PRIMARY SCHOOL CURRICULUM POLICY GUIDANCE FOR MUSIC

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1 PRIMARY SCHOOL CURRICULUM POLICY GUIDANCE FOR MUSIC INTRODUCTION AND SUBJECT DEFINITION This will be a short statement that outlines the place of Music within the curriculum and how it supports the whole school ethos and values. For a subject definition refer to the section in the new orders headed The importance of Music. Either quote this directly or include a statement that mentions specific beliefs and values you feel are relevant to your school. The following quotation is taken from the QCA directive for Music at Key Stage Two: During key stage 2 pupils sing songs and play instruments with increasing confidence, skill, expression and awareness of their own contribution to a group or class performance. They improvise, and develop their own musical compositions, in response to a variety of different stimuli with increasing personal involvement, independence and creativity. They explore their thoughts and feelings through responding physically, intellectually and emotionally to a variety of music from different times and cultures. AIMS These should reflect the schools aims and values. Here again the statement about The importance of Music provides a useful source, particularly the second half which sets out what a music education contributes. There are many other excellent examples of aims from past SCAA documents including the following: develop aesthetic sensitivity and creative ability in all pupils. foster pupils' sensitivity to, and their understanding and enjoyment of, music through an active involvement in listening, composing and performing. provide for the expression and development of individual skills and for sharing experience and cooperating with others; singing, playing, composing and listening can give individual and collective satisfaction. develop an awareness of musical traditions and developments in a variety of cultures and societies. the capacity to express ideas, thoughts and feelings through music provide the opportunity to experience a feeling of fulfillment which derives from striving for the highest possible artistic and technical standard. Objectives should grow from the aims and are really a fuller explanation of how the aims are going to be achieved. The objectives in this section should be general, and capable of being applied to most teaching in the subject. More specific teaching objectives appear in the units of work. Refer to the aspects from the National Curriculum i.e. performing, composing, listening and appraising, the musical elements and the key skills to be taught. CURRICULUM ORGANISATION State ways in which the school organises its music-making in order for the aims to be met. Include: who takes the lessons e.g. class teacher, music coordinator, visiting specialist how often e.g. weekly, assemblies, lunchtimes, after-school clubs

2 how lessons are arranged e.g. whole class, group, pairs. Mention opportunities for: equal access using ICT experiencing music from different times and places involving dance/movement/drama instrumental lessons what, when, costing, wider opportunities i.e. access to instrumental tuition for all pupils school choir visits to festivals, concerts, etc visiting musicians into school. There are four types of activity that must be covered for pupils to experience the breadth of the subject, performing, composing, listening and appraising; it might be helpful here to explain the four activities and how they can be linked to make a meaningful curriculum. CONTINUITY AND PROGRESSION Continuity is the re-visiting of significant features of music e.g. rhythm, pitch, structure, texture, etc. When planning for continuity, allow pupils to build on their previous learning. This makes it easier for them to develop knowledge, understanding and skills. Progression is concerned with advancing children s learning. Progression should be identified in relation to a) the whole course i.e. the sequencing of concepts, techniques across the whole key stage and b) within each of the four aspects of performing, composing, listening and appraising. County Guidelines for Music have been produced to help with progression across each school year. These are located in the CAS Curriculum 2000 Guidelines document. If your school is using a published scheme of work you still need to compile your own framework or curriculum map to ensure that each teacher is aware of what has been covered and to what extent. TIME ALLOCATION From September 1998 for a period of two years, schools were given the option to reduce the time allocated to non-foundation subjects. In most schools this led to a reduction in the amount of time allocated to music. Decisions need to be taken in schools about how much time in allocated to music. National guidance suggests 50 mins for KS1 and 55 mins for KS2. Most published schemes are designed to be taught within the time allocation. When the school has decided on this allocation state, in your policy, how often the music lessons occur, bearing in mind that short, frequent sessions are of more value than longer, infrequent session. Remember that

3 this subject requires considerable organization of resources and a short amount of time could mean that the children actually experience very little musical activity. TEACHING AND LEARNING STRATEGIES The range of activities undertaken in the music lesson demands a repertoire of appropriate teaching and learning strategies. Include here examples of the range of teaching and learning strategies used to manage e.g.: whole class, group, pairs and individual work the predominance of active music-making development of understanding through active participation pupil directed work planning, rehearsing, refining, performing, evaluating self evaluation RESOURCES State what resources are available, where they are kept (centrally or in each classroom) and who is responsible for checking and ordering stock, etc. Mention: venue for music lessons - classroom, hall, music room variety of pitched and unpitched percussion instruments availability of other instruments e.g. school owned guitars, recorders, violins, etc published schemes/teacher guidance/song books, etc variety of tapes/cds library books on music for teacher reference visiting teachers/musicians/helpers ICT: including music programmes/cd ROMS, etc CONTRIBUTIONS TO OTHER AREAS OF THE CURRICULUM Links with other subjects are noted in the margins of the programme of study. In addition, it may be helpful to state Music s contribution to: Topic work and/or other cross curricular themes e.g. music/dance/instruments from different times and places, literacy, rhythm, poetry, story telling, drama/mime, patterning, sequencing, symmetry, structure in numeracy, making of instruments from different materials, how sounds are made, quality and vibration of sound Spiritual, Moral, Social and Cultural e.g. religious festivals/traditions, values, environment, etc Citizenship Key Skills, particularly communication, IT, working with others, improving pupils own learning and performance and problem solving Thinking skills, through encouraging the asking and answering of questions, exploring and developing ideas, etc Enterprise and entrepreneurial skills, through encouraging the willingness to explore and consider alternative ideas, views, etc

