Music And Keyboard In The Classroom And Music Manifesto

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

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

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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:

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improvisation exercises in small groups

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story making and music

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aural based call and response

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finding missing notes in popular tunes

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midi drum exploration

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small ensemble work including rounds and duets

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

© Michael Griffin 2008 www.musiceducationworld.com

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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.

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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

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

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

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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

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

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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.

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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.

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

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

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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

© Michael Griffin 2008 www.musiceducationworld.com

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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

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midi files of each activity

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public domain mp3s and sheet music

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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.

© Michael Griffin 2008 www.musiceducationworld.com

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

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

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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.

© Michael Griffin 2008 www.musiceducationworld.com

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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 [email protected]

© Michael Griffin 2008 www.musiceducationworld.com

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