Over the last 8 years in my current school, I’ve been continually looking for ways to improve the experience of my music students. Every one of them is unique, no matter ability, demographic or experience of life. A one-size-fits-all model would have failed within minutes so I’ve developed a flexible, customisable model for every individual and, so far, for every situation we’ve encountered, I have seem positive outcomes.
The fundamental purpose is to help every young person to have everything they need to develop in music ‘to the max’ and to prepare them for their musical life into the future. Measurable aspects, such as examinations, are a helpful inclusion but they’re only part of the bigger picture of each individual’s experience.
The Starting Point
The starting point of the 230 or so students that join my school every year varies greatly. There are 230 starting points. It is counter-productive at this stage to produce a starting ‘grade’ and often this can be a discouragement for the young people. A few have been learning to play an instrument at KS2, but many haven’t and there has been variety in the quality of tuition received. As students begin to explore music, it is often for the first time with us and some haven’t come across even simple musical aspects like pulse or rhythm. A few have done a weekly singing activity. Equally I always have some young people who have already developed a sense of musicianship.
Musically Understanding the Starting Point
I’ve always run a baseline test to understand:
– if students are able to recognise musical changes by listening
– if students are aware of musical instruments, how they’re played and to which families of the orchestra they belong
– if students know the meaning of musical terms like pitch, dynamics, texture and tempo
– if students can recognise shapes and patterns in notation
– if students can read musical notes on the treble and bass clef staves
– if students are aware of more complex language such as Italian terms
The average score is 24/50. The lowest score ever achieved is 4/50 and the highest 50/50, achieved this year by a percussion student. He was the first to achieve the top mark in 4 years.
However, over the last two years I’ve also run a baseline performance task. Students are given a piano, some letter-named notes and 20 minutes to prepare a performance of a well-known 8-bar melody. Each student performs and these are recorded on video. This task would be fascinating for those interested in music education research. In many ways this type of test is a much more accurate measure of musical awareness, as there are no multiple choice answers to guess. The first observation is proof that a student’s musical ability is not equivalent to a result in a year 6 Maths or English test. Each student gives their best performance based on their individual experience. Each performance, and particularly how each student approaches their playing in the 230 videos, is different.
The End Point
For a student attending an 11-16 school, the end point is often seen as the grades they leave with as a GCSE student. There is a bigger picture here though, and to constantly create the highest expectations, I challenge my students to think at a standard beyond the GCSE syllabus. Ultimately I’d like my students to have a rich and developed understanding of music, that enables them to confidently perform and compose music, constantly developing their own craft and creatively collaborating with others.
A Flexible Customisable Model to Develop Confidence in Music for Students Aged 11-16
Having established the starting and end points, it’s then been possible to develop a bespoke experience for each individual student, based on the types of needs they have in common. This model has helped us to develop the students’ experience in our school. It could easily be used in other schools as there’s sufficient flexibility and little cost to embed.
How does it work?
Consider the 4 concentric circles as below.
The centre (1) represents each individual student. They each have to be at the centre of our thinking. Always. It should challenge us to always consider whether an aspect of their experience is genuinely ‘creative, helpful and inspiring’ or ‘tedious, un-necessary and destructive’.
The next circle (2) represents all the opportunities that a music student must have in order for them to develop. Each opportunity around the circle can be customised based on each student’s needs, interests and ambitions. The opportunities are not ‘on’ or ‘off’, the more of each opportunity the better for the student’s overall development, but recognising that (often due to time or funding), some students will have a different balance to others. This should not be a ‘have’ and ‘have not’, all should ‘have’, but there will be differences in the amount of involvement, often down to the individual’s choice or ambition. As a head of music, I can have an impact on helping to improve all of these areas, even though other agencies and organisations have the responsibility to manage them. Some areas seem obvious, but I find that quite regularly some stakeholders are not aware of their required responsibility. Open and honest, proactive and positive communication between all stakeholders is vital. Focusing on and improving each of these opportunities for all learners has been key in helping them to develop and build confidence in music.
The next circle (3) represents the products and experiences that all music students should focus on. These are easy for stakeholders to organise at minimal or no cost but are the things that students are inspired by and use to develop their understanding of music through application.
Finally the outer circle (4), the outcome at the end of Year 11, following the completion of products and experiences. Not the end, but the beginning of the next period of musical learning and development.
This is our current model.
There’s probably room for several more blog entries to describe the impact of each ‘opportunity’. In practice each area is vast and contributes to a rich, varied music education. Key aspects to mention initially though:
1. It has very much felt in the last few years, that the accountability of outcomes has rested more with teachers and schools. This model is design to not consider any stakeholders as have more importance or accountability than others. Thus, products, experiences and outcomes are written around the circles to represent the joint impact all stakeholders must have. The role of the student themselves and how they each choose to approach their learning is just as important as every other aspect.
2. We became an academy around the same time as arts fundings was reduced, which locally fragmented the services in place to offer instrumental tuition. We decided, following discussions with peripatetic tutors, students and parents, to run our own tuition programme. Tutors are contracted directly to our department to deliver high quality lessons. Within their contract we ask each tutor to have a passion to develop the confidence and interest in their instrument by them leading a relevant ensemble. This helps to grow a strong music team of like-minded professionals. All lessons, with all tutors for all instruments cost the same. Students can choose to share their lessons in 2s or 3s, in which case the cost is shared, but most students are taught individually or in pairs. They are paid directly our parents. When affordability is an issue for parents, there are funding opportunities through YorkMusicHub. Some members of our staff or others in the community have also supported students in the past by paying for lessons. We currently offer lessons in: piano, keyboard, drum kit, percussion, bass guitar, music theory, classical guitar, brass, woodwind, electric guitar, popular acoustic guitar, voice, upper strings, cello, double bass and harp.
3. In addition to the included students’ perceptions of their ideal music teacher, students need me to be constantly developing a relevant curriculum. At our school every student has an iPad. We use the app Showbie as a method for students to upload videos of their performances or scores and recordings of compositions. In this way, I can provide a more fluid and instant method of feedback, which encourages them to be always reflecting, questioning and developing.
4. The model is for all students aged 11-16.
We find this model to work very well. Naturally there will always be things for us to improve, but the flexibility and collective responsibility the model creates, inspires our young people greatly. If you’re reading this as a department, school or education leader, please try it if you’re not doing so already and let me know if you need help or more information.
One response to “A Practical Model to Grow Confidence in Music for Young People Aged 11-16”
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