Contents. Introduction to Music scool Upper Key Stage 2 Page 3. Music scool Upper Key Stage 2 in schools Page 4

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2 Contents Introduction to Music scool Upper Key Stage 2 Page 3 Music scool Upper Key Stage 2 in schools Page 4 Upper Key Stage 2 Overall objectives: Page 7 Music scool Year 5 Term 1 (Using voice and body to investigate rhythm) Page 7 Term 2 African Music /stick work (opt 1) Page 8 African Music/stick work (opt 2) Page 9 Term 3 Tamboo Bamboo Page 10 Music scool Year 6 Term 1 Rap & Beat Box Page 11 Term 2 Samba Page 12 Term 3 (Preparing a performance) Page 13 Assessment sheets: Examples of self assessment sheets Page 14 Year 5 Continuous Assessment Page 16 Year 6 Continuous Assessment Page 17 Summery statement for report Page 18 Feedback questionnaire Page 19 Information for supply staff Page 21 2

3 MUSIC SCOOL Upper Key Stage 2 This Scheme of Work is designed to cover all areas of the National Curriculum Music programmes of study Because of the practicalities of having a visiting teacher delivering Music, the use of ICT may be limited and this is an area that the school should follow up in more depth through the practice session and also through cross curricular projects. It is designed to be either part of a larger scheme which runs from Nursery to Year 6 or to be free standing as a programme for Years 5 and 6 The National Curriculum states that, Music is a universal language that embodies one of the highest forms of creativity. A high-quality music education should engage and inspire pupils to develop a love of music and their talent as musicians. This scheme puts enjoyment in practical music making, through singing and instrumental playing, at its heart contributing to the development of self-confidence, creativity and sense of achievement. and.responsible citizens. Fundamental to this scheme in Year 3 is a teaching collaboration between the class teacher and the BMS tutor. In Years 4,5 and 6 schools may opt to end this collaboration but it should be noted that evidence from previous years indicates that the children do not progress as quickly or achieve as much without the active support of the class teacher in the music sessions. Why learn to play an instrument? Investing in music can have a major impact on the school as a whole. Broader outcomes - such as improved concentration, self esteem and team-working skills can result from children learning musical instruments. Recent research by Sing Up has shown that effective arts work can make a real difference to everything from behaviour and attendance to attainment across the curriculum. (visit Sing Up at In Music scool all children are given the opportunity to learn to play an instrument and the class teacher learns along with the children. It is a way of encouraging and developing the teaching skills of class teachers in primary music activities. Whilst you can teach many aspects of the Primary Music curriculum without instrumental skills, having them has been shown to be the single most influential factor in ensuring children s musical progression and fulfilment. Taking part in large-scale musical events and festivals, both at local and national level, can raise the profile of a school. Links to other curriculum areas: The recent review document A Framework for the National Curriculum states that there is now substantial evidence that a good art and music education benefits individuals, their communities and the nation as a whole..for example,.. (showing) benefits to pupil engagement, cognitive development and achievement, including in mathematics and reading. History & Geography: The songs & tunes used in the Programme include traditional folk songs from many different parts of the world. These songs often deal with a historical or topical theme relevant to their origin. Literacy: Songs and tunes are often learnt by heart in this programme, and tutors will always explain the ideas, meanings and stories behind the text of the songs. Each term s scheme has a list of key vocabulary which includes specific musical terms, but also many general English adjectives and concepts. Citizenship: Many of the songs carry a positive theme related to working together, being part of a community & appreciating the beauty of the world and the child s place in the world. Christian and other religious material is available for use in faith based schools. Foreign Languages: There is an opportunity to sing songs that have simple text in a foreign language. Examples could include: Che Che Koolay (Ghanaian), Au Clair De La Lune (French), Schlaf, Kindlein Schlaf (German), 3

