musical futures

TEACHERS RESOURCE: SECTION 1

paul hamlyn foundation special project

Personalising Music Learning

DAVID PRICE

Foreword

By Valerie Hannon - DfES Innovation Unit

The Musical Futures Teacher Resource Pack offers a concrete example of how personalising learning can be applied to a specific subject, in this case music. The DfES Innovation Unit has consistently encouraged initiatives which seek to turn the theory of personalisation into practice, so we are pleased to support Musical Futures in doing so here.

This pack presents three different approaches to personalising music learning, reflecting the diversity of practice now springing up as secondary schools begin to introduce a range of other music leaders into the classroom. After-schools projects, led by community musicians or music services, have become common in recent years. Musical Futures, perhaps uniquely, is bringing extra-curricular approaches and practices into the formal curriculum, with dramatic results, especially at Key Stage 3. Whilst the three approaches differ, they shared a common starting point. Each Music Service in Leeds, Hertfordshire and Nottingham sought to increase young peoples motivation through enhancing student voice. This process ensures that students became co-investors in their learning: they are more likely to be enthused about music making when they have a say in what is learnt and how it is learnt. This is a message which goes beyond Musical Futures, and indeed music as a subject. The other key theme running through these materials is collaboration: between schools, and between schools, music services and non-formal sector organisations. Music learning takes place in so many differing contexts and locations outside the classroom, that a truly personalised and enriched experience demands a more collaborative approach. The Music Manifesto (www.musicmanifesto.co.uk) calls for music learning, in and out of school, to be better coordinated; this pack offers an exciting route to achieving this.

Whilst the changes in pedagogy and curriculum described here may seem challenging (even radical) to some practitioners, they have been developed by educators with extensive experience in secondary music teaching and they have been placed within the context of the national curriculum requirements and existing assessment structures. This, together with supplementary lesson plans, should give reassurance that the next practices advocated are rooted in current realities. The Innovation Unit will be working with Musical Futures to further support for teachers through a series of training events and by developing teacher networks. It is through such examples of collaboration and imagination contained here that personalisation will be made real in music learning for all young people.

Introduction

David Price - Project Leader Musical Futures

As a busy music educator, you may feel daunted by the sheer weight of material which this pack contains, especially if this is your first introduction to the Musical Futures project, but we hope youll be able to find some time to look through the resource pack and this accompanying pamphlet. Personalising Music Learning has become a key theme of Musical Futures, perhaps inevitably since our starting point has been to find ways to engage more young people in music, for longer. Key Stage 3 is a critical moment in their musical lives, since a good set of experiences here can encourage them to continue in the formal sector (through school and instrumental lessons), the non-formal sector (through extended schools or youth and community projects) or give them the confidence to work informally (in self-led groups). We believe that too few young people follow any of these three routes and that part of the answer lies in personalising their musical experience between the ages of 11-14.

The impact of some of our practical work in schools where weve seen dramatically increased levels of motivation, and GCSE /instrumental tuition take-up encouraged us to believe that the process of personalisation should be documented through our three Pathfinder Music Services in Leeds, Nottingham and Hertfordshire. The Innovation Unit at the Department for Education and Skills have been our partners throughout this process and were most grateful for their support and input. DfES are also disseminating guidance materials for secondary music teacher, arising from their Key Stage 3 pilots in 2006/06. Although the two sets of materials have differing approaches, the resourceful teacher will be able to apply either, or both, according to the circumstance and learner needs. We have avoided the temptation to simply create a personalisation-throughlesson-planning approach (although there are some lesson plans if you find them useful). The approach were advocating is a flexible one, through there is a theory behind it, so wed urge you to read this pamphlet first.

We believe all three models could work with any age range, but there is a potential sequence, should you be interested in combining more than one aspect. The Nottingham Whole Curriculum Approach has worked well with Year 8 pupils, and the Hertfordshire Informal Learning Model has been delivered successfully at Year 9 (though also in Yr 8 and 10). The Leeds extra-curricular programme has been developed to complement activities in Key Stages 3 and 4. Although we are still learning and refining the models, one lesson is clear the impact of these models is, to a large extent, achieved through a shift in the conventional teachers role, and through an extended team of music leaders working together: peripatetic tutors, community musicians, student-tutors, teacher trainees. Wed suggest therefore that if youre interested in using any of these materials in your work, your first point of reference should be your local music service or music advisor. These materials are copyright-free, so you can copy the print materials, CD-ROM DVD and audio CDs as you wish, but please observe the terms of the publishing license at the front of this pamphlet.

Finally, we hope youll enjoy reading, watching and listening to the resource pack and would value your response. If you have any comments, and especially if you are thinking of using them in school, please let us know at: info@musicalfutures.org.uk. You can also download further copies of the Teacher Resouce Pack from the Musical Futures website: www.musicalfutures.co.uk

PERSONALISING MUSIC LEARNING

Chapter One: Personalising Music Learning an introduction

The Musical Futures project has always worn two hats. The first has been to advocate the structures and policies needed to maximise the impact of music participation for young people. We highlighted some of the key issues around this in our introductory pamphlet, and will return to the subject in future pamphlets. Our other main concern, however, has been what many would consider to be of primary importance: the processes and practices which lead to sustained progression in music learning. The pamphlet Transforming Musical Leadership examined in detail some of the skills and approaches seen in some of our best music leaders1. This pamphlet will look at a broad range of factors which affect the dynamic between what is taught and what is learnt. We have grouped these together under the heading of Personalising Music Learning for two reasons: Firstly, because our pathfinders (in Leeds, Nottingham and Hertfordshire) have quickly appreciated the need to tailor their programmes and projects to meet individual needs Secondly, because Personalising Learning is a concept which is becoming familiar to those who work in schools, particularly senior managers, it provides an opportunity to translate a theoretical construct into the nuts and bolts of teaching and learning in a specific subject

Schools are being urged to change this script... in favour of the learner being more able to self-determine their education.

What do we mean by personalising learning?

We will need to begin with the theory, not least because this resource is aimed at all those interested in improving music education, in and out of schools, who may be less familiar with the term. But we will also illustrate some of the practices, processes and emerging lessons of those involved in Musical Futures, and beyond.

School leaders are now being urged to change this script, by which education is done to the consumer, in favour of the learner being more able to selfdetermine their education. To some extent, this script revision is being borrowed from current economic thinking. Large corporations are being urged to adopt the new enterprise logic of re-shaping their relationship to the consumer. First coined by Shoshana Zuboff of Harvard Business School and James Maxmin in their book The Support Economy (2002), the new enterprise logic argues that corporations must stop seeing their customers passively waiting at the end of a production line, with the transaction, or sale, defining that relationship. Instead, they should recognise the societal shift taking place, whereby peoples desire to have more control over their lives, necessitates a long-term response from corporations, characterised as deep support3. In short, their involvement with customers should not end with the transaction, but continue through an on-going dialogue based upon their developing needs.

