Ofsted: one in five schools inadequate for music
1 March 2012
Ofsted has published a report which states that one in five English schools is inadequate for music.
Based on data collected from 2008 to 2011, the report found wide differences in the quality and quantity of music education in schools across England, with insufficient emphasis placed on active music-making in too many lessons. The scarcity of good vocal work in secondary schools, where nearly half of those inspected were judged inadequate for singing, and the underuse of music technology across all levels were also significant barriers to pupils’ musical progress.
Across the primary and secondary schools visited, around twice as many girls as boys were involved in extra-curricular activities. In secondary schools, only 6% of students with disabilities or special educational needs were involved in additional tuition, compared to 14% of students without these needs. Nearly all the schools recognised the importance of promoting a diverse range of musical styles, but far fewer had a clear understanding about how students should make good musical progress.
The report, entitled Music in schools: wider still, and wider, is complemented by six new films exemplifying good practice in a wide range of settings. These are designed to help all schools. Launching the report, her majesty’s chief inspector, Sir Michael Wilshaw, said: ‘Inspectors looking at music teaching in nearly 200 schools saw quality ranging from outstandingly good to extremely poor. Too often, inspectors simply did not see enough music in music lessons.
‘Too much use was made of non-musical activities such as writing without any reference to musical sound. Too much time was spent talking about tasks without teachers actually demonstrating what was required musically, or allowing the pupils to get on with their music making. Assessment was often inaccurate, over-complex or unmusical, particularly in secondary schools. All this limited time for practical music, detracting from pupils’ musical improvement and enjoyment.
‘School leaders need to monitor and challenge robustly the quality of music teaching and curriculum planning. I hope that schools and the new music hubs will use our recommendations to improve the quality of their music education.’
The report recommends that schools give sufficient, regular time for developing aural awareness and musical understanding, and ensure that opportunities for pupils’ practical, creative application and response to music are given priority. It also recommends that schools do more to ensure the sustained participation and musical achievement of specific groups of pupils, particularly boys; pupils with special educational needs; pupils known to be in receipt of free school meals; and children who are looked after.
Poor teaching highlighted by the report includes entire lessons, for example, where teachers did not play or sing a single note. In one lesson students sat passively while the teacher spent almost 20 minutes explaining complicated assessment objectives. One Year 9 class completed the copying of information about the lives of Eric Clapton and Johnny Cash but did not engage in musical activity.
The six films include examples which highlight the impact external providers can have on achievement and participation. These films cover a diverse range of schools, including a primary school where 98% of pupils are from minority ethnic groups, a high-attaining boys’ secondary school, and a special school for children with profound and multiple learning difficulties. They can be viewed at the following links:
Government publishes review of cultural education in England
29 February 2012
The government has published an independent Review of Cultural Education in England, written by Classic FM managing director Darren Henley and commissioned by Ed Vaizey, minister for culture, communications and creative industries. The review follows on from Henley’s review of music education in England, and covers archaeology, architecture and the built environment, archives, craft, dance, design, digital arts, drama and theatre, film and cinemas, galleries, heritage, libraries, literature, live performance, museums, music, poetry and the visual arts.
‘As I undertook a very detailed Review of Music Education in England only a few months ago, I do not propose to revisit this area in great depth in this new Review, which should be seen as a companion document,’ writes Henley in the review’s introduction. ‘However, it should be noted that music remains an integral part of the overall Cultural Education offer.’
The review states that ‘a sound cultural education should allow children to gain knowledge through the learning of facts; understanding through the development of their critical faculties and skills through the opportunity to practise specific art forms. Involvement with cultural activities, whether as an active participant (creating a piece of art or craft, reading a book, making a short film) or actively experiencing an event or place (visiting a heritage site, gallery or museum, seeing how a building works, watching a music, dance, or film performance) can be habit forming for the rest of a young person’s life.’