4 Work related learning, through broadening the understanding of what musicians are and do, etc Education for sustainable development, through the development of knowledge and understanding of the role of music Literacy and Numeracy HEALTH AND SAFETY Health and safety is becoming an increasingly important issue in the music classroom. Reference should be made here to the County Health and Safety Manual and to the school policy. In particular, rooms are now being resourced with significant amount of hi-tech electrical equipment and there is potential for accidents and injury to occur. Therefore the organization and management of music lessons in terms of health and safety is crucial and guidelines need to be clearly stated for staff and pupils to follow. These might include a) procedures for testing, setting up and use of electrical equipment, b) the moving of instruments, particularly large instruments, c) the use and supervision of all work spaces, d) storage of instruments, e) the arrangement of furniture, f) the disinfecting of blown instruments. EQUAL OPPORTUNITIES Refer to the County Guidelines, to your own School Policy and to the National Curriculum inclusion statement. A statement on providing effective learning opportunities for all pupils in this curriculum area is essential. It needs to cover three principles: Setting suitable learning challenges every pupil should have the opportunity to experience success in learning and achieve as high a standard as possible Responding to pupil s diverse learning needs Overcoming potential barriers to learning and assessment for individuals and groups of pupils COMMUNITY LINKS School music can contribute greatly to the neighbouring community and the community can also contribute to the enrichment of music within the school. The children will experience performing to different audiences in different venues, they will have to consider the needs of their differing audiences, they can enjoy giving pleasure and they can experience a sense of achievement. In return their music education will be enriched by experiencing live music performed by different groups/instrumentalists from within their community. Mention any: dance/movement/groups music schools/ensembles instrumental lessons outside school time religious traditions e.g. choirs, music groups in services, festivals cultural opportunities e.g. tabla tuition, Gamelan or Samba bands visits to homes for the elderly e.g. singing Christmas carols visits to/by feeder Secondary Schools - liaison days, joint festivals, etc.

5 visits by local music groups ASSESSMENT, RECORDING AND REPORTING Refer to your school Assessment Policy and your Schemes of work. When writing a policy statement for assessment the following should be made clear: Why do we assess? e.g. To plan appropriate future activities and in doing so ensure continuity and progress of all pupils To provide accurate and summative reports on the progress and attainment of individual pupils To ensure that each child reaches his/her full potential in music To feed into a school s reward system When do we assess? e.g. On the hoof, in the classroom, as teachers notice, e.g. that a pupil has maintained a part in a two part song for the first time, etc Assessing at the end of a unit of work, as teachers assess the degree to which all pupils, both individually and as a class, have achieved the objectives or intended outcomes so that they may ensure that progression is maintained for all At stated times whenever a summative report is required, such as a school report or end of key stage, a meeting with a parent, a transfer to a new school or other institution, etc Instrumental lessons Concerts, performances and other musical events, etc What do we assess? e.g. All learning objectives for each unit of work? (give examples from one unit) One or two learning objectives for each unit? (give examples from one unit) The same three questions why, when and what can be applied to recording information about pupil progress. The form in which information is recorded may of course be dictated by, for example, a whole school marking policy and this should be referred to in the policy statement. Consider also the collecting of evidence e.g. tapes, videos, audio files, children s notations/scores. Most importantly the statement should inform class teachers about procedures for recording information and in which format it should be presented. The form in which assessment information is communicated to pupils, parents, governors and national bodies will differ from school to school. It is important therefore that each different format is made clear and is understood and practiced by all colleagues.

6 REVIEW AND MONITORING Outline here who is responsible for carrying out a review of the subject. If there is a music co-ordinator, he/she usually takes on the responsibility of the organisation of the music curriculum, the monitoring of continuity and progression, the evaluation of Units of Work, and the audit of music coverage throughout the school. Give dates for up-dating the scheme of work and evaluation, etc. PROFESSIONAL DEVELOPMENT How staff and TA s will receive support and development in Music. It may become apparent during any review of the subject that staff do not feel comfortable in delivering certain aspects of the subject. Confidence is an important factor when teaching children particularly performing and composing skills. Some staff development may be linked to the school development plan. State here the school policy for staff who would like to receive extra input. POLICY REVIEW State the date for the review, how this is to be done and who will be responsible for the up-dating of the document. This information needs to be included in your School Development Plan as it may have implications for professional development.

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