4 MUSIC SCOOL Upper KS 2 in Schools Partnership programme What BMS Tutors will provide 33 structured lessons each academic year based on the National Curriculum, each lasting at least 30 minutes. Materials to assist the class teacher in running a practice session. A set of djembe drums and/or a set of bamboo-tamboo for as long as the school remains on the programme. (These instruments are the property of Brent Music Service). Each class will take part in a performance to parents demonstrating their new skills. Copies of individual assessments will be given to the class teacher, which will indicate the Gifted and Talented children in the class. A list of Gifted and Talented children will be given to the Head Teacher. The tutors will help the class teacher to do continuous assessment. A generic report statement, using the guidelines set by the BMS Advisory Board, which the class teacher may then add to. What is expected of the school ALL class teachers must meet formally with the tutor BEFORE the programme can commence. The BMS tutor will need copies of class lists and other relevant school documents BEFORE the first lesson. The lesson should take place in a suitable large space NOT the classroom - with access to the drums/bamboo-tamboo, whiteboard/smart board and CD player. Class teachers MUST remain with their class at all times and are expected to take an active part in the lesson. Class teachers must do a practice session (approx 20 minutes) every week as a follow up to the lesson delivered by the BMS tutor. The class teacher will assist in the concert/assembly The class teacher is responsible for the music report at the end of the year. Music co-ordinators must show the teacher s booklet to supply teachers make them aware of their obligations. If any other activity is arranged by the school on a day when the tutor would normally teach Music scool then this lesson WILL NOT be made up. Each school should have the opportunity in Years 3,4,5 and 6 for children to learn a musical instrument outside of the classroom. 4

5 MUSIC SCOOL Upper KS 2 The Practice Session The aim of the practice session is for the children and the class teacher to go over any specific skills covered in the previous lesson. This session should be on a different day from the lesson and should last for minutes. This session is lead by the class teacher and gives the children and the teacher a chance to develop, practise and explore at their own rate. Children who do take part in a regular practice session progress at a much faster rate than those who do not. At the end of a lesson the tutor will give the class teacher concrete objectives and tasks for such a session, but how the session is conducted is up to the individual to decide. You may however like to use the following guidelines. Think about where the session will take place this usually works best if it is in the same setting as the original lesson. When the children are settled use the same warm up activity that the tutor used in the lesson Remind the children of the objectives of the session and the main points of the previous lesson, by demonstration if possible. (This could be an able child) Don t worry if you lack expertise. Explain to the children that you are learning alongside them and that they can help you as well. If appropriate, try practising in pairs or groups as well as a whole class. Towards the end conduct a quick plenary to see who has achieved all of the objectives. Report back to the tutor next week and they will use this information to review their setting of objectives. Add in your own songs and activities that meet the objectives. Listening activities and group work Listening is an important part of any lesson and listening skills will be developed considerably by using the activities introduced through Music scool. There is scope for the classroom teacher to do more detailed listening activities in the practise session using their own resources so that different concepts and styles will made clearer to the students, investigating a wider approach to a topic. Large and small group work will be introduced to the students from the beginning of the course to encourage independent learning. Classroom teachers will be supervising groups, along with the BMS tutor, helping the students to gradually learn to develop and refine their own musical ideas. 5

6 MUSIC SCOOL Upper KS 2 PPA OPTION What BMS Tutors will provide 33 structured lessons each academic year based on the National Curriculum, each lasting at least 40 minutes. A set of djembe drums and/or bamboo- tamboo for as long as the school remains on the programme. These instruments remain the property Brent Music Service. An item for inclusion in a class assembly or Music concert if requested. Please note that the tutor may not be able to be there in person because of other commitments. Items that fit in with class topics provided that the tutor knows of these topics well in advance. A list of Gifted and Talented children will be given to the Head Teacher. A generic report statement, using the guidelines set by the BMS Advisory Board, which the class teacher may then add to. What is expected of the school ALL class teachers must meet formally with the tutor BEFORE the programme can commence. This is the ideal time to give a list of topics that are planned for the year. The BMS tutor will need copies of class lists and other relevant school documents before the first lesson. Class teachers must escort their class to and from the lesson at the agreed times. The lesson should take place in a suitable large space NOT the classroom - with access to the drums/bamboo-tamboo, whiteboard/smart board and CD player. Reports will be put in a central place for the school to distribute. If any other activity is arranged by the school on a day when the tutor would normally teach Music scool then this lesson WILL NOT be made up. Music co-ordinators must show the teacher s booklet to supply teachers make them aware of their obligations Each school should have the opportunity in Years 3,4,5 and 6 for children to learn a musical instrument outside of the classroom. It is important to note that classes on the PPA programme will not progress as quickly as those on the Partnership Programme. 6

