Music for the Terrified Background notes to related workshop and publications author: David Wheway (Music Adviser)T: 01858 535224Background Notes (2008)
ITTInitial teacher training comprises on average approximately 6 hours over a 3 year period or during a post-graduate year. This leaves the majority of teachers feeling they have had inadequate preparation for the classroom in a subject they already find daunting. The solution would be to give greater emphasis on an on-going basis during ITT and perhaps create space by reducing the number of hours on subjects where teachers generally feel more confident. CPD/InsetCPD opportunities tend to be limited in many parts of the country. Advisory services were depleted during the 1990’s and many advisory personnel were lost. Many authorities now have no music advisory staff. Because music is not perceived as a ‘weighty’ subject in schools requests for CPD/Inset may be very ad hoc. Where no music co-ordinator is in place, development plans for the curriculum may be poorly informed. Teachers’ Personal ExperiencesIn the past, music was often perceived as a specialist subject where only the few had the necessary skills to make progress. Others were termed, ‘Tone-Deaf’ or asked to mime when singing. Children were selected for instrumental tuition or choir on ability alone. This re-enforced the perception of an elitist subject where a typical process might be: Children A-M can sing well – therefore they can learn the recorder Children A-D can play the recorder well – therefore they can have further instrumental lessons. The result was often a performance-biased curriculum. Recent National and Local InitiativesDuring the past 20-30 years there has been a realisation that music can be taught differently. The history goes back further but the change has been more recent. Percussion instruments and the inclusion of musical ‘games’, exploration of sound and composition has changed the way the music curriculum is planned. Music as an entitlement subject – that is for all children has changed the way music is planned and delivered. For generalist teachers, there are now a wealth of ideas including published materials which put the emphasis on teaching as opposed to musical skills (although training and support are still requirements). For the teacher with a formal music background the repertoire of ideas available has increased massively, and enabled them to teach all pupils rather than a select few. However, some music teachers can find this new approach difficult to fathom as it contradicts their own experiences – where they were successful. Leicestershire – was in the vanguard of such an approach through the work of advisers such as Anice Paterson who oversaw the creation of the Music Materials Pack and the way the music advisory team operated in the 1980’s and early 90’s. The National Curriculum for Music was an affirmation of music as a distinct area of learning within the school curriculum and reflected the two-fold approach of the generalist teacher and the entitlement curriculum. QCA SchemesIn 2000 schools were supported by the introduction of a national scheme for music. This outlined a breadth for what should be taught, how music should be progressive across the key stages and outlined some ideas for the classroom. It was not however meant as a complete scheme and it was assumed the outlines would be supported in schools with schools’ own activities and/or bought materials. “The intention is that teachers should adapt and extend the programmes in the light of the particular needs of the pupils”. Tony Knight – QCA (2000) For key stages 1 and 2 there are 21 units with units 1, 8 and 15 being ‘on-going skills’. These recognise the importance of regular music activity to develop the voice and essential knowledge, skills and understanding of rhythm, pitch, exploration, listening, co-ordination, etc. Wider OpportunitiesThe government is currently funding (through the Standards Fund) the opportunity for every child at Key Stage 2 to learn an instrument. This has meant a re-think by music services regarding how music lessons are taught – and a shift from one-to-one or group teaching to whole-class teaching. In Leicestershire whole classes now have string or brass tuition and it is proving a great success. Further opportunities exist for schools to utilise local and/or community musicians. Potentially – it could prove to be a mile-stone in music education and how music is perceived. PPA timePPA time could prove to be a wonderful opportunity for school music – or a process of de-skilling and marginalizing the music curriculum. Schools might buy in first-rate arts animateurs to enhance the music curriculum. However, where schools are buying in expertise or covering music with other members of staff, there will need to be careful monitoring to ensure the principles of ‘broad and balanced’ and ‘entitlement’ remain. Teachers need also to be aware that a process which relieves them of a curriculum responsibility may also prove to be a process of de-skilling. What happens when the teacher wants to move on to another school? What happens when the ‘expert’ moves on? NEWSWebsite – www.LMPi.co.ukThe website for Leicestershire Teachers contains free schemes and policy writing software, advice on ICT computer programmes which are free to download or freely available, news on forthcoming an past courses, publications written for Leicestershire Teachers full of activities and projects to support the generalist teacher, links to useful websites and address, ideas for musicians in schools and current news items. Listening On-lineMembership of the LMP website offers links to over 200 listening extracts all linked to common primary classroom themes – both music and cross-curricular INTRODUCTION/BASIC ACTIVITIES (source – mainly Blue Music Materials Folder) A ‘survival kit’ of basic activities in music for developing musical skills including pulse and rhythm, pitch, vocal development, exploration of sound, movement and listening - which link closely with the QCA Schemes – units 1,8, and 15 (On-Going Skills). IntroductionA brief overview of music in primary schools from both a contemporary and historic perspective. Reference to the NC orders 2000. Rhythm:Pulse and rhythm games (Clap in time, Passing the beat, Counting in 4s and 6s, Pass a rhythm parcel, Down on the farm). Pitch:Distinguishing between high and low (Furniture Game, Mountaineering, Listen Carefully, two note tunes, Name that tune, improvising on 2,3,5 notes, songs). Listening:Identifying describing and distinguishing between sounds: (Sounds around us, Who’s voice?, Where is it?, Warm and Cold, Lighthouses). Exploring:Exploring and building a repertoire of sounds: (Conducting, Finding new sounds, Conversations, Sounds and Symbols, Keyboard sounds, Changing recorded sounds). Movement:Responding to/exploring sounds and music: (Frightened tortoise, Ribbons, Long legged Sailor, Get co-ordinated, Animals, Lift and Drop it, Create a Folk Dance). PROGRESSION 1 - Rhythm: see - LMP Publication – ‘Bubbles ’Rhythm GridsComposing and developing rhythms and accompaniments. Recording notation, indicating rhythm. Try the 'Chicken and Egg' activity from the Red Pack, then: Bubbles Grid 1 Maintain a steady beat Bubbles Grid 2 Awareness of silent beats Bubbles Grid 3 Introduce 2 different symbols Bubbles 4x4 Grid Template for children's compositions Awareness of elements: Do opposites e.g Loud/quiet, Hard/soft, High/Low.... Other:- Develop co-ordination, Simple ostinatos, Record compositions, Incorporate rhythm (syllables), Perform in layers, Use of untuned and tuned percussion, Develop structures.
