an Arts Development Plan for Orkney 2007-2010 (draft for consultation) Kirkwall, Orkney Council Ó Murchú, L. [Murphy, L.] (1999) Tuarascáil ar cheol tíre na hÉireann [Report on Traditional Irish Music] Dublin, Stationery Office Oireachtas na h-Éireann [The Government of Ireland] (1999) Curaclam na Bunscoile: Ceol [Primary School Curriculum: Music] Dublin, Stationery Office Oireachtas na h-Éireann [The Government of Ireland] (2003) Arts Act 2003 Dublin, Stationery Office Paterson, M. (2007) Re-establishing a tradition: Falkirk traditional music project, article in Piping Today (26) Glasgow, The National Piping Centre Price, D, Broad, S. and Duffy, C (2003) What’s going on? A National audit of youth music in Scotland, Edinburgh, Scottish Arts Council Pròiseact nan Ealan [The Gaelic Arts Agency] (2006) Aithisg Iul Ciùil:Gaelic Music Conference Report 2006 Isle of Lewis, Pròiseact nan Ealan/The Gaelic Arts Agency Sabhal Mòr Ostaig (2006) Ro-sealladh [Prospectus] Sleat, Sabhal Mòr Ostaig Scottish Arts Council (2002) Music Strategy 2002-2007 Edinburgh, Scottish Arts Council __________________. (2005a) Music Briefing 2004-05 Edinburgh, Scottish Arts Council __________________. (2005b) Traditional Arts Briefing 2004-05 Edinburgh, Scottish Arts Council __________________. (2006) National Youth Music Strategy 2006-2008 Edinburgh, Scottish Arts Council Scottish Executive Education Department (2001) A Teaching Profession for the 21st Century Edinburgh, Scottish Executive Scottish Executive Education Department (2006) Draft Culture (Scotland) Bill – consultation document Edinburgh, Scottish Executive Scottish Office Education Department (1992) Curriculum and Assessment in Scotland National Guidelines: Expressive Arts 5-14 Edinburgh, Scottish Office Stokes, R. (2002) A Soundtrack for Scottish Tourism: The Scottish Arts Council and Visit Scotland Traditional Music and Tourism Initiative 1999- 2002– final report Edinburgh, Scottish Arts Council

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Stòrlann Nàiseanta na Gàidhlig (2000, 2001) An Stòrlann – newsletter (1, 2), Isle of Lewis, Stòrlann Nàiseanta na Gàidhlig Stòrlann Nàiseanta na Gàidhlig/HM Inspectorate of Education (2002) A’ Chuisle – Seminar Report Isle of Lewis, Stòrlann Nàiseanta na Gàidhlig/HM Inspectorate of Education Traditional Music Tutor Training Network (2003) Proceedings of the 2nd National Seminar Credit and credibility: Traditional Music Tutoring Issues examined Portree, Traditional Music Tutor Training Network University of Aberdeen (2007) Opportunities for Continuing Professional Development 20072008 Aberdeen, School of Education/Educational Institute of Scotland (accessible via http://www.abdn.ac.uk/education/programmes/cpd.shtml) University of the Highlands and Islands Millennium Institute (2006) Review 06 Inverness, UHI Millennium Institute Music/Teaching Materials Barbour, F (ed.), Ingram, K. et al (1998) Sangs, Reels and High Jinks Dumfries, Dumfries and Galloway Arts Association Ltd. BBC (2000, 2003) Sgeul an Orain [Story of the Song] (Cassettes) London, BBC Educational Publishing BBC (2002, 2003) Freadaidh am Feadan [Freddie the chanter] (Cassettes) London, BBC Educational Publishing/BBC Worldwide BBC (2005) Tir a’Chiùill [Land of Music] (Cassettes) Weatherby, BBC Educational Publishing BBC (2007) Air Ghleus [Around Scotland – Music] Glasgow, BBC Scotland Learning Unit (accessible via http://www.bbc.co.uk/scotland/alba/foghlaim/airghleus, or http://www.bbc.co.uk/scotland/learning/primary/tunein ) Booth, J. and Campbell, M.A. (1999) Aon, Dhà, Trì [One, Two, Three] Skye, Cànan Bowie, G, Jack, E and MacAsgaill, D.R. (2004) Gluais!(CD) [Move! (CD)] Isle of Lewis, Stòrlann Nàiseanta na Gàidhlig Bryan, V. (1996, 2000) Ceòl nam Fèis (1, 2) [Music of the Fèis] Portree, Fèisean nan Gàidheal Calthorpe, N. (1982/1987) Begin the Harp Dublin, Walton’s Campbell, K. and McVicar, E. (2001) Traditional Scottish Songs and Music St. Andrews, Leckie and Leckie Cànan (2006/2007) Air Splaoid! [On a spree!] Skye, Cànan Donnelly, D. (2006) The Reel Thing – An Introduction to Traditional Irish Music (online resource accessible at http://www.teachnet.ie/resources ) Douglas, S. (1982) Sing a Song of Scotland Walton-On –Thames, Thomas Nelson and Son 102