7 MUSIC SCOOL Upper KS2 Learning objectives Overall objectives: To build on the skills introduced in Year 3 and Year 4 To extend rhythmic skills and encourage familiarity with complex rhythmic patterns including polyrhythms and syncopation To give wider opportunities to further develop ensemble skills To encourage pupils to enjoy making music and to continue to build up their confidence To explore, create, refine and perform musical ideas To use movement imaginatively, responding to stimuli, including music To express and communicate ideas and feelings Term 1 Year 5 (Using the body and voice to investigate rhythm) By the end of the term most children should be able to: Sing songs with increasing control of breathing, posture and sound projection Hold a line when singing a cappella Create, refine and perform rhythmic patterns using the body Take part in a group composition that incorporates body percussion. Take part in a group performance of a composition, accurately holding a line with others Begin to give more detailed feedback on how to improve (in terms of pitch, dynamics etc.) More able children will have progressed further and will also be able to: Create, explore, choose and combine more complex patterns, possibly notating them in some form Lead groups in creating a composition incorporating body percussion Hold individual lines and in some cases conduct/lead a performance of their own composition Make improvements to their own work without prompting Lead songs (including a cappella versions), being good models of pitch accuracy, breath control and sound projection Some children will not have progressed so far and will be able to: Copy simple rhythmic patterns using the body Rehearse and perform with others Be prepared to try out group ideas in a composition, but not necessarily to explore and express their musical ideas Sing vocal lines with increasing awareness of pitch, but little breath control Sing a vocal line but lack the confidence to project the sound Suggest ways to improve with help from the tutor Assessment: self assessment sheets and continuous assessment Key Vocabulary Beat, body percussion, rhythm, tempo, off beat, conductor, graphic notation, structure and syncopation 7

8 Term 2 Year 5 (Investigating rhythm using African Music and stick work) African music Option 1 (introducing djembe skills and African dance) This option is only suitable for those schools who can store a large number of djembe By the end of the term most children should be able to: Accurately copy basic drumming patterns incorporating two sounds (bass and tone) Recognise the two main types of call and response structure and be aware of their place in African music Perform a series of simple African dance movements (respond physically to music) Perform a range of African songs with a percussion accompaniment Take part in creating an arrangement of an African song and to accurately perform it, holding simple lines individually or more complex lines as part of a small group Use movement imaginatively, create and perform simple movement patterns Perform simple rhythmic patterns from notation using sticks Identify basic African instruments that are used in examples More able children will have progressed further and will be able to: Use basic drumming patterns incorporating three sounds (bass, tone and slap) Understand why the two main types of call and response have developed in African music Devise and then perform their own dance Perform complex rhythmic patterns, possibly incorporating polyrhythms, as an accompaniment to an African song Lead a group in creating, and then performing, an arrangement of an African song, individually holding a more challenging line Create, refine, record, rehearse and perform African dances using a range of traditional movement patterns Perform more complex patterns from notation using sticks Recognise and name African instruments that used in examples Some children will not have progressed so far and will be able to: Play two sounds on the drum but have difficulty in maintaining a rhythmic pattern incorporating both with any degree of accuracy Perform call and response patterns that involve copying but not always those that require a specific answer Perform a series of dance movements to a song without singing Explore and perform a series of dance movements Hold a simple percussion part in a performance with help Willingly perform ideas devised by others, but show a reluctance to join in the actual creative process when creating an arrangement Use sticks to play simple rhythms by ear Identify when African instruments are used in examples Assessment: self-assessment sheet for reflective practice and ongoing observation; individual assessment; continuous assessment Key Vocabulary Djembe (plus any other instruments that the school may already have e.g. shakere), bass, tone, slap, polyrhythms (or cross rhythms), call and response, relevant dance terms (e.g. circle formation, swing, bounce, hop, step, clap), individual notation words (crotchet, quaver etc.) as used in stick work. 8

