National Music Council honours music services
19 November 2012, Rhian Morgan
Oxfordshire County Music Service and SoundStorm, which works in Bournemouth and Poole, have been jointly awarded this year’s National Music Council (NMC) Major Trophy at a ceremony at London’s Southbank Centre. Diplomas went to Barking and Dagenham, East Ayrshire, East Lothian and Southwark.
Liz Stock, deputy head of service at Oxfordshire, said they were delighted by the award. ‘Like most music services we have been extremely busy responding to the National Plan for Music Education and bidding to become the lead partner in a hub,’ she said. ‘2011-12 was a particularly eventful year for Oxfordshire, entailing a significant expansion of activity and broader engagement of children and young people, and it was this that was particularly recognised by the NMC.’
She believes it was the music service’s work with disadvantaged and vulnerable children that particularly caught the eye of the awarding committee, as well as the development of new partnerships, both within the local authority and with a wide range of charitable and other organisations, including Youth Music, to develop programmes and performance opportunities for looked-after children and those at risk of educational and social exclusion.
Julie Spencer, head of community music at Barking and Dagenham Music Education Hub, said their award was ‘a testament to the commitment and high quality of our team of teachers and staff’. ‘We see our relationship with schools and headteachers as key if we are to ensure children experience enjoyment and success from the earliest stages of musical learning,’ she said.
The NMC promotes the interests of the music sector as a whole, with membership drawn from professional and amateur groups. It aims to ‘celebrate and promote the value and enjoyment of music, which contributes, in all its forms, to the cultural, spiritual, educational, social and economic wellbeing of the UK’.
Another winner, Dan Somogyi, team leader at SoundStorm, said the council’s awards had recognised their successes, including the fact that they have been given more than £1m of music education funding until 2015, providing a strong foundation for the future. ‘I think the fact that SoundStorm is very much a modern music service, with a very small core team, fully embracing partnership working, impressed the panel,’ he said. ‘We have more than 35 delivery partners in our new hub, ranging from the locally based Bournemouth Symphony Orchestra to the Utterly Butterly Ukelele Project from Leicester. We have great relations with our local authorities and some fantastically supportive schools, teachers and music organisation and venues. The award reflected the not only the work of SoundStorm but also that of our partners.’
Music Educators welcome Ofsted's new music criteria
14 November 2012, Rhian Morgan
There’s been a broad welcome to Ofsted’s revised subject-specific criteria for music. David Ashworth, a music education consultant and manager of TeachingMusic.org.uk, said the new guidelines 'incorporate some of the key messages from Ofsted's most recent music reports and guidance documents, making them both up to date and consistent. I would like to think that these guidelines will impact on the way music is taught in schools and that there will be a steady and incremental improvement.'
The revisions include replacing the term ‘satisfactory’ with ‘requires improvement’ and new references to music hubs, the National Plan for Music Education and provision of first access to instrumental learning and GCSE/A Level courses. Retention rates in additional tuition, extra-curricular activities and curriculum courses at Key Stage 4 and 5 have also been added.
Mark Phillips HMI, Ofsted's National Advisor for Music, said: 'The term "musical provenance" brings together the important historical, social and cultural origins of music that help support pupils’ musical understanding. We have also included reference to the use of movement, alongside singing and listening, to help pupils internalise musical ideas.' There are also references to literacy, used to support musical learning, and to spiritual, moral, social and cultural education, recognising the importance of music’s contribution to a school’s overall effectiveness.
Deborah Annetts, chief executive of the Incorporated Society of Musicians, described the guidelines as superb news. 'This is a real boost for music teachers in schools where they are often asked to sub-level against their own expertise,' she said. 'To explicitly state that “manufactured sub-divisions of levels” is a sign of inadequate teaching will empower these teachers and send a clear message to those still sub-levelling that this is simply inappropriate for music education.
'On top of this good news, Ofsted has recognised that progression into Key Stage 3 and beyond is an important indicator of a good music department,' added Annetts. 'There is a clear signal here that music must not be sidelined, and that schools – if they want to avoid getting a bad report from Ofsted – should strengthen music and provide opportunities at Key Stage 4 and 5.'
The changes were also welcomed by Lincoln Abbotts, teaching and learning development director at ABRSM. 'The guidance set out in Ofsted’s report can only be positive as we all work towards achieving consistent high quality in music education. The "Outstanding" descriptions remind us of the incredible power that music has in inspiring young people and the wider community around their schools.'
But David Ashworth also sounded words of caution, saying that there needed to be an overhaul of restrictive whole-school assessment procedures. 'We are chipping away at this problem, but you reach a point when you just wish someone with the authority and muscle would, once and for all, work with music teachers to sort out what and how we should assess,' he concluded.
Campaign to include arts in EBacc steps up
9 November 2012
Cellist Julian Lloyd Webber and violinist Tasmin Little are among a growing number of high-profile musicians, artists and educators who have publicly lent their support to Bacc for the Future (www.backforthefuture.com), a campaign which is urging the government to include creative subjects in the English Baccalaureate (EBacc), set to replace GCSEs from 2017.
‘The absence of creative subjects like music from the EBacc beggars belief given how important creativity is to children and our economy,’ said Lloyd Webber. Little commented: ‘Music plays a central role in our education, culture and economy. I urge everyone to sign the Bacc for the Future petition, and I urge the Education Select Committee to hold an inquiry into these proposals.’
