Music and Keyboard in the Classroom

By Michael Griffin M.Ed Studies B.Ed (Music) A.Mus.A

A new resource which addresses important aspects of the

5 Key Aims from the Music Manifesto

Music and Keyboard in the Classroom consists of two student books and a
50-page teacher manual. 60 lessons based on practical activity in a keyboard
laboratory setting integrate theoretical knowledge, listening and analysis,
creative exploration, musical problem solving and group work. A continual
theme running through the books is the development of emotional and social
learning, the development of intrinsic motivation, and genuine musical
encounter.

This music education course responds to the Music Manifesto in that it is a

specific general music curriculum designed for upper primary/middle school
boys and girls. As Key Aim #1 implies - the majority of children learn music as
part of a general education. We need to provide for this body of students.

How does Music and Keyboard in the Classroom address the key aims and
concerns?
Key Aim #1
To provide every young person with first access to a range of music
experiences

o For many young children their first active engagement with music-making will be
through the statutory National Curriculum and its delivery in schools.

o The National Curriculum entitles all children aged 5-14 to a music education which
includes opportunities to play musical instruments, to sing, to listen and appraise,
to compose and perform.

The challenge of music education lies in developing, implementing and

sustaining a music curriculum that effectively engages all students with the
full range of benefits which could be derived from being involved in music.

Music and Keyboard in the Classroom is based on a practical musical

experience in the keyboard laboratory. Students have one keyboard
each with headphones. No prior learning experience is necessary and it
caters for multi-level learning. The course includes a number of creative
activities that can be used as a guideline for the teacher to devise more.
These are particularly evident in Book 2, ‘Getting Creative’, and include:

- improvisation exercises in small groups

- story making and music
- aural based call and response
- finding missing notes in popular tunes
- midi drum exploration
- small ensemble work including rounds and duets

Listening and analysis activity is focussed on the music being played.

© Michael Griffin 2008 www.musiceducationworld.com 2

Key Aim #2
To provide more opportunities for young people to deepen and broaden
their musical interests and skills

o Having captured their imaginations in the early years, it is vital that young people are
able to build on their previous achievements and to access the support they need to
broaden and deepen their interests and skills.

o We will identify peer and adult role models for young musicians and continue to build
stronger connections between young people's own music-making and that experienced
in schools.

The fundamental design of this course is achievement based. In this

way, the books can be utilised throughout the middle-years on a
personal challenge level. It therefore becomes possible, for example, to
have a Year 7 child on Book 2, lesson 4, yet a Year 9 child may be on
Book 1, lesson 19. All students will progress at their own rate. The
unique pedagogy is discussed fully in the teacher manual.

There is opportunity for all students to assume teaching roles in this

course, strengthening peer relations and connectivity. Students learn to
play together, listen to, and help each other.

Group work is a feature, particularly in Book 2. Students play rounds,

duets, drum kit parts and accompany each other for simple jazz
improvisation exercises. This is real group work, where each part is
vital.

© Michael Griffin 2008 www.musiceducationworld.com 3

Key Aim #3
To identify and nurture our most talented young musicians

o We want all young people to develop a music habit they will sustain throughout their
lives.

o We need to ensure that our most talented young musicians are given all the support
and tuition they need to fulfil their potential.

All young people have a right to achieve their potential and this is
indeed a focus of Music and Keyboard in the Classroom.

In 2007 a research sample of 160 KS 3 students who undertook this

course this course showed 89% of students were happy with their rate
of improvement and 91% of students thought the learning difficulty level
was right for them. The majority of students had little music background
and this was in no way a special music school. The level of engagement
was high because of the pedagogical principals behind the course
design.

New students bring a range of experience levels to our classrooms. One

of the hallmarks in this course design is the fact that students require no
background to begin the course, but if they have prior skill, they can
quickly tune in to a level appropriate for them. In this way, all students
are suitably engaged. It is made clear to students that assessment is
based on progress and improvement.

The teacher manual discusses ‘enjoyment’ as one of the essential

factors for successful learning. In the student survey referred to above,
72% of students reported an increase in interest in music, and 45%
said they now considered learning an instrument, if they had not
previously.

© Michael Griffin 2008 www.musiceducationworld.com 4

Key Aim #4
To develop a world class workforce in music education

o Ongoing, high quality continuing professional development is available to classroom

teachers, support staff, LEA Music Services and community musicians and delivered
locally, regionally or nationally.

o Young people are supported by a wide range of teachers, music leaders and other
adults, and encouraged to consider and seek advice on making a career in music.

o Teachers and music leaders work collaboratively together across schools and with other
professionals.

o Classroom teachers are supported in their use of ICT and music technology in their
teaching and learning.

o Schools work in collaboration to deliver a wide range of opportunities to young people

and to share good practice and expertise - through local cluster arrangements and
through national networks such as the Specialist Schools network

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 Music and Keyboard in the Classroom includes professional
development material for the teacher in the form of a 50-page teacher
manual that specifically outlines the pedagogy and philosophy behind its
curriculum. It is clear and simple to understand. Further material for
teacher and student is already available at the support website
www.musiceducationworld.com, and this site will continue to develop.
This includes but is not limited to

- appropriate YouTube links

- midi files of each activity
- public domain mp3s and sheet music
- home study consolidation sheets

The course is well suited for delivery with an interactive whiteboard.

Collaborative work between schools using this course is one of the

exciting future possibilities that will see music making become a feature
of inter-school/community encounter.

Above all, students are collaborative partners in this learning model.

Self-assessment is a desired learning outcome from the course and
students can achieve ‘teacher status’ and be given responsibility to
assess other students. This has been one of the most successful
features of the course. The teacher manual explains the process fully.

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Key Aim #5
To improve the support structures for young people's making music

o We will examine existing support structures and identify areas where further
development is required.

o We will encourage support structures to work more closely together in developing

existing information resources and providing joint professional development activities.

The physical structure required to deliver this course is a room set up

with keyboards and headphones. It would be advantageous to have a
separate music classroom for preparatory work.

Suitable and good quality keyboards can be purchased for under £100
and have tremendous versatility and appeal.

Music and Keyboard in the Classroom has been used with class sizes
up to 21 students in years 6 -10. It is easy to teach, easy to manage and
very enjoyable for the teacher. The teacher need not have more than a
basic knowledge of keyboard to successfully deliver this course, and the
teacher manual offers plenty of advice.

Each book will normally last at least one academic year, and students
should continue from that point the proceeding year.

Conclusion

This manifesto concentrates on young people and their musical development. That is right:
the musical future of this country depends on encouraging young people's musical interest
from an early age. However, music is for life, not just for youth.

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And make it enjoyable!

Successful music programs have a strong emphasis on enjoyable music

learning experiences. If not, students lose motivation. Active learning,
personal discovery and the immediate use of and application of music
concepts, skills and information enable children to become increasingly
responsible for their own musical learning.

Every British school is capable of supporting effective

learning in music

Why keyboards? One review found that 90% of year 6/7 boys want to
.
play an instrument connected to technology. The headphones also
.
provide a manageable ‘sound free’ environment for teacher sanity.

Recorders and tuned percussion lose favour as students get older.

Music and Keyboard in the Classroom is a unique course maximising

keyboard potential within the time constraints of a UK general music
curriculum.

For more details about Music and Keyboard in the Classroom

including orders and pricing, go to
www.musiceducationworld.com

Michael Griffin
admin@musiceducationworld.com

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