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Teaching Materials 2015

British Music Education Yearbook

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Music Teacher Guide about Music and Dyslexia

Latest News

Kent music education hub unveils digital ukulele lessons for primary schools

2 April 2015

Soundhub, the music education hub for Kent, has unveiled an online music education programme that enables non-specialist primary school teachers to deliver ukulele lessons.

MusicPlus Digital is a 30-week programme aimed at children aged 7 to 11. It consists of 15 digital lessons, each up to 40 minutes long, interspersed with 15 ‘live’ lessons delivered by a professional ukulele teacher.
The initiative has been trialled over two years and the initial pilot programme has now been rolled out to 25 primary schools across Kent.

Soundhub is hoping to sell MusicPlus Digital across the UK’s other 122 music hubs as well as to independent schools in the UK and music education providers overseas.
The programme is website-based and access can be purchased for £300 per school. There will be discounts available for bulk sales from music hubs, clusters of schools or groups of academies.

Musician Jake Painter, who presents the online lessons, said: ‘The ukulele is becoming the most popular instrument in primary schools and MusicPlus Digital also helps schools to cover Key Stage 2 National Curriculum, using sound educational principles, such as use of notation, pitch, composition and rhythm.’
Peter Bolton, chief executive of Soundhub, said: ‘Our two-year trial has shown that MusicPlus Digital can be of enormous benefit to teachers, whether or not they have specialist music training.

‘While the children watch and listen to Jake, the teacher can pass among them, helping individuals with hand-positioning and fingering, ensuring that all students receive the personal attention they need to keep up.
‘The ukulele is an inexpensive instrument, with basic models available for as little as £12. We believe that every child should have the chance to learn a musical instrument and MusicPlus Digital gives schools a cost-effective option for making high quality, whole-class music education more inclusive.’

South Hampstead High School singers named GDST Young Choir of the Year

1 April 2015

A choir of pupils from South Hampstead High School has been crowned the Girls’ Day School Trust (GDST) Young Choir of the Year.

The 40 junior school students were awarded the title after a competition at the Queen Elizabeth Hall in London’s Southbank Centre last week.

The winning songs were Feed the Birds (words and music by Richard M Sherman and Robert B Sherman) and The Rhythm of Life (music by Cy Coleman and lyrics by Dorothy Fields).

The final featured eight choirs from across the GDST network of 24 schools and two academies. They performed in front of a panel of judges including children’s composer Sheila Wilson, soprano Elizabeth Llewellyn and voice specialist and composer Lin Marsh.

The other finalists were Bromley High School, Kensington Prep School, Putney High, Brighton and Hove High School, Oxford High School for Girls, Newcastle High School for Girls and Wimbledon High School.

Helen Fraser, chief executive of the GDST, said: ‘Music is such an important part of life in all GDST schools. It is wonderful to see so many young people showcasing their talents at this prestigious event in such a high-profile venue.

‘All our schools encourage young people to develop an appreciation for music early in life and I look forward to hearing more from our finalists in the future.’

The GDST is the leading group of independent girls’ schools in the UK, with nearly 4,000 staff and 20,000 students between the ages of three and 18.

As a charity that owns and runs 24 schools and two academies in England and Wales, it reinvests all its income in its schools.

London College of Music launches online exam repertoire shop

31 March 2015

The London College of Music (LCM) has launched a new online shop in collaboration with Boosey & Hawkes.

The LCM Shop stocks more than 2,000 exam handbooks and publications, including repertoire from all publishers for the LCM syllabus. It also stocks the full range of Registry of Guitar Tutors (RGT) exam publications and handbooks, as well as music on exam lists from all other publishers.

An ‘exam music finder’ offers teachers and students a quick and easy way to select the sheet music they require for exams. After an instrumental syllabus and grade have been selected, exam lists are displayed with publications available for each piece.

John Howard, director of LCM Exams, said: ‘This is an excellent development, making our publications and other related exam repertoire much more easily available to all. We are delighted to be involved in such an innovative project.’

David Allenby of Boosey & Hawkes added: ‘We are delighted to partner the London College of Music to create this new online shop and exam music finder.

‘The UK examination sector is a world leader and our provision of online music shops helps organisations expand and supply exam music to teachers and students internationally.’

Reeltime Music plans outreach events in schools across Lanarkshire

26 March 2015

Lanarkshire music education charity Reeltime Music is planning a new series of outreach events in schools across the county.

The initiative, which will kick off in July at Coltness High School in Wishaw, has been made possible thanks to £10,000 of sponsorship from Creative Scotland and a £2,000 donation from Tata Steel subsidiary UK Steel Enterprise (UKSE).

Following a successful pilot last year, the charity is now looking to extend the initiative to schools across Lanarkshire.

Reeltime Music, which is based in Motherwell, aims to provide opportunities within the creative industries for disadvantaged young people.

The charity’s tutors, many of whom have benefitted from past Reeltime Music projects, help 11 to 18-year-olds to express themselves by playing and creating music. Most of this activity takes place in a purpose-built recording studio in Newarthill.

But with the new funding in place, Reeltime Music is now planning to rolls out informal music making sessions to young people in local schools.

The project will involve after-school workshops where students can experiment with different instruments, equipment and musical styles. The results of the workshops will be performed at band nights throughout the year.

Ryan Currie, project manager for Reeltime Music, said: 'We want to make music more accessible to students and rolling out informal sessions to schools is the best way to allow them to get hands on and be creative.

'We’ve found music is a great way to break down barriers, learn new skills, increase aspirations and develop a more active lifestyle.'

Musical Futures to become independent from Paul Hamlyn Foundation

25 March 2015

© Emile Holba

Musical Futures, the movement to reshape music education in a way that is driven by teachers, will become independent this month, moving away from the Paul Hamlyn Foundation.  

The organisation will continue to support the secondary sector with its training sessions, resources and online community, but will now also work with the primary sector as well as communities and the workforce.  

Launched in 2003, Musical Futures began life as a Paul Hamlyn Foundation initiative, trialling new and imaginative ways of engaging young people in meaningful music activities. It is now active in 1,500 secondary schools.

The organisation is also launching a new festival, Music Learning Revolution, which will take place for the first time in October. The event will aim to show primary, secondary and head teachers how best to use music in the classroom.

The move to independence comes after Musical Futures secured transition funding from the Paul Hamlyn Foundation. The new board of directors will be chaired by Anita Kerwin-Nye and led by chief executive Abigail D’Amore.

D’Amore, who has been with Musical Futures since its inception, said: ‘The Paul Hamlyn Foundation’s original vision was to reshape music education and create engaging, sustainable and meaningful ways of engaging all young people in music activities.

‘Twelve years later, while retaining the strong values, principles, intentions and pedagogies of Musical Futures, we are able to extend our work into new sectors and contexts and build and strengthen our national and international networks of teachers and practitioners.’

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