Over the last five years, one of the UK governments main drivers for improving public services has been to personalise them. What is generally meant by this is to customise services to individual needs and circumstances, allowing more choice, voice and participation in the process. Along with health, local government and employment, the education sector is seen as a key area for improvement through personalisation. Charles Leadbeater refers to scripts which public services operate within, many of which have not changed for decades. The script for schools has long been: choose what you want to study from a pre-defined and delineated set of options; sit with 20-30 other learners; learn from your teacher who has to deliver set amounts of content often in a particular style; sit some exams; have your learning assessed by an examiner; get your results; move on to the next stage; do it all again2.

PERSONALISING MUSIC LEARNING

These societal shifts affect consumer expectations in all forms, including education4. Leading educators are therefore beginning to apply these theories to personalisation more generally, and schools in particular. The new enterprise logic, as applied to schools, proposes that: The student is the most important unit of organisation, not the classroom, nor the school system Schools cannot achieve transformation by acting alone they need to join networks to share knowledge, address problems and pool resources Networks should involve individuals, agencies, institutions across public/ private and educational/non-educational divides New ways to allocate resources are needed to support this transformation (adapted from The New Enterprise Logic of Schools Caldwell, B. J. (2005)) Such networks are now rapidly emerging among schools, supported by local Education Improvement Partnerships, the Specialist Schools and Academies Trust (SSAT) and (iNet), its international network of schools. By creating distributed networks, and in a new spirit of self-determination, school leaders are learning from each other and thus gaining the capacity to innovate appropriately and confidently5.

A new enterprise logic of music education?

The results, though rarely reported in the media, are effecting change in those leading edge schools the learning script is being re-written. Some of these schools are sharing teachers across subjects in partner-schools. Others are demolishing the school boundaries, allowing children to learn in the community, in industry, or at home. Many are redefining the arbitrary categorisations which have applied to learning: challenging key stages and assessment of learning determined by age rather than aptitude; integrating subjects taught; devising week-long projects rather than 50-minute lessons. Some schools encourage students to have roles as governors, student-teachers, entrepreneurs and managers. The net effect usually results in students becoming more active, more independent, and therefore more responsible, learners.

Schools cannot achieve transformation by acting alone - they need to join networks to share knowledge, address problems and pool results.

Before examining the key ingredients of a more personalised music education, its worth observing that the new enterprise logic can be applied, not only to schools, but to music education more generally, since young people learn about music in and out of school. We shall specifically examine the implications of personalising music learning in the non-formal sector in chapter three. At this point however, its worth noting that a genuinely young person-centred and coordinated provision is more likely to be forged through a new enterprise logic of organisations delivering music education across all sectors of activity: formal, non-formal and (especially) informal. Collaborative cross-sector networks are starting to emerge, most notably through the Music Manifesto. Given the diversity of representative groups, these developments are focusing upon the young persons needs as a common starting point. It could be argued that, like personalisation itself, this is long overdue. Perhaps the final point to make about personalising music learning is that there is nothing in these pages that isnt already done every day by skilled music educators - but it may afford a new way of looking at practices which can support the diverse needs of all young music learners, so that more of them may become lifelong learners.

Questions:

As a music education provider, is the transaction between you and the young person supported by other opportunities? How deep is such support? Are you part of networks where knowledge, skills and problems can be shared? Does the concept of personalising music learning appeal to your own professional aspirations? Are the learning opportunities that you lead personalised for young people? If not, how might they be?

Footnotes: 1 In this pamphlet series we use music leader as an umbrella term denoting any adult, or peer, who supervises young people in their music learning. 2 Leadbeater, C (2004) 3 The Support Economy, Zuboff & Maxmin (2002) 4 Some corollaries are striking in educational terms the transactions which have defined consumer relationships, could be seen as exams. 5 Music teachers predominantly work in isolation, frequently in departments of one. Music practitioners in the non-formal sector also have relatively few networks in which to share innovations. The recent creation of Advanced Skills Teachers in Music offers some possibility of a network forming. And creating similar networks should be a priority for music educators/managers.
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Chapter Two: The building blocks of Personalising Music Learning

There are good grounds for seeing music as the strongest example we have of personalised learning. Few other curriculum subjects have such variety of learning environments outside of school, or the capacity to engage and excite young people. But it is also the case that a truly personalised provision presents significant challenges to educators. The purpose of this chapter is to examine the essential components of personalising learning within the context of music education, referring by way of illustration to our experiences in the Musical Futures project. The Department for Education and Skills lists five components of personalised learning: Assessment for learning Effective teaching and learning Curriculum entitlement and choice Organising the school Beyond the classroom

However in his pamphlet series for the Specialist Schools and Academies Trust and the International Network for Educational Transformation, David Hargreaves breaks these down into nine inter-connected gateways: Student voice Curriculum School organisation and design Workforce Development Learning to learn Mentoring and coaching Assessment for learning New technologies Advice and guidance He argues that schools will have needs which prioritise some of these above others, and innovations which work in one context may not work so well in another. Taken separately these nine concepts have less impact than when they interweave and self-support. Additionally, they remain theoretical constructs until they are made real. So let us look at the journeys being undertaken through Musical Futures and within the context of these gateways.

Personalising Music Learning in action

The three selected Musical Futures Pathfinders are each hosted by local authority music services. Though their areas of interest and strategies differ, all three share a common desire: to increase student voice. Within the script of music services and school music departments dialogue has typically involved professionals headteachers, managers, teachers and tutors with young peoples voice in their music education being fairly muted and passive, opting in or out of tuition being offered.

Musical Futures Leeds wanted to know what role, if any, they could play in supporting the needs of young musicians who had rejected formal music tuition though many of them still made music informally, without adult supervision. Nottingham, in the process of constructing their music service from scratch, had a unique opportunity to consult with young people on the kind of musical experiences they would want in and out of school. In Hertfordshire the focus was upon the experiences of year 9 students, in particular how to make their timetabled lessons more relevant to their musical lives and interests. A variety of consultative mechanisms have been piloted with varying degrees of success: on-line discussions; student forums; in-lesson questionnaires; lunchtime focus groups and private one-to-one interviews.