Henley adds: ‘I warmly welcome this clear and unambiguous statement of intent from the coalition government. It is unquestionably true that Cultural subjects such as art and design, design technology, dance, drama, film studies, music, history and English literature form a vital part of any child’s education. However, there is a growing concern that, with the exception of the latter two subjects, this area of education is no longer valued as much as it once was in our schools or in Further or Higher Education. I would encourage ministers in the Department for Education, the Department for Business, Innovation and Skills and the Department for Culture, Media and Sport swiftly to take action as a result of this Review to show that these concerns are misplaced.’
On the subject of cultural education as a means of school improvement or as a tool for achieving high impact social action projects, Henley writes: ‘This is certainly the case and during the course of conducting both this Review and my previous Music Education Review I have encountered some extraordinarily powerful examples of this at work. However, this should never be the primary reason for teaching children about Culture. Instead, the individual subjects which go together to make up Cultural Education are worthwhile in their own right.’
The review raises the possibility of widening the concept of music education hubs to include other cultural subjects: ‘The Department for Culture, Media and Sport and the Department for Education should identify the exact model for the delivery of Local Cultural Education Partnerships, as part of the development of the National Plan for Cultural Education, although it would seem sensible to begin by ascertaining whether the Local Music Education Hubs might be widened out to include the rest of Cultural Education. It is important that if this does become the favoured option that the result is in no way detrimental to the delivery of Music Education. To be clear, I am not recommending this route as the only available option, rather, I am suggesting the government examines it as one of a number of ways forward.’
The review also raises the place of creative subjects on the national curriculum and the English baccalaureate: ‘If we are to create a generation of fully rounded individuals, then the government should consider whether an education in at least one cultural subject (aside from English literature and history) to at least GCSE level should be mandatory. This could be achieved through the creation of a sixth grouping of subjects included in the English Baccalaureate. This would include Cultural Education subjects such as art and design, dance, drama, design technology, film studies and music. I would encourage the government to consider this idea when it next reviews the content of the English Baccalaureate.’
Finally, the review discusses teacher training: ‘A primary school teacher will be expected to teach music, art and drama as part of the broad curriculum which they deliver to their pupils. They will receive just a few hours training in teaching these subjects during their Initial Teacher Training. For many teachers, these subjects fall outside of their comfort zone and they can lack confidence in delivering them. While I would encourage continued review of the component parts of PGCE courses, I do understand the challenges of fitting all of the necessary aspects of teacher training into a relatively short period of time. For this reason, I believe that more support should be given to Newly Qualified Teachers in this area.
‘A postgraduate Diploma in Teaching and Learning has been pioneered by dance educators over the past few years. I recommended that it be further developed in the area of Music Education in my previous Review and I see no reason why it should not be widened out to include other areas of Cultural Education.’
The government published its official response alongside the review. 'Once again we would like to record our grateful thanks to Darren Henley for his ambitious approach to undertaking a review of this scale across such a divergent sector, wrote Vaizey and education secretary Michael Gove. 'His vision for excellence in cultural education, to enable children from all backgrounds and every part of England to have the opportunity to experience and enjoy the best that our unique cultural heritage has to offer, is one that we share.
'The Department for Education is committing £15m until 2015 to pump prime initiatives that will inspire children and young people and schools to take part in cultural activities to enrich their learning and play their part in helping the cultural arts industries to continue to flourish.
'However this is not just about creating opportunities; the real and lasting impact only occurs when those opportunities are enjoyable, challenging, of high quality, and when the young people are appropriately supported to achieve.'
Vaizey and Gove went on to lay out the following commitments:
• New joint Ministerial Board
• A National Plan for Cultural Education together with the sponsored bodies
• Work with Teaching Schools and sponsored bodies to improve the quality of cultural education in schools
• A new National Youth Dance Company
• National Art & Design Saturday Clubs
• Heritage Schools – providing access to local history and cultural heritage
• Cultural education passport – so that all children and young people can have a rich variety of cultural education
• Museums education – to encourage and facilitate more school visits to museums and art galleries
• Film education - to inspire and train the next generation of British filmmakers
• The Bridge Network bringing heritage and film as well as arts, museums and libraries closer to every school.