Fèisean nan Gàidheal (2006a) Iomairt Ciùil Òigridh – Pasgan Fiosrachaidh airson LuchdTeagaisg [Youth Music Initiative – Tutor Information Pack ] Portree, Fèisean nan Gàidheal _________________. (2006b) Iomairt Ciùil Òigridh – Pasgan Fiosrachaidh airson Sgoiltean [Youth Music Initiative – Schools Information Pack] Portree, Fèisean nan Gàidheal Fèis Rois (2007) Traditional Musicians in Schools: Teachers’ Resource Pack Dingwall, Fèis Rois _______. (2001) Traditional Musicians in Schools: Tutor Pack Dingwall, Fèis Rois Fisher, C. and Trezise, A. (1985, 1987) The Singing Kettle (1, 2, 3) Cupar, Kettle Records Garrett, D. (1994) An Fhideag Airgid: Taoitear Fideig air son Ceol Gaidhealach [A Whistle Tutor for Highland Music] Skye, TM & CS Gray, F. (2005) Hands on Scottish Tin Whistle Breacais Ard, Taigh na Teud Hardie, A.J. (1992, 2003) The Caledonian Companion – A Collection of Scottish Fiddle Music and Guide to its Performance (revised edition, third impression) Edinburgh, The Hardie Press Hewat, C. (2002) Scottish Harp – A Collection of Original and Scottish Tunes arranged for the Celtic Harp Breacais Ard, Taigh na Teud Ivory, B., Ivory, O., Gordon, S.G. et al (2001) The Highland Bagpipe Tutor Book (1) Glasgow, The National Piping Centre Kinnaird, A. (1989) The Small Harp- A Step by Step Tutor Shillinghill, Kinmor Music Learning and Teaching Scotland (2006) MusicWorks 2 with the RSAMD (DVD/Video) Glasgow, Learning and Teaching Scotland Long, C. (1998) Absolute Beginner’s Bodhrán Tutor Dublin, Walton’s Lutley, W. (ed.) and Burgess, P. (1998) The College Hornpipe Somerset, Folk South West Lutley, W. (ed.) and Johnson, D. (1999) Folk Music in Schools Somerset, Folk South West Massie, R. et al (2004) The TMC Tutors’ Collection Inverness, Highland Council, The Traditional Music Classes Partnership MacCrae, M. (2000) Mair Sangs tae Sing: Traditional Songs Collection (2) Kilmarnock, Kilmarnock Folk Club MacPherson, A. and Henderson, H. (2006) Iomairt Ciùil Òigridh – Pasgan nan Fìdeag [Youth Music Initiative – Tin Whistle Resource Pack] Portree, Fèisean nan Gàidheal Mhàrtinn, A., Ghreumach, C. [Martin, A, Graham, K.] et al (2006) Iomairt Ciùil Òigridh – Pasgan na Oran [Youth Music Initiative – Song Resource Pack] Portree, Fèisean nan Gàidheal