PROGRESSION 2 - Pitch: see - LMP Publication – ‘Listen Carefully ’Warm – upsFurniture game MountaineeringHigh and Low pitch cards 3 bears – 3 pitchesName that Tune Activity: Write the first phrase of well-known tune: Tune 1 Tune 2 Tune 3 Single-line Staves: LMP Publication – ‘Listen Carefully ’Composing and developing melodies and accompaniments. Recording notation, indicating pitch. For young children exclude middle pitch. ActivitiesIdentifying cards : Identify card played Sequence cards: Order cards on single- line stave to create simple sequences Record compositions Add accompaniments Consider note values Extend pieces Transfer ideas to vocals or keyboard More-able/extension Try composing on a 5-line stave, but only using 4 notes. This is a good activity for children who have other instrumental skills. Notes selected should be notes they can play on their instrument PROGRESSION 3 – Composition: LMP Publication – ‘Safari Park’Stories, Trails, Poems and Pictures Sample Trail - Safari Park Find sounds for animals/objects. Develop in music-corner. Use in sequences. Select 4/5 points from a real/imaginary event. This might relate to any curriculum area. Using words, pictures or symbols create a simple trail for children to follow. Suggested strategy: Find sound effects Work on parts of trail in groups. Supply background sounds Develop stations within the trail Incorporate rhythms to spoken phrases, names, or those suggested by event. Create melodies for characters/events Develop as rhythmic/melodic piece Symbol Scores (sample symbols - 1 2 ) Find pictures/symbols to represent sounds. or Identify which symbols link to sounds heard. Children explore sounds and find symbols to represent. Children share symbols and create simple sequences Can other groups play their sequences? Can they refine their symbols? Can they layer their symbols? Ways of Extending Composition Repetition New Material (e.g. A A A B A ) Reflection (Symmetry) New Sounds Different Pitch Alter Tempo Ascending/Descending repetition of melody Alter Mood Use of different scales Alter Rhythm Change dynamics Different timbre (sounds/instruments) Different texture (add/take away parts) Alter duration of sounds/silences Alter time signals Questioning Children should be encouraged to think about and develop their projects, through careful and relevant questioning. Questions might include:Tell us about your piece/performance Is it ready to be performed, and if so - who to? Is the piece played fluently? Is the piece performed steadily? How did you decide to start/finish your music? Why did you select those particular sounds/instruments? Could you have selected other sounds/instruments? Could you make similar sounds on another instrument? Can you incorporate instruments other than classroom percussion? Have you selected the most appropriate sound makers? Can you find new sounds by playing in unorthodox ways? What changes might you make? Could aspects of your piece be further refined? Could different musical elements help in the refining process? Are there ideas from other pieces that you wish to incorporate into your own music? How would you improve on the music of another group? Can you build upon suggestions for developing your music? How could you make your piece more expressive/ relevant? What changes/improvements could you make to your performance? Can your piece be memorised? How might you extend your composition? <Could you improve your performance techniques? Does your piece contain interesting sounds/ rhythms/ melodies/moods? Can you record what you have done? Can you describe the piece you have listened to? What musical elements does the piece contain? What contrasts does the piece contain? Why do you think this piece was written? Where do you think this music was written? When do you think this music was written? What do you think the composer was trying to convey? Could you incorporate other musical knowledge/skills into your piece? PROGRESSION 4 - Listening (recorded music): LMP Publication – ‘It’s OK’ Listen with attention to detail and to internalise and recall sounds Elements – combined/ individually Moods and Effects Resources – including ICT Time and Place Listening to recorded music is often done within non-critical contexts, for instance whilst children enter/leave assembly, or as a background to non-music related work. In these situations, children are often `hearing’ music – but no more critically than one hears musak whilst shopping. Such listening however has its place, and shouldn’t be avoided. Children are listening when their attention is focussed solely on the music. Their attention and understanding can be enhanced by focussing