FMS and NAME to merge by autumn 2012
6 February 2012
The Federation of Music Services (FMS) and the National Association of Music Educators (NAME) are 'in detailed talks', with the aim of creating a single organisation for music education.
The FMS and NAME say that they are responding to Henley review's concerns that music education's many professional bodies are uncoordinated and fragmented. In coming together, the FMS and NAME will aim to create a body that is able to support all practitioners and organisations across the sector.
The new organisation is yet to be named and the FMS and NAME are still consulting with their members over its proposed aims and structure. It has been confirmed, however, that it will offer both individual and corporate membership to those who provide, lead, develop or support music education, and it will aim to harness the support of parents, funders and the music industry. Its overall vision will be 'to bring together those involved in music education to work for improved quality, access and progression for all.'
Virginia Haworth-Galt, chief executive of the FMS, said: 'It is particularly apt that on the first anniversary of the Henley review we are able to announce that the FMS and NAME are working together to create a new body for music education. This will be an organisation with children at its heart, reaching out to support all involved in music education including hub leaders and partners, instrumental teachers, classroom teachers, music industry professionals and school leaders.'
The chair of NAME, James Garnett, said: 'This period of discussion with FMS has been a process of discovering shared values as to the nature and purpose of music education. I am delighted that our two organisations can lead the way at this time when so many in music education are forming partnerships to provide an integrated musical education for our young people.'
Opera North and the RNCM announce new partnership
31 January 2012
Opera North, the Leeds-based opera company, and Manchester’s Royal Northern College of Music have announced a new partnership, aimed at nurturing and inspiring young musical talent in the North.
As well as raising awareness of career paths available to students, the partnership will offer hands-on experience of auditions and mentoring from singers working at Opera North. Students will also benefit from opportunities to experience the breadth of Opera North’s programming, from main stage operas to more eclectic and contemporary work presented in the Howard Assembly Room. In turn, Opera North will have a base in Manchester from which to develop its artistic programming and outreach work, giving both partners the opportunity to work together artistically outside their usual boundaries.
Richard Mantle, general director of Opera North, said that the company has enjoyed a long association with the RNCM and that many of its alumni appear regularly with the company. 'This new partnership takes our relationship to a new level and one which will bind the two organisations together in a way which will strengthen us both as we collaborate to develop talent, professionalism and creativity in the world of opera and music,' he said.
Opera North has been working on an informal basis with the RNCM over the last three decades, regularly hearing students recommended by the college's vocal department, but the formal partnership will now allow for tailored and more structured programmes to be created for individual students. Lynne Dawson, the RNCM’s head of vocal studies, has sung with Opera North and is 'delighted' about the collaboration. 'This will present a wonderful opportunity for our young singers to have contact with the real world. We're hugely looking forward to working together,' she said.
An event to celebrate the new partnership will be held at the RNCM on 29 February, featuring a short performance by artists from Opera North’s current production of Giulio Cesare, Kathryn Rudge and Ann Taylor, both of whom are alumni of the RNCM. Opera North’s Norma will be performed later that evening at The Lowry, Salford Quays.
Oundle School and Royal College of Music launch new partnership
30 January 2012
Pupils at Oundle School in Northamptonshire are to benefit from a new partnership with the Royal College of Music (RCM). The partnership will see them working with professors and students from the college, both in Oundle and in London.
The link between the two institutions was marked by a concert, involving primary and secondary-age Oundle pupils and college students. Works included Grieg’s Holberg Suite and Tchaikovsky’s Serenade for Strings, as well as James MacMillan’s Second Piano Concerto, performed by students from the RCM.
'As a school we are honoured to have our name linked with the Royal College of Music,' said Andrew Forbes, director of music at Oundle School. 'We have now worked with the Royal College on three separate occasions and are delighted to have made this formal link. We are very excited about the prospect of closer liaison in the future.'
Mark Messenger, head of strings at the RCM, said: 'It is exciting to find a school which shares the same values and aspirations for their students as we do at the Royal College of Music. What was demonstrated in our concert together was commitment, energy, enthusiasm, discipline and enjoyment. I look forward to making music together in the future.'
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