9 Term 2 Year 5 (cont.) African music Option 2 (African song and dance; composition/arrangement) This option is suitable for those schools where storage space of a large number of instruments is an issue. By the end of the term most children should be able to: Recognise the two main types of call and response structure and be aware of their place in African music Perform a series of simple African dance movements Perform a range of African songs with a percussion and/or body percussion accompaniment Take part in creating an arrangement of an African song and to accurately perform it, holding simple lines individually or more complex lines as part of a small group. Use movement imaginatively, create and perform simple movement patterns Perform simple rhythmic patterns from notation using sticks More able children will have progressed further and will be able to: Understand why the two main types of call and response have developed in African music Devise and then perform their own dance Perform complex rhythmic patterns, possibly incorporating polyrhythms, as an accompaniment to an African song Lead a group in creating, and then performing, an arrangement of an African song, individually holding a more challenging line Create, refine, record, rehearse and perform African dances using a range of traditional movement patterns Perform more complex patterns from notation using sticks Some children will not have progressed so far and will be able to: Perform call and response patterns that involve copying but not always those that require a specific answer Explore and perform a series of dance movements Perform a series of dance movements to a song without singing Hold a simple percussion or body percussion part in a performance with help Willingly perform ideas devised by others, but show a reluctance to join in the actual creative process when creating an arrangement. Use sticks to play simple rhythms by ear Assessment: self-assessment sheet for reflective practice and ongoing observation; individual assessment; continuous assessment Key Vocabulary Relevant percussion instruments that the school may already have e.g. shakere, polyrhythms (or cross rhythms), call and response, relevant dance terms (e.g. circle formation, swing, bounce, hop, step, clap), individual notation words (crotchet, quaver etc.) as used in stick work. 9

10 Term 3 Year 5 (Using bamboo-tamboo to investigate rhythm) By the end of the term most children should be able to: Understand the basic structure of a bamboo-tamboo piece (call and response, groove, solo) Understand and follow basic signals (aural and visual) Hold a line in a bamboo-tamboo piece with a degree of accuracy Begin to understand syncopation and to recognise it from notation and aurally Help to compose solo sections for a bamboo-tamboo piece Understand how bamboo-tamboo has developed out of African music More able children will have progressed further and will be able to: Understand how to develop a bamboo-tamboo piece Take a turn in leading part of a performance Perform any part in the ensemble accurately and possibly act as the leader of a section Have a deeper understanding of syncopation and read it from notation Take a lead in composing solo sections for a bamboo-tamboo piece and writing it down in standard notation Understand the influence of African music on the American continent Some children will not have progressed so far and will be able to: Be aware of the sections that can make up a bamboo-tamboo piece Follow basic signals (visual) Perform the simpler group parts with accuracy (red) but need help with the more complex (blue/yellow) Copy some syncopated rhythms with a degree of accuracy using words to help Compose solo sections for a bamboo-tamboo piece but with considerable help from tutor Be aware of a connection between African music and bamboo-tamboo Assessment: Self assessment sheet for reflective practice and ongoing observation; continuous assessment Key Vocabulary Bamboo-tamboo, pitch, call and response, groove, solo, syncopation, selected words to do with notation (eg single quaver) as required by bamboo-tamboo work. 10