PERSONALISING MUSIC LEARNING

The results have led us to suggest a number of prerequisites for developing effective student voice: The process is entirely dependent upon trust, effective listening and openness students will only be frank in a culture or environment which values their honesty at all other times. They are acutely sensitive to tokenism or patronage. Bringing external questioners into neutral spaces, without the presence of a teacher, has been highly beneficial in this respect The process must stem from a commitment to change. An open, on-going dialogue is impossible to sustain unless young people receive regular responses to their concerns. Sometimes concerns can be contradictory or requests impossible to meet; students understand these realities if they are kept informed. But if they suspect that the process is cosmetic, with no prospect of significant change, the process can do more harm than good The individual voice also needs to be heard within (or aside from) the groups. We have found that young musicians are often uneasy over expressing opinions (particularly those which may be perceived as unusual) in group consultations. Similarly, criticisms of a personal or professional behaviour will often only emerge in a confidential situation. As Hargreaves notes, student voice is a gateway to change. Finding out what young people think of their music education is the first step to improving it. Musical Futures consultations have had important implications for the three Pathfinder Music Services in how they support schools to develop, most notably in curriculum, school organisation & design and workforce development.

instrumental tutors. In general however, these activities are often framed as extra-curricular rewards for talented students. Ian Burton believes that their Musical Futures experiences point to a new direction for music services: that of brokerage, curriculum and workforce development: This model can be replicated across other music services as it ties in with existing provision and redirects existing resources to be used more effectively. We have also designed our own professional programme as there is a lack of available music leaders to participate in this whole curriculum approach. By training our own staff we will ensure that there are resources available after the project finishes to continue this way of working.

Perhaps the most striking example of change arising from student voice is to be found in the three Nottingham schools - Big Wood, Haywood and Henry Mellish comprehensives. 300 Year 8 students took part in an exercise to identify a range of music projects they would wish to see in their schools. For at least two of the three groups this required imagination, since they have been without a full-time music teacher for some years. The conversations led to a broad range of activities which were first piloted as individual projects in year one, and have now been evaluated and put together as a year-long Whole Curriculum Approach. Two former secondary music heads, Ian Burton, the music service director and Sharon Jagdev-Powell, the Musical Futures Nottingham manager, mapped the projects against the statutory National Curriculum requirements. This highly-enriched curriculum involves all children in skills sessions on bass, guitar, keyboards and drums, forming cover bands, writing minimalist music soundtracks, improvising jazz pieces, sampling and sequencing music, taiko drumming and samba workshops, song-writing and recording studio sessions. The project-based delivery (as opposed to a series of lessons) meets another of their stated desires: that the music made should be real, with authentic endproducts. Projects utilise The X Factor and Battle of the Bands competitions, and students publish their music on their own homepages. It also became immediately apparent that such authenticity could only be achieved if students worked with real instruments, in small groups. Even the most energetic, committed and talented Head of Music, acting alone, would struggle to deliver such a programme.

Fortunately, an innovatory approach to workforce development has ensured that the leadership of the curriculum is distributed across a team consisting of the Head of Music (where there is one), the project manager (where there isnt), community musicians, instrumental tutors, PGCE trainee teachers and specialist performing groups (Kagemusha Taiko delivered training and skills session in world music traditions and members of the Hall Orchestra worked with students on minimalist compositions). A further future team is being trained within the project: a band formed among year 10 pupils who are benefiting from mentoring and coaching provided by the professional musicians, so that they can teach their peers next year. The programme is unusual, not least because it consolidates the impact that performing groups and freelance musicians can bring to a school, with the consistency of a planned, long-term, commitment by all involved. Many schools now have visiting performing groups, and most have regular peripatetic
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Creating the right learning environment

The Whole Curriculum Approach is an example of radical innovation, rather than an incremental one. As such it has required the headteachers involved to re-think aspects of school organisation and design. The only realistic way to ensure that freelance musician time was effectively used was to re-schedule all Year 8 Music classes in each school to take place on one day. The added benefit to this adjustment has been that the delivery team are available for after-hours music clubs and surgeries, providing individual support for students who may have struggled during the earlier classes. A further implication lay in the students and staff desire to work in small groups, with authentic instruments (in this case usually amplified). Four separate spaces, large enough to accommodate 5-6 students with instruments, were deemed essential. Many school music spaces built in the 60s and 70s were designed on the premise that a single teacher stood before a class of 30 with, at best, a couple of additional broom cupboards to accommodate piano practice. With the advent of music technology, these rooms now frequently house a range of electronic keyboards (each with a required set of headphones) around the perimeter. The experience of all three of our pathfinders underlines one of our key findings: that schools can make their music provision more vital, and closer to their students external experience of music, by recognising the social importance which students place upon the activity, and designating accommodation accordingly. Much of the current music accommodation in schools militates directly against this. It is to be hoped that, under the Building Schools for the Future programme, emerging designs will enable the creation of adequate numbers of flexible, soundproofed, spaces for small group activity. When projects take place in unsuitable accommodation, such disruption is only tenable if the senior management and all staff understand the whole school benefits of a thriving musical culture. The success of the Whole Curriculum Approach depended heavily upon headteacher support in re-timetabling and re-locating classes. The importance of senior management support for music projects is widely accepted as a prerequisite for successful delivery.

Schools can make their music provision more vital, and closer to their students external experience of music, by recognising the social importance which students place upon the activity, and designing accommodation accordingly.

Bernie Groves, Headteacher of Big Wood Comprehensive, Nottingham on Musical Futures Whole Curriculum Approach: When this was put to me I had to have a sharp intake of breath because the idea of running all the curriculum on a Thursday and having 4 areas set aside in a school - where we have no sound-proofing, we dont have specialised rooms, we just havent got that and the space to accommodate all the instruments - had to be thought about. I had to go back to my timetabler and say, Er, excuse me, can you unpick the timetable that youve just done, and put music together. It has to be, I think, a whole school involvement in it. Everyone has to see the benefit of it for it to work. I dont think it would be very easy for a music teacher just to decide that they were going to do it, because there wouldnt be the will to make it work. So there are difficulties with it, but as far as Im concerned, the benefits far outweigh the difficulties what you have to do is think to yourself, well, what do I want at the end? And what I wanted is exactly what were getting. Enthusiastic kids - enjoying, achieving and it actually has a roll-out effect across the curriculum. You know they feel good about themselves in one lesson, because theyve just managed to play something and theyre thrilled about it. So the payback comes across the whole curriculum.

This is a different way of learning. This is personalised learning absolutely the way it should be. This is Every Child Matters as it should be. Weve always had children going out to peris6 but its never impacted on the school. Its something that happens in a room with a select group of children. The beauty of this is, its structural. It affects all the children. Its become an entitlement across the whole year group.

peripatetic music tutor

PERSONALISING MUSIC LEARNING

A shift toward the informal

Formal

If there has been a common theme in the lessons emerging from Musical Futures so far, it has been this: that successful personalised music learning opportunities appear to favour less formal approaches in all aspects of provision. Some of the typical characteristics of the differing modes of learning are listed below: Donor / recipient model of teaching Music teacher/conductor Lessons Teacher is co-learner, teaching is distributed Activities are integrated Music leader/coach Projects Learning by aural means (playing by ear, copying and trial-anderror) Learning is often haphazard Technique acquired through repertoire Non-formal & Informal

Learning activities are separately specialised (listening, performing, composing)

Learning through notation or written/verbal instruction Learning is sequential

Nowhere has this been seen in such stark relief than in our Hertfordshire schools. In a collaboration between Musical Futures, Hertfordshire Music Services and the Institute of Education, a model of informal learning based upon the music learning of popular musicians has been employed with Year 9 students. See Section 3 for full details.