on certain aspects of the music, and through active as opposed to passive listening. Many listening activities have strong literacy links, such as `Thought Bubbles’, `Word Play’ and `Odd one out’. Smiley Faces Match the face to personal response to the music. Talk about why you liked/disliked the music Word Match: Match the music to an assortment of words decribing the piece Word Play Place words that describe the music well nearer to the centre of the sheet. Discuss the results Odd One Out Select 3 pieces. Children listen and select the ‘Odd One Out’ Support materials available from LMP Supplies, 1 Garth Heads, Beats Banks, Kendal, Cumbria, LA9 4JL (01539 736038) | Music Materials for Primary Schools & SoW (`Blue Pack') | 150 progressive activities which develop skills under the headings: Listening, Sounds and Invention, Pitch, Rhythm and Movement. Includes complete scheme of work. | Leicestershire teachers and advisory staff. | Early Years Materials & SoW (‘Red Pack’) | Progressive activities relating to the Foundation stage, which develop music skills for children from age 3 to 5. Includes complete scheme of work. | David Wheway | Exploring Materials (Green Packs) | Activites for parents and carers to develop one-to-one music activity. For the home or ‘music corner’. | David Wheway | Progression Booklets <!--[if !supportEmptyParas]--> <!--[endif]--> | Support booklets which provide progression activities across Key Stages 1 and 2 of the National Curriculum for Music. | David Wheway and Shelagh Thomson | Sounds and Symbols | Progression materials, supporting work on recording composition with pictures, signs and symbols as an adjunct to recording with traditional western notation. | David Wheway | Explore Music Across the Curriculum | Music activities with cross-curricular themes (formerly published by Oxford University Press). | David Wheway and Shelagh Thomson | Literacy and Music | Activities linking music and literacy activities | David Wheway |
<!--[if !supportEmptyParas]--> <!--[endif]--> Other music materials useful in supporting the LMP scheme. | Title | Description | Author | Publisher | Banana Splits | Ways into part-singing and rounds. | A.Sanderson | A&C. Black, 35 Bedford Row London WC1R 4JH | Bobby Shaftoe Clap Your Hands | New words to well known melodies, with themes relevant to early years/KS1. | Sue Nicholls | A&C. Black, 35 Bedford Row London WC1R 4JH | Compose World | Useful pre-sequencer package. Simple ways to structure tunes. | <!--[if !supportEmptyParas]--> <!--[endif]--> | ESP, 21 Beech Lane, West Hallam Ilkeston, Derbyshire DE7 6GP | Dance/Hip Hop eJay | Instant success programme for upper KS2/KS3. Design your own dance tracks. | <!--[if !supportEmptyParas]--> <!--[endif]--> | eJay AG Widely available | Gently into Music | Activities, songs, poems and rhymes. Comes with an audio-tape of the songs. | Mary York | Longman, Longman House, Burnt Mill Harlow, Essex CM20 2JE | High Low Dolly Pepper | A comprehensive collection of activities, exploring everyday sounds and elements | Veronica Clark | A&C. Black, 35 Bedford Row London WC1R 4JH | Sonsense Nongs | Lots of action/ silly songs. | Michael Rosen | A&C. Black, 35 Bedford Row London WC1R 4JH | ‘Three Rappin’ Rats’, ‘Three Singing Pigs’ and ‘Three Tapping Teddies’ | Making music to traditional stories. Foundation - Key Stage 2 (over 3 books) | Kaye Umansky | A&C. Black, 35 Bedford Row London WC1R 4JH | <!--[if !supportMisalignedColumns]-->
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<!--[if !supportEmptyParas]--> <!--[endif]--> PUBLISHED MUSIC SCHEMES (NC 2000 linked = ü) 1 & 2 | LCP Resources Fileü | Activities which closely relate to the QCA SoW - £100 per key stage | Congdon & Litchfield | LCP 1-902887 36 0 | (F) 1/2 | Listening to Music (Early Years – KS2) | Activities linked to the musical elements with related recorded music on audio-cassette/CD. x3 stages each at approx. £16 | Helen MacGregor | A&C. Black | F-6 | Music Express ü | Comprehensive scheme with back up CDs published by ever-friendly AC Black. Approx. £20 per year (more for Reception) | Var. | A&C Black | 1 | Sounds Topical | Broad range of music projects with CD support. – approx. £70 | Jan Holdstock | OUP 0 19 321354(-7) 0 | 2 | Sounds Musical | 75 topic based activities (+ workbooks CDs) – approx. £70 | Holdstock & Richards | OUP 0-19-321356-7 | 1 & 2 | Singing Sherlockü | Excellent singing programme with technical support, hints and tips. CDs with songs and accompaniments (with/without singing). approx £30 each key stage | Val Whitlock and Shirley Court | Boosey and Hawkes 0 85162 352 2 0 85162 353 0 |
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