11 Term 1 Year 6 (Investigating rhythm through rap and beat box) By the end of the term most children should be able to Make basic beat box sounds with the voice and use them together to improvise patterns Be aware of the history of rap and its structure Take part in a group composition that incorporates singing, beat box and rap Take part in a group performance of a composition, accurately holding a line with others Move in time to the beat as part of a performance Sing songs in tune and with an awareness of other parts More able children will have progressed further and will also be able to: Create, explore, choose and combine more complex patterns, possibly notating them in some form Create and perform a wider variety of vocal beat box sounds Lead groups in creating a composition incorporating beat box and rap Hold individual lines and in some cases conduct/lead a performance of their own composition, incorporating simple movements Understand how rap is structured and be able to put those concepts into their own pieces without significant help Make improvements to their own work Some children will not have progressed so far and will be able to: Copy individual beat box sounds with the voice Rehearse and perform with others Attempt simple movements as part of a performance Be prepared to try out group ideas in a composition, but not necessarily to explore and express their musical ideas Assessment: Self assessment sheet for reflective practice and ongoing observation; continuous assessment Key Vocabulary Beat, beat box, rap, rhythm, tempo, off beat, graphic notation, verse/chorus/solo, syncopation, parts of the drum kit relevant to beat boxing (eg. Bass, snare, hi-hat etc.) 11

12 Term 2 Year 6 (Samba) By the end of the term most children should be able to: Be aware of the basic structure of a Samba piece (ie. call and response, groove, break) Recognise the basic Samba instruments by name Understand and follow basic Samba signals (aural and visual) Perform most of the lines in a bateria with a degree of accuracy whether instrumental or vocal Sing traditional Brazilian songs with a degree of accuracy and possibly in the original language (using them as breaks in a Samba piece) Compose a break pattern (with a signal) using a grid to notate More able children will have progressed further and will also be able to: Sing traditional Brazilian songs, as a break pattern, whilst playing a rhythmic accompaniment Understand and recognise the sections that make up a traditional samba piece Lead sections within the bateria, possibly leading the bateria itself Accurately maintain solo lines in the bateria Compose a set of groove patterns using a grid to notate Read from grid notation Recognise the sounds of all the samba instruments Some children will not have progressed so far and will be able to: Join in traditional Brazilian songs Know the correct names for some of the instruments used Follow most signals used Maintain simple parts accurately but need help with the more complex Help to compose a break pattern. Assessment: Participation in a performance to peers; self-assessment; individual assessment; continuous assessment Key Vocabulary Grid notation, call and response, groove, break, surdo, tamborim, ganza, reco-reco, agogo bells, claves, bateria, syncopation 12

13 Term 3 Year 6 (Preparing a performance) It is envisaged that this term will be disrupted by preparation and examinations for SATs. Schools will be able to negotiate on an individual basis with tutors to ensure that the children receive the best possible benefit from the programme. Please note that lessons cancelled by the school because of SATs will not be made up at the end of term. The content of this term will also depend upon the class teacher and the BMS tutor and the main aim is for every class to produce one or two complete performances (along with some smaller group performances) taken from any of the disciplines studied in the last FOUR* years i.e. recorder playing, other instrumental playing (classroom and orchestral), body percussion and beat box, African drumming, samba; ALL projects will involve singing. As such the aims for this term are presented in a generic way and relate more to performance and ensemble skills rather than specific techniques. By the end of the term most children should be able to: Take part in a large scale performance with confidence Hold an instrumental / vocal line accurately in a large scale performance Follow conventional signals (visual or aural) in a performance Improve their own work with help, through analysis, evaluation and comparison Rehearse with others in a constructive way Understand a little of how musical styles have developed over time in terms of texture, structure and harmony More able children will have progressed further and will be able to: Lead a section within a large scale ensemble Take a solo part in an ensemble Rehearse and direct a small scale group (such as a string quartet or recorder group) Improve their own work, without the aid of a teacher, through analysis, evaluation) and comparison Show an awareness that musical styles have developed over time and verbalise some ideas unprompted Some children will not have progressed so far and will be able to: Maintain a simpler part in a large scale ensemble, possibly in a section with more advanced pupils leading to give confidence Follow most conventional signals with help Improve work by following the directions of either peers or teachers Comment on texture, structure and harmony by answering simple related questions Assessment: by outcome (performance) and by continual assessment Performance opportunities: participation in a performance to parents and peers (this does not have to take place at the end of the Summer Term, indeed many schools may prefer to have it earlier in the year because of other commitments); leavers assemblies; productions; participation in a large scale BMS festival. Key Vocabulary Conductor; rehearse; direct; references to notation as required; vocabulary relevant to the discipline chosen for performance e.g. break Samba; tone, slap African drumming etc. *In some schools where Music scool runs from Nursery to Year 6, this will be the culmination of eight years of study. 13