Technique as a pre-requisite to repertoire

This learning approach was first detailed in Lucy Greens How Popular Musicians Learn and a subsequent seven-stage delivery model developed by Green and Musical Futures Hertfordshire. The learning process is based upon 5 key principles: 1 Learning music that pupils choose, like and identify with 2 Learning by listening to and copying recordings 3 Learning with friends 4 Personal, often haphazard learning without structured guidance 5 Integration of listening, performing, improvising and composing With one or more (though not all) of these principles present in all stages of the project. These are essentially the processes which pop musicians have successfully adopted in teaching themselves how to play and create music without adult supervision. Musical Futures has sought to find out how these processes might work within curriculum time in school. The age-range chosen was Year 9 students, though teachers have also developed the model with ages above and below this. In order to identify how this process has encouraged learning to learn, mentoring and coaching and student voice it may be helpful to explain the learning processes being developed in the 17 schools now taking part. Students start the year by choosing their own friendship groups to work in and selecting a piece of their favourite music to copy, based upon the instruments available in the classroom. After 3-6 weeks (according to teacher judgement) students have realised recognisable reproductions of their chosen piece During the next phase, students are presented with a given song, broken down into a number of riffs or constituent parts on a CD, which they copy and choose to make their own arrangement. No notation is used Students are then given the opportunity to choose another piece to copy. They are usually able to realise a performance closer to the original, and often without the support of the CD Next, students are set the task of either composing a song, or improvising a musical jam. Initially, they work independently and then with experienced music role models teachers, freelance musicians, or even peers The final phase offers students the opportunity to copy musical pieces in unfamiliar genres, explained in more detail below The music leader (classroom teacher with either instrumental tutor, community musician or sixth-form musician) has a specific role throughout the year: Set the task Stand back Observe, diagnose, guide, suggest Model, demonstrate Take on pupils perspectives Help pupils achieve the objectives they set for themselves

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Learning to learn

Attention to informal learning practices within music education could offer pupils a level of autonomy from their teachers, which would increase their capacity to carry on their learning independently, and thus to participate further in both formal and informal music-making beyond the school. Lucy Green (2005)

A vital element to learning to learn has been the central importance of motivation. Indeed it could be argued that no deep learning can take place without it. Students whose sole motivation is to pass exams will retain enough knowledge, for just long enough, and then dispense with it at the first opportunity. In all three Pathfinders we have seen students persuading their parents to buy instruments, requesting instrumental tuition, and arriving before school starts to practice their parts. Teachers have been astonished at the improvement in behaviour during Musical Futures classes, since students have been working with high levels of motivation, close supervision has not been needed.

There appears to be a direct corollary between motivation and the authenticity of the learning activity. Enhancing student voice and choice has, in both Hertfordshire and Nottingham schools, immediately made the tasks more real. This is further supported by the introduction of real-world instruments and practitioners. Frame this within a project format (rather than a series of disconnected exercises) and the net result is that students end up feeling better about their competence, not just their knowledge about. Hertfordshire students comments suggest that their Musical Futures projects are developing their meta-cognitive skills, in enabling them to become more independent learners and reflect upon, and evaluate their own learning: Ive learnt that if you havent got any goals set for you, youve got to find some yourself. You can learn more by yourself; you can experiment; theres no-one telling you its wrong; you cant do nothing wrong. It teaches you that you can learn music on your own, you dont need a teacher telling you what to do.

I began by inviting a couple of advanced steel pan players into my beginners band rehearsals. They were happy to help out and began supporting players within the group whilst I ran rehearsals. As they grew in confidence they were able to take small groups for sectional rehearsals and give advice not just to the beginners, but also to me. Ten years on Im confident that this approach really does have a significant impact on our music activities. We use groups and individuals from all years in regular outreach music projects and have older students working regularly with rock bands, steel bands, African music groups and singers. D. Perrett (2005)

Mentoring and coaching

It could be said that mentoring and coaching lies at the heart of the Hertfordshire framework. Teachers unanimously agreed that shedding their more didactic role for that of a coach has been the most challenging, unnerving, though eventually liberating, aspect of the project. As a result of their experiences, the four advanced skills teachers who first introduced the project now mentor the teachers who joined in phase two. Furthermore, 13 of the 17 current schools have identified bands of advanced student musicians (from Year 10 and above) who are now being mentored by peripatetic tutors from the music service, so that they can also act as coaches in subsequent years. More than 100 young musicians are currently taking part in the Students as Musical Leaders scheme. In fulfilling the potential for significant growth in musical participation, which undoubtedly exists, the development of peer coaching is integral to achieving the holy grail of sustainability. Dave Perrett, from Estover Community College, has been developing peer tutors for over ten years, and can vouch for their long-term impact:

In Leeds, the Writers Unblocked project has shown how quickly, given strong support from a range of adult music leaders, students can assimilate the skills needed to take control of their learning and help their peers learn. In the first phase of the project, three full-day training sessions were provided (with on-line support in between); by the end of phase two (eight weekly twohour sessions) half of the students felt they now had the capacity to lead others; Phase three is now seeing students run the project with no adult input (unless needed). Two skilled music A-level students now coordinate two teams of six Year 9/10 mentors, running weekly workshops for Year 7/8 students. The project has become so popular that a waiting list has now been introduced.

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Challenging preconceptions

Before we did this I didnt really like classical music. Id still listen to it but not for a long time. And like, as, I think my views have changed because like I can have a little bit of joy in playing it now that I know like how to do stuff.