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Martin, C. and Hughes, A. (1998) The Scottish Folk Fiddle Tutor (2nd Edition) Breacais Ard, Taigh na Teud Martin, C. (2002) Traditional Scottish Fiddling: A player’s guide to regional styles, bowing techniques, repertoire and dances Breacais Ard, Taigh na Teud Martin, N. (ed.) (2005) Exploring Trad. (DVD) Belfast, Arts Council of Northern Ireland McGregor, J. (ed.) (2006) Scottish Traditional Music: Teacher’s Resource (Multi-Level) Glasgow, Learning and Teaching Scotland/National Qualifications Curriculum Support McKenna, C. (2003) A Complete Guide to Learning the Irish Tin Whistle Dublin, Walton’s Miller, J., Hassan, S., Stollery, P. et al (2001) Music of Scotland Glasgow, Learning and Teaching Scotland (online resource accessible via http://www.ltscotland.org.uk/nq/resources/musisofscotland ) Moulden, J. and Quinn, S. (eds.) (2002) Traditional Song Education Pack Belfast, St. Mary’s University College Munro, A. (2005) Oideachadh nam Fèis – Ceòl na Fìdhle [A Fèis Tutor: Fiddle Music] Portree, Fèisean nan Gàidheal Ó Súilleabháin, M. (1984) The Bodhrán Dublin, Walton’s Pinder, L. (ed.) et al. (2004) Burns and Rivers Resource Pack Dumfries, Dumfries and Galloway Arts Association Ltd. Quinn, S. (comp.) (1993) Traditional Music Education Pack Belfast, St. Mary’s University College Robert Burns World Federation/West Lothian Council (2007) Celebrating Robert Burns – an enterprising approach Glasgow, Learning and Teaching Scotland (online resource accessible via http://www.ltscotland.org.uk/resources/c/genericresource_tcm4458239.asp) Spillane, D. and Walsh, T. (1996) The Davy Spillane Uillean Pipe Tutor Dublin, Walton’s Scottish Traditions of Dance Trust (1999) Angus Dances Education Pack Alloa/Forfar Scottish Traditions of Dance Trust/Angus Council Scottish Traditions of Dance Trust (2001) Scottish Borders Dances Education Pack Alloa/Melrose, Scottish Traditions of Dance Trust/Scottish Borders Council Strudwick, K. (2003) Prosiect – Alawon Fy Ngwlad [Project – Tunes from My Country] Caerphilly, Caerphilly County Borough Council Summers, M. (ed.)/The Orkney Traditional Music Project (2001) The Orkney Collection: 55 tunes from the Orkney Isles Kirkwall, The Orcadian Limited Turnbull, F. et al (2001) Dance Scottish – A resource for teaching Scottish dancing in schools Edinburgh, The Royal Scottish Country Dance Society

104

Upton, E. and Paine, L. (1996) Up the Sides and Down the Middle Devon, Southgate Upton, E. with Young, S. (2001) Singing Times: Teaching English Folk Song Somerset, Folk South West Wheeler, L. and Blackhall, S. (eds.) (2001) The Elphinstone Kist Aberdeen, The Elphinstone Institute/University of Aberdeen Web-sites ABC Creative Music http://www.applebananacarrot.com Aberdeen City Council http://www.aberdeencity.gov.uk Aberdeen College http://www.abcol.ac.uk Aberdeenshire Council http://www.aberdeenshire.gov.uk Air Splaoid http://www.airsplaoid.co.uk Air Ghleus http://www.bbc.co.uk/scotland/alba/foghlam/airghleus ALP Scots Music Group http://www.scotsmusic.org An Chomhairle Ealaíon/The Arts Council of Ireland http://www.artscouncil.ie Angus Council http://www.angus.gov.uk An Roinn Oideachais http://www.education.ie

agus

Eolaíochta/Department

Education

Argyll and Bute Council http://www.argyll-bute.gov.uk Arts Council of Northern Ireland http://www.artscouncil-ni.org Arts Council of Wales http://www.artswales.org Belfast Set Dancing and Traditional Music Society http://www.belfasttrad.com Blas Festival http://www.blas-festival.com BBC Scotland http://www.bbc.co.uk/scotland/alba Box and Fiddle Magazine http://www.boxandfiddle.com Bookstart http://www.bookstart.co.uk British Kodaly Academy http://www.britishkodalyacademy.org British Suzuki Institute http://britishsuzuki.org.uk CatStrand Arts and Community Centre http://www.catstrand.co.uk 105