14 I can. YES NO hold an instrumental line in a samba group perform syncopated rhythms on a variety of instruments understand the visual and aural signals used in a samba group create a groove pattern for an instrument (working in a group) create a break pattern (working in a group) take part in a group performance that combines samba playing and singing Can you tick all of our learning objectives? How do you rate your performance skills? How do you rate your composition skills? Did you keep in time? YES Did you help with the composition? YES Did you follow all of the signals accurately? Did you compose your own rhythm? Was your instrument at the right volume? Did you create the signal for the break? Did you use the correct playing technique for your instrument? Could you write down your ideas in some form (e.g. a grid)? Could you accurately play the rhythms of more than 4 insts.? Could your group play your break and/or groove patterns accurately? Did you sing in tune? Could the whole band play your patterns? If you have ticked If you have ticked 4 5 If you have ticked boxes in each column boxes in each column 6 WELL DONE! EXCELLENT! boxes in each column BRILLIANT! 14

15 What have you learnt this term?. Try to list at least 4 things How do you rate FANTASTIC O.K. POOR your performance? How could the performance have been improved? Which performance was the best? Try to say why. Name: Class: 15

16 Ready Children Sing a cappella Sing syncopated lines Play polyrhythmic pieces in an African tradition Show accuracy in large group work (basic ensemble skills) Reading from basic notation/grids Talk about music using appropriate language Describe ideas for improvement Recognise instruments from different cultures Begin to understand how musical styles have developed over time Create arrangements of African songs Using changes in texture Show an awareness of simple musical structures Year 5 Assessment Performing Listening Composing Pupil names Assessment Key / not yet showing evidence /\ showing some evidence fully achieved 16

17 Ready Children Sing in tune Sing with expression Hold a line in ensemble work Play instrument to G1+ level Reading from different types of notation Describe music in terms of the musical elements (rhythm, pitch, dynamics, timbre etc) Describe ideas for improvement Recognise instruments from different cultures Have some understanding of the history of Music Create simple tunes from chord sequences Using texture as a creative tool Show an awareness of simple musical structures Creating rhythmic patterns Year 6 Assessment Performing Listening Composing Pupil names Assessment Key / not yet showing evidence /\ showing some evidence fully achieved 17

18 MUSIC SCOOL Upper KS2 Report statement Because of the fluid nature of the Year 5 and Year 6 courses some parts of these statements will need to be deleted to reflect the options chosen by the Tutor for individual schools. In Music, Year 5 has been following the MUSIC SCOOL programme led by Brent Music Service Staff... (name) has been working on performing and composing complex rhythms through the study of music from different parts of the world. He/she has created musical patterns using body percussion and sticks; performed basic bamboo-tamboo patterns; learnt basic djembe skills; sang a variety of African songs and created an arrangement of a song using a variety of percussion instruments; incorporated dance movements into African songs; In Music, Year 6 has been following the MUSIC SCOOL programme led by Brent Music Service Staff... (name) has been working on performing and composing complex rhythms through the study of music from different parts of the world. He/she has performed basic samba patterns; composed samba patterns; sung Brazilian songs; used his/her voice to create basic beat box patterns and composed a rap. The culmination of the study for this year has been a performance that reflects the four* years that students have spent on the Music scool programme. *The Music scool programme can start in Nursery and in some schools the performance will reflect skills learnt over the past eight years. An individual statement should be added by the class teacher for those children who have achieved excellent results. All of those children who play an instrument or who take part in extra-curricular activities should have an additional statement e.g. Daniel has a strong sense of rhythm and works well within a group, often leading activities and tasks. Nyshaal has a very strong sense of rhythm and has taken part in some excellent performances in class, both in a group and as a soloist on his violin. Reanna leads groups well and has an excellent sense of rhythm. She is also a confident performer and has played a piano solo to the class. Sarah is a strong and dependable leader vocally and I hope that she will consider joining the school choir next year where she will be a great asset. Corey has made excellent progress with rhythmic work this year and was selected to represent the class in the Brent Makes Music concert. He has the potential to do very well and could continue his development by starting lessons on an instrument next year. Bhaavik has joined in every activity enthusiastically and I hope that he will continue to enjoy his musical studies at secondary school next year. 18