The question of motivation currently occupies the minds of those artists and educators who are concerned at the apparent decline in interest for less familiar musical genres, most notably, the western classical music tradition. This becomes more problematic in light of the length of the learning journey (learning to read music, adopting correct fingering techniques, practising scales, developing dynamic range, etc) deemed necessary to realise some level of competence. Our experiments in Hertfordshire took students on an alternative route. A selection of familiar pieces, taken from TV and film though not labelled classical, were offered for students to copy using the informal learning approach detailed above. No notation was used and students were encouraged to tailor the arrangement of the piece to their own tastes. Purists might have been horrified with some of the interpretations, but within 2-3 weeks groups were performing passable renditions of their chosen pieces. Although resistant at first, it seems clear that their motivation lay, not with the genre, or even the piece, but in the learning process involved. As with other stages, the experience of socially-mediated, independent, learning also improved their listening skills and their interest in the genre, as these student quotes demonstrate:

Now Ive listened to a bit more I see that it takes a lot more work to try and do classical music than it does like the pop music. Cause most of the pop music theyve all got like the same drum beat and things like that, where classical music is totally different. Before we did this I didnt really like classical music. Id still listen to it but not for a long time. And like, as, I think my views have changed because like I can have a little bit of joy in playing it now that I know like how to do stuff. Matthew: Bobby: David: Matthew: Bobby: David: Matthew:

Researcher: Bobby: Matthew: Bobby:

Head of Music: I never thought Id hear them playing Brahms!

Its boring when you dont know how to play the tunes, but once you know how to play the tunes its like Its good. Its cool. Cause you can actually get on. I wouldnt say its as cool as like normal music. Nah, it aint as street as like rap or hip hop. Before I thought it was rubbish because our grandparents listen to it. So whats changed? Well weve learnt to play it kind of thing. Weve added our own sort of new bits in it. And made it better.

Questions:

How audible is the student voice in the work you do? Can you think of examples where listening to student voice led to change? How often are you able to utilise other kinds of music leaders (teachers, freelance musicians, trainees)? When you do work in more distributed forms of leadership what challenges/benefits are present?

Do you agree with the connection between personalising music learning and less formal ways of music learning? The personalising learning components listed at the start of this chapter grew out of a drive for school improvement. In your experience which of them also apply to out-of-school learning?

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Chapter Three: Personalising Music Learning outside the classroom Calling the tune Is it my space or yours?
Music organisations (whether working in or out of school) have important roles to play in all aspects of personalising music learning. Meeting individual learner needs has always been a priority in the non-formal sector, not least since music learners invariably vote with their feet when the experience on offer no longer meets their needs or interests. But for many non-formal sector music organisations the instability of funding often understandably distorts their prime responsibility, away from their students and towards their funders. Others have been reluctant to collaborate, either with their competitors or across education/non-educational divides. There is widespread agreement that funding structures in this sector are both complex and confusing. Reducing the number of differing funding applications needed to stay afloat, it is argued, could enable such organisations to focus more upon the needs of young peoples progression. In this chapter, we highlight the three remaining gateways where non-formal organisations have particular strengths: new technologies, assessment for learning and advice and guidance.

One of the challenging lessons learned in Leeds was the well-intentioned but thus far unsuccessful attempt to mould the Musical Futures website as primarily a space for young people. Leeds original plan was for support and resources to be responsive to students stated needs. Not surprisingly, adult voices and their needs resulted in a site that has been successful when used as a tool that practitioners direct students towards, but which has limited appeal to the more informal ownership which Leeds had originally intended. The lessons learned are currently being integrated into the continuing development of the site.

It seems that not only the possession, but also the origination, of such facilities may well be best left to young people themselves, as this online discussion between bands involved in a Musical Futures performance project suggests: > I dont think this site would be able to promote the gig as well as our own would. If you log onto this you have to fiddle about searching through each news section and it isnt linked very well, whereas on our own site you could click and be instantly listening to one of the bands also it would be a more slick design and attractive to our audience than this one is. Does everyone have a MySpace account? The MySpace idea is a good one but if we set up our own site that thats even better, anyone good at building sites? I can get a site built for 10 including a .info domain nameAll we need to do is think of a domain name... Everybody put forward some ideas, then well pick the best and get it bought Each band should prepare what they want to go on the site, a bio of each member, some history, a couple of tracks and a load of photos and logos.

> > >

New technologies are supportive of all other gateways to personalising learning, but their application in music learning in and of itself is particularly important. Almost inevitably, traditional music providers are adapting to these technologies rather more slowly than their end-users. As we noted in the first pamphlet, young people now enjoy a plethora of alternative routes to music learning, largely through electronic media. Nowhere is this more apparent than in the networks and online communities which young people create for themselves. MySpace.com, for example, has, in a remarkably short space of time, become a global meeting place for young people with their musical interests as a central focus. Almost overnight, it has become a means of unsigned bands reaching an audience, often bypassing the need for a record company. Rupert Murdochs recent acquisition of the site indicates how seriously such sites are being viewed.
9

The Musical Futures website7 contains many examples of this, one of the most recent is the Beats and Pieces project. Here, community musician Andy Penny has created a bank of music samples, from which participants create a re-mix, with at least one additional vocal or instrumental sample of their own making. Young people are asked to share their work and to invite peers to add another musical section. This can be done on the website, face-face or emailing between colleagues. They are encouraged to keep a log of their activities which can count towards the Young Peoples Arts Award8. The project will also have an area where young people can provide critical feedback on their peers compositions. The importance of new technologies in supporting young musicians can hardly be overstated and we shall return to it in a future pamphlet.

Computer based music production, remixing and working with samples, can motivate those young people who have limited instrumental or notation reading skills, and can open up musical participation to young people for the first time.

Assessment for learning is often confused with assessment of learning. The latter is often a summative, grade-oriented process, usually done to the student. Feedback is given but rarely owned by the learner. Assessment for learning seeks to work with the learner in developing their own understanding of their performance or competence, so that they can plan their own progress and improvement strong emphasis is placed upon how what they have learned can be built upon and further developed. Student self-assessment is clearly integral to assessment for learning.

In order to become personalised, assessment for learning has to recognise the differing learning styles and speeds of students, as well as their preferred learning environments and readiness to learn. The outcome is often the creation and implementation of an individual learning pathway for each student, no minor task in busy school departments. For Peter Stedman, Director of Music at Callington Community College, it has been worth the effort.

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Through a detailed tutorial system, students in Key Stage 4 are able to assess their strengths and weaknesses and develop a termly learning scheme, allowing them to work at their own pace in their own space, be it the Music ICT room or at home (Callington has now created a virtual learning environment where students can access the curriculum via the college website). For many students this leads to accelerated learning, and students and staff jointly decide when students sit a range of examinations, of which GCSE is but one option. For Stedman the result is that we know our students needs and aspirations better than ever before.9

Interconnected pathways

A particular strength of non-formal sector music organisations is often in assessing and advising young people who have either withdrawn, or been excluded, from schooling. Many are working with schools to deliver alternative curricula with young people. One such example is Lifeforce Productions in Leeds. Here our researcher observed young people whose behaviour at school had been considered unacceptable, who struggle with concentration for any length of time, work for several hours at a time on their own musical interests. Many of these young people on the edge of traditional schooling often expressed frustration at not being understood. As one interviewee remarked: Teachers dont listen. They should listen to your opinions instead of changing your opinions and you want to be believed, not have them think youre lying. The answer, for Lifeforce, seems to lie in creating an informal environment where regular informative assessment allows the young person to be listened to, and an appropriate set of goals, challenges and risks to be agreed upon. This personalisation enables a return to active learning, and often leads to a return to formal accredited achievement. With the possible exception of sport, music has an unrivalled capacity to re-engage at risk young people, yet many of the organisations who provide much needed routes back into society, feel isolated from, and under-valued by, mainstream music education. With more funds being devolved directly to schools, there will be a growing need for brokerage between these small but effective organisations and the formal sector, to ensure further growth and stability of funding.