and

Science

Celtic Connections http://www.celticconnections.com Ceòlas http://www.ceolas.co.uk Children in Scotland http://www.childreninscotland.org.uk City of Edinburgh Council http://www.edinburgh.gov.uk Clackmannanshire Council http://www.clacksweb.org.uk Clare County Council – County Arts Office http://www.clarecoco.ie/County_Arts_Offices/ Coláiste Mhuire gan Smál/Mary Immaculate College of Education http://www.mic.ul.ie Colourstrings http://www.colourstrings.co.uk Comhairle nan Eilean Siar http://www.w-isles.gov.uk Comhaltas Ceoltóirí Éireann http://www.comhaltas.ie Commann na Clàrsaich http://www.clarsachsociety.co.uk Comunn na Gàidhlig http://www.cnag.org.uk Council for the Curriculum, Examinations and Assessment http://www.ccea.org.uk Create Scotland http://www.create-scotland.co.uk Curriculum Review Group http://www.acurriculumforexcellencescotland.gov.uk Dalcroze Society (UK) http://www.dalcroze.org.uk Dundee City Council http://www.dundeecity.gov.uk Dumfries and Galloway Arts Association http://www.dgaa.net Dumfries and Galloway Council http://www.dumgal.gov.uk East Ayrshire Council http://www.east-ayrshire.gov.uk East Dunbartonshire Council http://www.eastdunbarton.gov.uk East Lothian Council http://www.eastlothian.gov.uk East Renfrewshire Council http://www.eastrenfrewshire.gov.uk Edinburgh Youth Gaitherin http://www.eyg.org.uk Elphinstone Institute http://www.abdn.ac.uk/elphinstone European Network of Traditional Music and Dance http://www.eurotradmusic.net 106

Falkirk Council http://www.falkirk.gov.uk Fèisean nan Gàidheal http://www.feisean.org Fèis Rois http://www.feisrois.org Fife Council http://www.fife.gov.uk Folk Arts England http://www.folkarts-england.org Folk South West http://www.folksw.org.uk Folkus http://www.folkus.co.uk Folkworks http://www.folkworks.co.uk (also to be found at http://www.thesagegateshead.org) Foot Stompin’ http://www.footstompin.com Francis McPeake School of Music http://www.francismcpeake.com Gaelic Arts Strategic Development Forum – Proiseact nan Ealan http://www.en.gaelic-arts.com Gaelic Scotland http://www.gaelic-scotland.co.uk General Teaching Council for Scotland http://www.gtcs.org.uk Glasgow City Council http://www.glasgow.gov.uk Glens Music http://www.glensmusic.com Glow Scotland http://glowscotland.org.uk Hands up for Trad. http://www.handsupfortrad.co.uk Hi-Arts http://www.hi-arts.co.uk Highland 2007 http://www.highland2007.com Highland Council http://www.highland.gov.uk Highlands and Enterprise Network http://www.hie.co.uk International Kodaly Society http://kodaly.eu Irish World Academy of Music and Dance http://www.irishworldacademy.ie Inverclyde Council http://www.inverclyde.gov.uk Jig Time Programme http://www.ccruni.gov.uk/research/directory/jpoim.htm

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Learning and Teaching Scotland http://www.ltscotland.org.uk Lews Castle College http://www.lews.uhi.ac.uk Living Tradition Magazine http://www.folkmusic.net Macmeanmna http://www.gaelicmusic.com Marino Institute of Education, Dublin http://www.mie.ie Midlothian Council http://www.midlothian.gov.uk Moray Council http://www.moray.gov.uk Music in Scotland http://www.musicinscotland.com Music Network Ireland http://www.musicnetwork.ie National Centre for Technology in Education http://www.ncte.ie Na Píobairí Uilleann http://www.pipers.ie National Council for Curriculum and Assessment http://www.ncca.ie National University of Ireland, Maynooth http://www.nuim.ie National University of Ireland, University College Cork http://www.ucc.ie National University of Ireland, University College Dublin http://www.ucd.ie National Youth Choirs of Scotland http://www.nycos.co.uk National Youth Orchestras of Scotland http://www.nyos.co.uk North Ayrshire Council http://www.north-ayrshire.gov.uk North East Folklore Archive http://www.nefa.net Northern Ireland Curriculum http://www.nicurriculum.org.uk North Lanarkshire Council http://www.northlan.gov.uk Orff Society (UK) http://www.orff.org.uk Orkney Council http://www.orkney.gov.uk Perth and Kinross Council http://www.pkc.gov.uk Queen’s University Belfast http://www.qub.ac.uk Renfrewshire Council http://www.renfrewshire.gov.uk

