Hubs showing some 'shameful' employment practice, says MU
22 October 2012
Diane Widdison, the Musicians' Union's national organiser for teaching, has said that some 'shameful' employment practice is going on in England's new music education hubs.
The remarks were made at the opening of the union's third biennial teachers' conference. Widdison said that there were 'pockets of good practice' in the hubs, but that many were showing a 'real desire to erode teachers' terms and conditions'. She added that the MU plans to recruit a network of union representatives in all the hubs in order to ensure that teachers are supported and their concerns are heard.
The MU teachers' conference took place in Cambridge, with an opening address given by Paul Harris, the well-known music educator and writer. Harris explored the theme of what makes a 'virtuoso teacher' before answering questions from the floor, many of which concerned ways to handle pressure from employers and pupils' parents to put pupils in for inappropriate exams. Other sessions were led by Lincoln Abbotts, ABRSM's director of teacher support; Christopher Gray, programme leader of Aberdeen University's music and communities degree course; and Richard Crozier, former head of professional development with ABRSM.
PRS for Music launches new scholarship scheme
22 October 2012
PRS for Music and the popular music college BIMM Brighton have launched a new scholarship scheme to help the development of songwriters and music business entrepreneurs.
The Springboard Scholarships, which go towards the funding of courses at BIMM Brighton, are designed to improve employment opportunities within the music industry and to equip students with the skills to develop their careers. The first recipients began their courses at this term.
Mark Lawrence, director of membership and rights with PRS for Music, said: 'We are delighted to collaborate on this unique scholarship arrangement with BIMM. Challenging economic times often give rise to exciting ideas, entrepreneurs and creators. We are licensing forward thinking start-ups like Mixcloud and supporting hard-working songwriters like Adele, but we also recognise the need to do more work with grass roots and emerging songwriters and composers. I am genuinely excited by this scheme. These students are going to be the future faces of the industry.'
BIMM Brighton student Kate Walsh was the first unsigned artist to have an album reach No 1 in the iTunes chart. She said her time at BIMM 'was priceless, learning from professional songwriters who know what they're talking about and bouncing ideas off other students was an invaluable experience that I'll never be able to recreate. BIMM tells you how the industry really is and prepares you for a real future doing something you love!'
Vaseema Hamilton, principal of BIMM Groups, said he was very proud of the scheme. 'Our aim is to ensure equality of opportunity for young people, to raise aspirations and educational attainment, improve employment prospects and offer young musicians and entrepreneurs the opportunity to develop under the guidance of BIMM’s highly experienced tutors and use this unique opportunity as a springboard into employment.'
Applications are now open for entry in October 2013. Each scholarship is for £1,000 towards course fees. Minimum entry requirements are four GCSEs at C or above.
ISM launches cross-sector 'Bacc for the Future' campaign
15 October 2012, Rhian Morgan
The Incorporated Society of Musicians (ISM) is calling on the government to include music and other creative and cultural subjects in the new English Baccalaureate (EBacc), which is set to replace GCSEs from 2017.
As the ISM launched its cross-sector campaign, entitled Bacc for the Future, it said 'a sixth pillar of creative subjects', including music and design and technology, must be part of the new qualification.
The ISM wants the Education Select Committee to hold an inquiry into the lack of creative subjects in the EBacc, and a petition has been set up at www.baccforthefuture.com. The new qualification requires pupils to have achieved a certificate in five subject areas: maths, English, sciences, languages and humanities (the latter currently defined as history or geography).
Deborah Annetts, chief executive of the ISM, said: 'What we need is GCSE reform that is fit for our economy, and the current proposals are not. We need to work together to ensure that we do not forget the lessons of the Olympics or the economic centrality of the creative industries.'
An ISM-commissioned YouGov poll has shown that the public overwhelmingly supports the aims of the campaign, with 88% saying music and other creative subjects are important to a child’s education. An earlier survey revealed that 60% of music teachers, from a survey of 500, believe that the EBacc league table has had a harmful impact on music education in schools. Figures from the Joint Council for Qualifications showed almost a 4% drop in GCSE music candidates between 2011 and 2012.
Many musicians have already expressed their concern at the likely impact of the EBacc on music. Cellist Julian Lloyd Webber said: 'The absence of creative subjects from the EBacc makes no sense at all. Creativity is vital to every child and it is also essential to our economy.'
The Schools Music Association says many musicians working with secondary schools are 'concerned that the latest government proposals will effectively mean the end of the teaching of creative subjects'. Dr James Garnett, past chair of the National Association of Music Educators, is also urging that the planned changes protect a rounded secondary school education which includes the practical study of music.
Ronan O'Hora, head of keyboard at the Guildhall School of Music and Drama, said he thought it 'quite incomprehensible that under the proposed plans the teaching of music is likely to disappear from secondary schools at a time when its importance in aiding and developing lateral thinking and creative problem-solving is more widely recognised than ever'.
A spokesman for the Department for Education said the EBacc would still leave plenty of time for non-core subjects: 'We have put music on a much firmer footing than it has been - we have protected core music funding and a music module is being introduced for trainee primary school teachers.'