But the creation of flexible musical pathways would benefit all young people, not just those at risk. Might there be frameworks created whereby students progress in non-formal music projects, music service provision and indeed their own unsupervised informal work may be equally valued and assessed for further development? If so, where should responsibility lie for tracking an individuals progress? We shall return to the question of how cross-sector collaboration is needed in organising the diverse musical routes young people follow in the next pamphlet. For now, it is sufficient to note that while many exciting examples of assessment for learning are now emerging in the non-formal sector,10 the co-ordination of support across school, community and music service, remains a significant obstacle.

Advice and guidance

If the goal of personalising music learning is to improve the voice and choice of the learners, then it follows that effective advice and guidance will be needed to support young peoples ability to choose wisely. This is especially pertinent in the non-formal sector, where there has been a significant increase in the range of participation opportunities in the last five years. Curiously, despite such growth many young people are still unaware of music projects in their locality. Even when they do become aware, they often require more information and guidance before committing themselves. There has been considerable national discussion recently on the most appropriate source of such information, advice and guidance. Since schools are seen to have a captive audience of young people, with music a compulsory subject until the age of 14, they would seem to be the likeliest guide to further learning opportunities. Whilst it seems unreasonable to expect busy teachers who are tracking learning in school to do the same for students external options, it is surely in the interest of

www.musicalfutures.org.uk The Young Peoples Arts Award was launched in 2005 to recognise achievement outside school and accredit it within the National Qualifications Framework. More information at: www.artsaward.org.uk/site/ 9 Stedman, P Individualised Learning and Choice (2005) 10 For example the first BTEC programme in Asian Music in the UK was developed, not by a school or college, but by the Multi Asian Arts Centre in Rochdale
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schools promoting personalisation to encourage such support structures, managed either through learning mentors, or external agencies such as music services or Youth Music Action Zones.

Humphry Davy School in Penzance (which also houses Penwith Community Music Centre) recently co-funded the appointment of a Music Development Officer, whose remit is to bridge opportunities available in school and community. It will be important to follow the progress of this initiative, since it fills (at least partially) the brokerage role many think is needed, without additionally burdening teaching staff. Regional Youth Music Action Zones have demonstrated great success in organising projects for young people in disadvantaged areas. They have always provided advice and guidance, though usually on an ad-hoc basis. Musical Futures is funding Sound Connections, who manage the London Youth Music Action Zone, to provide a more structured advice and guidance service through Musical Routes. In addition to an online searchable database of non-formal projects available in their area, young people can be guided by learning advisors, based in Tower Hamlets, Lewisham and Hackney. The scheme is in its early stages but if successful it is hoped to be made available to all young people in London. This could be an important future role for Youth Music Action Zones, particularly if networks can be established with local music services and youth services.

Participation and collaboration

A single teacher in front of a class of thirty children cannot personalise learning.12

Earlier we suggested that new paradigms were needed for both schools, and music organisations and federations, in order to bring their structures and services more in line with 21st century consumer demands. Such changes enable the consumer to participate in the decisions taken, and services required, on their behalf. It is here that the link between participation and collaboration occurs. Indeed, our experiences in Musical Futures so far could be summarised as: Consultation (with young people) + Collaboration (of education providers) = Consolidation of Participation (of young peoples music-making)

In The Shape of Things to Come: Personalised Learning Through Collaboration Charles Leadbeater argues that personalising learning can only be made effective through collaboration. Unfortunately, the examples he cites are schoolto-school(s) collaborations, omitting the impact that non-educational agencies can bring. Perhaps the arts are unusual among secondary subjects in the diversity of agencies and organisations who offer parallel experiences to young people? In chapter one we looked at the principles by which schools are being encouraged to create a new enterprise logic. These principles, slightly reworded, could also be applied to achieve better collaboration between non-formal and formal agencies: The music participant is the most important unit of organisation, not the classroom, nor the music organisation Organisations cannot achieve transformation by acting alone they need to join networks to share knowledge, address problems and pool resources Networks should involve individuals, agencies, institutions across public/private and educational/non-educational divides New ways to allocate resources are needed to support this transformation

The national organisations signed up to the Music Manifesto have the potential to develop their own enterprise logic. Instead of occasional collaborations with schools and each other, it ought to be possible to build robust and comprehensible federations, based around each young persons need, and not each organisations historical territory. In itself this is no small task, since it demands a substantial re-engineering of structures, services and resources. However we have seen (admittedly in micro-scale) in all three Musical Futures pathfinders that such cross-sector networks can transform the musical lives of young people.

Questions:

How have digital technologies helped you to respond better to young peoples individual needs?

Is there a readily available source of information, advice and guidance for the young people you work with?

Is your work with young people assessed (formally or non-formally) for learning? To what extent is this process owned by young people?

12 13

Leadbeater, C (2005) p 12 There is much to be learned here from the more developed non-formal/formal collaborations being constructed in school sports partnerships (for more information see: www.youthsporttrust.org/subpage/education/index.html)
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Chapter Four: Can personal become universal?

I would say that Musical Futures has been one of the main factors in changing the ethos of the school to one where the kids collaborate with each other, and it has changed the perception of the school into a place where resources are made available for them to do activities which they find interesting and value. On that basis I would recommend it to a school anywhere in the country. Tony Bond, Deputy Headteacher Henry Mellish School, Nottingham

In Leeds, a number of successful out-of-hours projects are planning to continue after Musical Futures funding ends, for example:

Breaking The Mould - an eclectic improvisational ensemble for those not yet ready to join a conventional ensemble. Jane Carr, Head of Music at Rodillian School is receiving training from community musicians in composition and improvisation. She says: These ideas can now be used and adapted for both classroom teaching and extra-curricular activities across all age ranges.the intention is to continue developing an improvisation-based workshop as a weekly session at Rodillian, using techniques and ideas introduced by visiting artists;

In this final chapter we examine the benefits, challenges and potential limits of personalising music learning, based primarily upon the knowledge emerging from Musical Futures activities. Tony Bonds enthusiasm for replicating the model developed in Nottingham is undeniable, but the deeply-enriched curriculum which his school enjoys is being funded by the Paul Hamlyn Foundation, and for a limited time only. How many successful innovations are sustainable in Henry Mellish School or replicable elsewhere, without such financial support?