Brought in to replace what the government sees as the failing GCSE system, the EBacc already exists as a league table performance measure and is currently awarded to pupils who achieve a C or above in the following five GCSE subject areas: maths, English, science, a language and a humanity (history or geography). From 2017, GCSEs in these subject areas will be replaced by new EBacc certificates, with the ‘full EBacc’ being awarded to pupils who pass six EBacc certificates (two sciences will be required). It is not yet clear what qualifications will exist for subjects excluded from the EBacc.
The Bacc for the Future campaign is arguing for a sixth subject area for creative subjects to be added to the EBacc. It argues that although the EBacc will notionally leave room for pupils to pursue non-EBacc subjects, many schools will hedge their bets by entering pupils for extra science, language and humanities certificates in order to increase the numbers of pupils who will pass the required six – leaving little or no room for the arts.
Nicholas Serota, director of the Tate, said: ‘The proposals do not provide for the arts as being one of the core subjects, and the way in which the proposals have been formulated makes it very clear that art, design, music, drama and dance will be pushed to the margin with very little time in the curriculum for those subjects.’
Speaking to the Guardian, which featured the story on its front page on Saturday, Sir Nicolas Hytner, director of the National Theatre, said: ‘Our concern is that many children and young people will simply miss out: not just on the enjoyment of theatre, but on the important learning and development that comes through taking part in drama from an early age.’ Martin Roth, director of the V&A, commented: ‘The UK is one of the greatest creative nations in the world, as exemplified during the Olympics this summer, but if subjects such as art, design, music, drama and dance are pushed out of the curriculum, Britain’s creative economy will be destroyed within a generation.’
A full list of people who have lent their support to the campaign is available on the Bacc for the Future website, along with news of the campaign’s latest developments. The website also carries a petition – with over 11,000 signatories to date – in support of including creative subjects in the EBacc. The secretary of state for education has so far declined to comment, although the Department for Education told the Guardian that the EBacc ‘does not prevent any school from offering GCSEs in art and design, dance, drama and music. We have been clear that pupils should take the GCSEs that are right for them.’
BBC Performing Arts Fund awards £250,000 in new grants
2 November 2012
The BBC has announced more than £250,000 in grants from its Performing Arts Fund, a charity which helps develop new talent across the UK and is funded by phone voting on reality programmes such as The Voice UK.
Forty-seven not-for-profit community groups have been given awards of up to £10,000 under the fund's community music scheme, to help them encourage new members and run workshops and projects which will 'bring them closer with their communities and raise their profile'.
A BBC spokesman said the scheme has encouraged groups 'to take on more challenging projects through commissions, and to work collaboratively with other local organisations as well as professional artists'. Miriam O'Keeffe, director of the Performing Arts Fund, said: 'We are delighted to be providing an avenue for these projects to flourish. The passion these groups have for music is inspiring. The range, not only in the types of groups but also in the spread of ages, shows us that music really is for everybody.'
The successful groups demonstrated that their projects were 'challenging and ambitious yet achievable', that their project would develop the group and its members, and that the group would collaborate with and have an impact on the wider community. Winning programmes included workshops for marginalised young people in Manchester, sending an African drumming expert to the Shetland Isles to give intensive tuition and awarding Stevenage Symphony Orchestra in Hertfordshire more than £3,000 to create a new piece with a local composer and schoolchildren.
The ReSound Community Choir from Scarisbrick in Lancashire said of its award that 'the support from the BBC Performing Arts Fund will enable us not only to stage a concert for some of the most vulnerable people in our community, but to develop the skills within our choir to provide a lasting resource for the future'. The Dacorum Community Choir in Hemel Hempstead, Hertfordshire, said: 'For the vast majority of our participants this will be a totally new experience, resulting in a lasting memory for the performers. It will have a really positive effect on music making throughout the local community.'
For the full list of winners, see http://downloads.bbc.co.uk/mediacentre/paf-music-fellowships-2012.pdf.
Andrew Lloyd Webber foundation gives £380,000 to arts education
2 November 2012
Andrew Lloyd Webber is to donate more than £380,000 to arts education projects in the UK through his philanthropic foundation.
His wife, trustee Madeleine Lloyd Webber, said the foundation was 'delighted to be able to support such a diverse range of arts education initiatives. We feel it is hugely important to encourage the next generation of artistic talent. The UK is currently a global leader in the arts and by investing in programmes to train young artists, we hope our country can continue to be a creative force.'
A £20,000 grant will go to Live Music Now, a project founded by Yehudi Menuhin, to fund a two-year programme to train and support emerging musicians to give workshops to children with special educational needs.
The Royal Ballet School will receive £180,000 to support young people from disadvantaged backgrounds, while £75,000 goes to Creative & Cultural Skills to train technical theatre staff. Other recipients include the Wales Millennium Centre's Creative Apprenticeship Scheme, which will receive £45,000 to train backstage staff.
The foundation is also financing a sixth-form music scholarship at Eton College, aimed at musically talented boys from families who cannot afford the school fees. The closing date for applications is 10th December 2012. More information about funding opportunities can be found on the foundation's website.
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