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Roscommon Traditional Arts Network http://www.roscomonarts.com/trad/back.htm Royal Scottish Academy of Music and Drama http://www.rsamd.ac.uk Royal Scottish Country Dance Society http://www.rscds.org Sabhal Mòr Ostaig http://www.smo.uhi.ac.uk Scottish Arts Council http://www.scottisharts.org.uk Scottish Borders Council http://www.scotborders.gov.uk Scottish Government http://www.scotland.gov.uk Scottish Music Centre http://www.scottishmusiccentre.com Scottish Traditions of Dance Trust http://www.stdt.org Scottish Parliament http://www.scottish.parliament.uk Sgoil Chiùil na Gàidhealtachd/The National Centre of Excellence in Traditional Music, Plockton High School http://www.musicplockton.org Shetland Council http://www.shetland.gov.uk Shetland Music http://www.shetland-music.com South Ayrshire Council http://www.south-ayrshire.gov.uk South Lanarkshire Council http://www.southlanarkshire.gov.uk Stirling Council http://www.stirling.gov.uk Stòrlann http://www.storlann.co.uk St. Mary’s University College, Belfast http://www.smucb.ac.uk St. Patrick’s College, Drumcondra http://www.spd.dcu.ie Taisce Cheol Dúchais Éireann/Irish Traditional Music Archive http://www.itma.ie Teach in Scotland http://www.teachinginscotland.com Teachnet http://www.teachnet.ie Tobar an Dualchais http://www.tobarandualchais.co.uk TRAC: Folk Development for Wales http://www.trac-cymru.org Traditional Music.Com http://www.tradmusic.com Traditional Music and Song Association of Scotland http://www.tmsa.org.uk 109

University of Aberdeen http://www.abdn.ac.uk University of Dublin, Trinity College http://www.tcd.ie University of Dundee http://www.dundee.ac.uk University of Limerick http://www.ul.ie University of Newcastle http://www.ncl.ac.uk University of St. Andrews http://www.st-andrews.ac.uk University of Strathclyde http://www.strath.ac.uk University of Ulster http://www.ulster.ac.uk West Dunbartonshire Council http://www.west-dunbarton.gov.uk West Lothian Council http://www.westlothian.gov.uk Wren Trust http://www.wrenmusic.co.uk Youth Music Initiative http://scottisharts.org.uk/1/artsinscotland/music/youthmusicinitiative.aspx Young Scot http://www.youngscot.org

Appendix III â&#x20AC;&#x201C; Teacher Survey Questionnaire

TRADITIONAL MUSIC FORUM

110

Traditional Music Classroom Resources Survey Name and Address of School:

1. Does the school feature Scottish Traditional Music as part of its expressive arts commitment? Yes

2. If the answer to above is yes, what format does this take? one-to-one tuition

weekly classes

occasional workshops or performances by visiting musicians

other

3. How much time is devoted to traditional music as specified in 2 above?

4. Does this take place within school hours

after school

5. Who is responsible for teaching Scottish traditional music? I am

another teacher

6. If the answer to question 5 is another teacher, is the teacher/tutor full-time

part-time

peripatetic

7. Is any particular teaching method employed? 8.

Yes No If the answer to question 7 is yes, have any teaching materials been found to be particularly useful? If yes, please indicate what these are.

111

other

Would you welcome further assistance by materials/resources for Scottish Traditional music? Yes

way

extra/new

teaching

Further comment if applicable

10.

Would you welcome a central database of teaching materials for Scottish Traditional Music? Yes

Further comment if applicable

11.

Please indicate briefly what musical training you have received.

12.

Would you welcome continuing Professional Development/In-Service training in Scottish Traditional Music? Yes

Further comment if applicable

13.

Have you any other comments that you would like to be considered by the Forum?

14.

Would you be agreeable to the Forum contacting you further based on your response to this survey? If yes, please give name and contact details below.

112