Mu-Fuse Combo a transition ensemble for all-comers of any standard. The school technician is a participant and will lead the ensemble with support from 6th form musicians by the third term of the project; Writers Unblocked - Song-writing, re-mixing, using technology to create music/videos, plus online tutoring. Year 12 13 music-tech peer-mentors are supporting year 8 10 students from Allerton Grange School, with support from community musicians and the Head of Music .

How can the extra-curricular projects developed in Leeds become mainstreamed into music service provision and made more widely available?

Firstly, more than finding additional resources, or introducing new practices, personalising music learning is primarily about a mindset shift. This shift is away from the concept of schools and music education agencies requiring students to adjust to their long-established infrastructures and operational scripts, toward a new view of the learner, requiring deep support13 as David Hargreaves noted deep learning demands deep support . Such support determines that we listen to, advise, and involve the young person in all aspects of their music learning and find ways to create structures around these processes. In the piloting of the Whole Curriculum Approach in Nottingham, Henry Mellish School were unable to accommodate the multi-ensemble playing in their dedicated music spaces. Alternative spaces (Including the school library!) were shared with rock band rehearsals as a short-term solution. This year the music department successfully put their case for additional accommodation, due to student enthusiasm for the experience. Similarly, Big Wood School is commissioning the design-and-build of a new performing arts block, to enable Musical Futures work to be consolidated in future years. Secondly, once this mindset shift has occurred, we have noticed that teachers, tutors and freelance musicians have demonstrated great resourcefulness in responding to the challenges which arise when young people are co-directing their learning. What dedicated professional would not want to react positively to more young people becoming excited about their music-making?

In truth, it is possibly too soon for us to say, but there are some early indicators which are borne out by those schools leading the personalising learning agenda more generally.

personalising music learning is primarily about a mindset shift.

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Thirdly, personalising music learning invariably unearths the most important resource music educators have at their disposal: young people themselves. Many young people taking part in Musical Futures have shown the leadership, team-working, affinity and emotional intelligence skills which can be built upon in future. School managers were hitherto unaware of these qualities in their students, simply because they had never had the opportunity to display them.

In Hertfordshire, many pupils who had not previously excelled or cooperated in music classes surprised their teachers by showing themselves to be able and willing musicians, or to possess previously hidden leadership qualities. I was completely gob-smacked to see Scott singing in front of the whole class. I wouldnt have got that. I mean, Ive got boys in my choir, but, you know, theyre not that kind of Year 9 kid who will just not have a care and just sing. We were really thrilled with that actually. Head of Music Luke is a disaffected kid. Im going to show you his report from last year, Ive got a copy for you. He got nothing but Ds and Es. This year hes got A all the way through for effort and achievement. Head of Music I think my behaviour grade has gone up. Because like when youre in the classroom just doing like written and stuff, you get bored and you just muck around and stuff. But when youre doing this you cant get bored. Year 9 pupil

We were kind of silly at first and then we realised by ourselves that we had to get on with it. Year 9 pupil None of the above examples involve additional resourcing but they do present significant personal and professional challenges, as change inevitably does.

Nevertheless, opportunities exist in two realms which can be harnessed to facillitate a new enterprise logic of music education. The first is the growing freedom for schools to have self-determination over their own budgets14. The second lies within the consensus (referred to earlier) among non-statutory organisations and music services that more coordinated frameworks need to be created. The dash-for-cash mentality and the reality of the glut/shortage picture of regional provision do not always sit well with a need to work towards a more universal, personalised range of opportunities. The mindset shift could also apply to programme managers and a change from competition to collaboration. This is easier where organisations have long-term funding stability.

It is an inescapable conclusion that most of the successful innovations we have witnessed in Musical Futures have come about when a number of cross-sector professionals come together in a response to young peoples needs. Usually this is a liberating experience for all involved and one which schools frequently wish to alter from occasional to structural. Such collegiate approaches to learning need time to develop, careful planning, the mutual trust of all involved (including learners) and a long-term commitment to partnership working, with all its strengths and stresses. To introduce new collaborative ways of working will invariably require additional management and administration costs, at least to begin with. As a result, such long-term partnership building can often be seen as prohibitive, and may be less feasible in rural or remote communities.

13

The Governments Extended Schools programmes, Every Child Matters and Youth Matters initiatives all offer significant opportunities if a coherent advocacy strategy is realised for more embedded collaborations. 14 Hargreaves, D (2005)
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Practical steps to personalisation

Whether in or out of school, perhaps the most significant incentive to create more personalised music learning is in knowing, firstly, that the potential benefits warrant the risk/effort and, secondly, what conditions need to be present to make sure the innovation is an effective and enjoyable one for all concerned.

Continued Co-construction of teaching, learning and assessment

Through listening to the experiences of school leaders the SSAT Schools Trust pamphlets have identified six core themes of successful personalisation:
Engagement Responsibility Independence Confidence Maturity Co-construction (of teaching and learning)14.

Maturity in relationships and developing mutual respect with staff and peers

Capacities:

In our own introductory pamphlet, we identified a mixture of capacities and conditions which, in our experience, were likely to enhance the capacity for personalisation: The capacity to encourage self-generated learning to lessen the reliance on the lesson The capacity to increase students voice in co-managing their learning The capacity to enable student choice in where, when and with whom learning happens The capacity to assess and accredit learning in all three sectors (formal, non-formal and informal) That young people have genuine ownership of the learning materials and mechanisms That learning offers an effectively managed combination of challenge and risk, and that young people are positively encouraged to take risks

Independence in continuing learning in and out of school

Confidence in ones ability to accept challenge and risk

Conditions:

Responsibility in managing learning and behaviour

In our experience the key determinant, the spark which ignites personalised learning, is the commitment by the school, music service or organisation, and their practitioners, to the co-construction of the learning programme(s). For many adults this is the most difficult step on the journey, often confounding ones instincts and professional training. Once this exists, however, young people invariably become engaged in their music learning and a virtuous spiral begins. Bringing our own experiences to the six core themes, this spiral (with co-construction at its foundation) has generally been seen in the chart opposite:

Engagement in learning

Co-construction by staff and students of the design of teaching and learning

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In conclusion, how might the impact of more personalised music learning be seen within those schools and organisations seeking to innovate? Although only mid-way through their second year, Musical Futures pathfinders report a number of early indicators: All pathfinder schools note the emergence of peer tutors and group leaders in students previously labelled disengaged or with behavioural difficulties Within last years Hertfordshire schools, 27% of young people are now studying GCSE Music and all schools have noted a significant increase in demand for instrumental tuition; in Nottingham, 47% of students expect to take GSCE in future (national average is 7-8%) 63% of students in Nottingham Musical Futures schools now enjoy their music lessons very much, a further 28% had quite enjoyed the music lessons 91% of students are positive about their music learning In Big Wood School, Nottingham, demand for instrumental tuition has quadrupled in the two years Musical Futures has been running When asked 99% of Hertfordshire students preferred the Musical Futures informal model of learning to their previous experience in school As we said at the outset, good practitioners have been personalising music learning for years. However, the opportunities which now exist for collaboration make it essential for such innovations to be spread through networks of music education practitioners, from all sectors. In an earlier pamphlet we discussed the importance of sharing knowledge freely and easily, modelled upon open source principles which flourish among digital software developers and the hacker community. For our part, all Musical Futures outputs are available at no cost and copyright-free we are compiling a series of practical guides for secondary teachers and music services to accompany this pamphlet. We hope they may encourage practitioners to personalise their practices, or challenge habitual thinking.

References and further reading

Caldwell, B (2005) The New Enterprise Logic of Schools, Specialist Schools Trust Green, L (2005) How Popular Musicians Learn: A Way Ahead For Music Education, London and New York: Ashgate Press Hargreaves, D (2004-2006) Personalising Learning Pamphlet Series, Specialist Schools and Academics Trust

Holt, J (1967) How Children Learn, Penguin (Revised edition) Holt, J (1964) How Children Fail , Penguin (Revised Edition) Leadbeater, C (2005) The Shape of Things to Come: personalised learning through collaboration, DfES Publications Leadbeater, C (2004) Learning About Personalisation: how can we put the learner at the heart of the education system? DfES Publications Perrett, D (2005) Peer Education in Music, (Unpublished paper) Price, D (2005) Musical Futures: An Emerging Vision, Paul Hamlyn Foundation Stedman, P (2005) Individualised Learning and Choice (in Rites of Passage: Effective Transition and Curriculum Continuity in Music Education), NAME Publications

Questions: Headteachers and Learning Managers Is your school engaged in personalising learning? Is this reflected in music? Do some of the organisational, structural and resource challenges highlighted earlier apply to youre your school? If so, how might these be overcome?

The challenges for all involved in music learning is perhaps best summarised through a series of directed questions, which we end with. We invite all those interested in personalising music learning to continue the discussion through our website: www.musicalfutures.org.uk

Price, D (2005) Transforming Musical Leadership, Paul Hamlyn Foundation

Classroom Music Teachers and Instrumental Tutors Are your young people co-constructors of their learning? If not, how might their voice and choice become more evident? Is there scope to informalise the learning processes through, for example, peer tutoring, project-based learning models? Community and Freelance Musicians How do you music projects complement students learning at school? What is the extent of collaboration with formal/non-formal deliverers in your work? Music Service and Music Organisation Leaders Do the arguments for a new enterprise logic have relevance in your area of activity? How might collaborative projects become more widely available? Are there local resources (human and financial) which could be pooled more effectively to make such projects mainstream?

Zuboff, S, and Maxmin, J. (2002) The Support Economy: Why Corporations Are Failing Individuals and the Next Episode of Capitalism, Penguin

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Acknowledgements:

The Musical Futures project is dedicated to the memory of Jane Attenborough, who died tragically in the Asian Tsunami. Jane was the arts manager at the Paul Hamlyn Foundation who, along with the project Chair, Lord Moser, gave shape to the project from the PHF trustees original aspirations. Without her, there would have been no project, and whatever we achieve through the project is due in large part to her diligence and support. Thanks are due to: The Musical Futures Pathfinders, hosted by music services in Leeds, Nottingham and Hertfordshire; The Musical Futures Research and Development projects the Guildhall School of Music and Dramas CONNECT project and Peter Renshaws associated report, and Sound Connections (the London Youth Music Action Zone) for integrating the projects ideas and research questions within their overall activities and for giving us practical demonstrations of the ideas contained within this pamphlet. The Musical Futures Steering and Advisory groups for their comments and contributions to the progressive drafts of this pamphlet.

Musical Futures Advisers: Norinne Betjemann Arts Council England Colin Brackley-Jones Federation of Music Services Stefan Burkey Teacher Training Agency Christina Coker* Youth Music Ben Cole Youth Music Robert Dufton* Director, PHF Jane Hamlyn* Chair, PHF Rgis Cochefert* Programme Manager, PHF

For this pamphlet we are especially grateful to Prof. David Hargreaves, the projects consultant, in sharing with us his illuminating thoughts, writings and leadership on Personalising Learning. We are also indebted to Duncan Sones Associates for their work in managing the Musical Futures outputs, including this pamphlet, and SYNERGY.TV for the website.

Richard Hallam Oxfordshire Music Service Valerie Hannon DfES Innovation Unit David Hargreaves* Project Consultant Marc Jaffrey Music Manifesto

Open access. Some rights reserved. As the publisher of this work, the Paul Hamlyn Foundation has an open access policy which enables anyone to access our content electronically without charge. We want to encourage the circulation of our work as widely as possible without affecting the ownership of the copyright, which remains with the copyright holder. This work is licensed under the Creative Commons Attribution-NoDerivs License. The following are some of the conditions imposed by the licence: Musical Futures and the author is credited; The Musical Futures website address (www.musicalfutures.org.uk) is published together with a copy of this policy statement in a prominent position; The text is not altered and is used in full (the use of extracts under existing fair usage rights is not affected by this condition); The work is not resold; A copy of the work or link to its use online is sent to the Paul Hamlyn Foundation for our archive.
(To view a copy of this licence, visit http://creativecommons.org/licenses/by-nd/2.5/)

Richard Jones Specialist Schools and Academies Trust Nicholas Kenyon BBC Proms Margaret Martin-Griffiths OFSTED Angela Overington DfES Philippa Staff DCMS David Sulkin Youth Music

Lord Moser* Chairman, Musical Futures David Price Project Leader, Musical Futures

* Denotes Steering Group Member

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musical futures

paul hamlyn foundation special project

Musical Futures (www.musicalfutures.org.uk) is a national project funded by The Paul Hamlyn Foundation that aims to devise new and imaginative ways of engaging young people aged 1119 in music.

Teachers Pack Contents

Section 1 Personalising Music Learning pamphlet Section 2 Classroom Resource for Informal Music Learning at Key Stage 3 (with complementary notes, CD-ROM, 2 audio CDs and pupil evaluation sheet) Section 3 The Whole Curriculum Approach - Inclusive Music Practice at Year 8 (with complementary notes and DVD-ROM)

Section 4 A Guide to Personalising Extra-curricular Music Activities for 11-18 year olds