Choir of the Year grand finalists announced
10 October 2012, Clare Stevens
Lindley Junior School Choir from Huddersfield, Methodist College Girls’ Choir from Belfast and the senior choir of Ysgol Glanaethwy on Anglesey, North Wales are among the six choirs that will take part in the Grand Final of Choir of the Year 2012 on 28 October in the Royal Festival Hall, London. The remaining finalists are the Surrey Hills Chamber Choir, student jazz a cappella group the Oxford Gargoyles, and Les Sirènes, an all-female choir of students and recent graduates from the Royal Conservatoire of Scotland, conducted by 24-year-old Andrew Nunn.
Lindley Junior School, directed by Alison North, won the children’s category of the competition in the category finals held at the Bridgewater Hall, Manchester on 6 October, beating Heath Mount School Bax Choir from Hertfordshire, current holders of the BBC Songs of Praise School Choir of the Year title; Four Oaks Cluster Choir, composed of singers in Years 5-8 from Sutton Coldfield and district; and the chamber choir of Rosendale Primary School in Dulwich, South London. The Methodist College girls were directed by Lynda Rolston and accompanied by another pupil of their co-ed school, 13-year-old Donal McCann. They beat the junior choir from Ysgol Glanaethwy, an ‘after hours’ performing arts school, and two other all-female groups, Rainbow Connection Youth Choir from Doncaster and Cor y Cwm from the Rhondda Valley, South Wales, to take the Youth Choir of the Year title.
The Oxford Gargoyles won the open category and Surrey Hills the adult choir category. Les Sirenes and Ysgol Glanaethwy Seniors went through to the final on ‘wild cards’, but any of the six finalists is now eligible to be crowned as the overall Choir of the Year 2012.
Ofsted names keys to successful music education partnerships
10 October 2012, Clare Stevens
The secrets of successful partnerships between schools and other organisations have been identified by Ofsted in a new report entitled Music in Schools: Sound Partnerships, commissioned a year ago by the Department for Education as part of the National Plan for Music Education. It was launched by Mark Phillips HMI, Ofsted’s national adviser for music, on 5 October at the National Association of Music Educators’ annual conference.
The report is based on visits by music inspectors between September 2011 and July 2012 to 59 schools, together with six further visits to observe good practice. Most of the schools surveyed were using partnerships to offer a greater range of activities than they could provide by themselves. However, the inspectors found that in too many cases these were not managed well enough by the schools and rarely resulted in significantly improved long-term outcomes for all groups of pupils, particularly the most disadvantaged. Only ten schools were making good or outstanding use of partnerships to improve musical outcomes for all groups of pupils and achieve good value for money. The survey found that buying in additional instrumental and vocal teaching – the most frequent form of partnership work – is not a guarantee of sustained good-quality outcomes, however expert or reputable the partner organisation.
The report identifies five key actions taken by schools were partnerships were most successful:
• Significant, sustained levels of funding were matched by rigorous monitoring and evaluation, enabling leaders and managers to take swift action where funding was not being used well.
• Schools ensured that all groups of pupils benefited from the partnership, particularly the most disadvantaged. Careful monitoring and tailoring of provision ensured that all groups achieved well.
• Provision was linked to individual pupils’ needs, interests and abilities. Careful analysis of pupils’ prior achievement and experiences – including in their feeder primary schools – secured high levels of engagement and good progress. As a result, projects complemented, augmented and supported other music work in the school.
• Partnerships were used to develop both school teachers’ and visiting musicians’ practice. Clear strategies were in place so they could learn from each other. This led to sustained, high-quality musical experiences for pupils during and beyond the partnership.
• Headteachers and senior leaders used the partnership to strengthen their own knowledge and understanding of the quality of music education. This enabled them to monitor and evaluate provision with increased rigour and resulted in improved outcomes for pupils, better quality of professional dialogue with music teachers, and better value for money.
Inspectors also identified five characteristics of schools where partnerships had limited effect:
• The effectiveness of the partnership was not monitored sufficiently well by school leaders. In these schools, the partnership was more likely to represent poor value for money because not enough pupils made good progress over a sustained period.
• Disadvantaged pupils such as those in receipt of free school meals or with special educational needs did not benefit from the partnerships as much as others. This often resulted in widening gaps in participation and achievement between different groups of pupils, including at GCSE.
• Partnership programmes were not sufficiently aligned with the school’s day-to-day musical provision or well enough informed by analysis of pupils’ starting points and capabilities. In these schools, the value of the partnership was diminished because provision did not capitalise and build on pupils’ prior learning.
• School staff and visiting musicians did not work together. This represented missed opportunities to develop the teaching skills of all adults involved in the partnership.
• Senior leaders were not well enough informed to ask critical questions or make critical judgments about the quality of music education; too often, too much was based on trust rather than rigorous challenge. Consequently, weaknesses in provision were not addressed.
The report includes guidance to help schools improve their partnership working in music education, including with the new music education hubs. It has been published on the Ofsted website together with eight case studies of good practice, including video clips, from a diverse range of primary and secondary schools, of varying sizes, and from different rural and urban areas of the UK.
The Federation of Music Services welcomed ‘Ofsted’s positive and pragmatic approach to supporting improvements in music education. The use of a robust evidential base to identify key actions to underpin such improvement is extremely helpful. We are delighted that the role of music services in providing opportunities and setting high standards has been highlighted in the report.’
Deborah Annetts, chief executive of the Incorporated Society of Musicians, said: ‘This is a crucial report which must be read by headteachers, senior leaders, those working in music education hubs and anyone involved in partnership work from across the music sector.
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