19 Janette Hutchinson ( Music scool Co-ordinator ) Music scool Teacher Feedback Claremont High School Claremont Avenue Kenton, Middx HA3 0UH TEL FAX WEB: School Class.. BMS Tutor. Please consider the following statements and circle your response on a scale of 5 to 1, where 5 means strongly agree, 4 means agree, 3 means neither agree nor disagree, 2 means disagree and 1 means strongly disagree. Please feel free to add comments if you wish in the spaces provided. We would particularly welcome more detailed feedback when it is felt that the programme has not met expectations, as it will be used to inform future planning. CONTENT strongly agree strongly disagree The materials used in Music scool are suitable for my class. Comments: My class is engaged in the Music scool lessons DELIVERY strongly agree strongly disagree The tutor is effective in the delivery of the lessons The lessons are paced sensibly for my class The children are beginning to take responsibility for leading some of the activities. Comments: 19

20 LEARNING strongly agree strongly disagree The children have learnt new skills and concepts The children have refined familiar skills/concepts Comments: CLASS TEACHER INVOLVEMENT strongly agree strongly disagree I feel that I am given sufficient opportunity to participate in the lessons. I am given sufficient materials and directions to allow me to confidently run the practice session. Being a part of the Music scool programme has added to my own personal musical development I have received a copy of each term s plans (please circle) Yes No Comments: ENJOYMENT strongly agree strongly disagree I enjoy being part of the Music scool programme. My class enjoys Music scool Comments: Thank you for taking the time to answer this questionnaire. Please return to Janette by June 5 th (either directly or via your Music scool Tutor). Brent Music Service Fax: Claremont High School Claremont Avenue Kenton, Middlesex HA3 0UH 20

21 MUSIC SCOOL Upper KS 2 Information for supply staff What is MUSIC SCOOL? A scheme of Music from Nursery to Year 6 provided by Brent Music Service. This programme involves the delivery of the National Curriculum for Music through singing and playing both the recorder and a wide range of percussion instruments from around the world. What does the BMS tutor do? Present a lesson of at least 30 minutes to the class at a fixed time each week (the length may vary slightly according to the timetable constraints of each individual school) the music co-ordinator will be able to give exact details of the time. Provide details for the class teacher of what to do in the practice session* What is expected of the supply teacher? Please make sure that the children are ready to start their lesson on time this may mean moving to another area of the school. FOR SCHOOLS ON THE PARTNERSHIP OPTION You MUST stay in the room during the lesson this scheme relies on a partnership. You are responsible for the safety, welfare and discipline of the children at all times. Please participate in all parts of the lesson (the class should have spare recorders and there are also spare ukuleles). The BMS tutor will not ask you to sing or play individually. If you are on long-term supply you will need to do a short practice session (of about 20 minutes) at another time in the week. This involves re-visiting the material that the tutor presented in the lesson and could be lead by an able child. The tutor will give you materials to support this, which must be left for the classroom teacher if their return is imminent. FOR SCHOOLS ON THE PPA OPTION Please make sure that you return to the class at the agreed time as the tutor is on a very tight schedule and cannot be late to their next lesson, which may be in a different school. It is your responsibility to escort the children back to their classroom from the lesson area, if this is applicable. * Does not apply to those schools on the PPA option. 21

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