Overview – Teaching Music in Schools: Model Music Curriculum, Key Stages 1 to 3

CONTENTS
• Introduction
• About the Model Music Curriculum
• The View of Ofsted
• Teaching a broad and balanced curriculum for education recovery (July 2021)
• TBMH Supporting Whole Class Instrumental learning
• Music in Early Childhood
• Model Music Curriculum: Key Stage 1
o Year 1
o Year 2
• Model Music Curriculum: Key Stage 2
o Year 3
o Year 4
o Year 5
o Year 6
• Model Music Curriculum: Key Stage 3
o Year 7
o Year 8
o Year 9
• Exemplar: Key Stage 3 Long-term Music plan (courtesy of Kensington Aldridge Academy)
• Engaging your School’s Governors in Music Education

Introduction
The information in this overview has been extracted from the Model Music Curriculum: Key Stages 1 to 3, released in March 2021. It also
provides some further information which is intended to support schools in curating a relevant and effective music education curriculum that best
serves the needs of their pupils and school community. In addition, schools should refer to Ofsted’s detailed ‘Research review series: music’
(published 12th July 2021) for further depth to curriculum planning. This overview aims to help music leaders in Hammersmith & Fulham;
Kensington & Chelsea; and Westminster to easily see the musical progression outlined in the MMC and how linking with the Tri-borough Music
Hub may help support in-school music education delivery. With thanks to Sutton Music Service for their support with this document.

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About the Model Music Curriculum
The aim of the Model Music Curriculum
The aim of the MMC is to ensure a universal provision of music education, for all pupils in all schools. In time and resources, this provision is as
follows:
• At Key Stages 1 and 2, pupils should receive a minimum of one hour of teaching a week; this may take the form of short sessions spread
across the week.
• In Years 3 or 4, it is recommended that each class should start a whole-class instrumental programme lasting a minimum of one term. The
mandatory term will be supported by teachers from the local Music Education Hub. Opportunities for development should continue beyond
the mandatory term.
• There should be access to both rhythmic and melodic instruments in Key Stages 1 and 2; this may be as part of the whole-class
instrumental programme and/or in other classroom teaching.
• Music should have a minimum of one weekly period the whole way through Key Stage 3. Carousels are not a substitute that fits with the
values of comprehensive education.
Using the MMC
The MMC sets out sequences of learning in the following key areas which, when taken together, all contribute towards the steadily increasing
development of musicianship:
PERFORMING / INSTRUMENTAL
SINGING LISTENING COMPOSING
PERFORMANCE
Within each of these areas are some suggested repertoire choices to support teachers in delivering the curriculum and, in the MMC appendices,
suggested approaches to demonstrate the way in which musical listening, meaning, performance and composition are linked.
Progression through the Key Stages
• The MMC takes as its starting point the ambition that every young person should be able to experience music and to make progress. It is
founded on the belief that music enriches individual lives as well as a school’s wider community.
• The MMC aims to support all pupils in their musical progression through the Key Stages. By offering a rich and varied musical framework that
nurtures fundamental musical techniques alongside building musical knowledge, it offers a clear pathway towards mature musical
understanding.
• Staff notation not only complements developing aural skills, improvisation, memorisation, and composition, but also provides the opportunity
for pupils to be taught music independently both in class and after they have left school.
• The foundations of this will be laid at primary school. In the view of the TBMH, musical development starts within Early Childhood
development from aged birth to 5 years old.

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A model curriculum for the musical community to build upon
• The MMC takes account of the many different school contexts that exist. Effective delivery is likely to come from a combination of schools,
teachers, practitioners, professional ensembles, venues, and other Music Education Hub partners working collaboratively.
• This shared foundation will provide schools with a launchpad to access wider musical culture in which all can thrive & share the joy of music.
• There is an expectation that music is for all – this includes those children with SEND. Special schools may also find useful materials and
approaches in the MMC document.

Supporting all learners through inclusive practice

As stated above, “there is an expectation that music is for all – this includes those children with SEND”. Every pupil has a right to weekly music
lessons as part of their National Curriculum foundation subject entitlement, and for this reason pupils should not be taken out of their weekly
music lesson for any interventions or other purposes.
“To make music lessons inclusive, teachers need to anticipate what barriers to taking part and learning particular activities, lessons or a series of
lessons may pose for pupils with particular SEN and/or disabilities. So in your planning you need to consider ways of minimising or reducing
those barriers so that all pupils can fully take part and learn. In some activities, pupils with SEN and/or disabilities will be able to take part in the
same way as their peers. In others, some modifications or adjustments will need to be made to include everyone. For some activities, you may
need to provide a ‘parallel’ activity for pupils with SEN and/or disabilities, so that they can work towards the same lesson objectives as their
peers, but in a different way − e.g. using ICT software to enable pupils to create compositions rather than relying on handwritten notation.
Occasionally, pupils with SEN and/or disabilities will have to work on different activities, or towards different objectives, from their peers.”
Taken from, “Including pupils with SEN and/or disabilities in primary music” https://dera.ioe.ac.uk/13802/1/music.pdf

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The View of Ofsted
Slide presented by Mark Phillips, Senior HMI and National Lead for Music at Ofsted, at launch of the MMC, in March 2021

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Teaching a broad and balanced curriculum for education recovery July 2021: Music
https://www.gov.uk/government/publications/teaching-a-broad-and-balanced-curriculum-for-education-recovery
While planning their curriculum, schools may wish to refer to the recently published MMC which is non-statutory guidance to help teach music at KS 1, 2 & 3.

A key priority in all key stages is a curriculum which allows a return to practical musicmaking through singing and playing instruments (including music
technology). To ensure the safety of pupils and staff, this should be done in line with the DfE’s current Schools coronavirus (COVID-19) operational guidance
and with the guidance issued by the Department for Culture, Media and Sport (DCMS). Local Music Education Hubs should
also be able to provide guidance and support as performance activities are reintroduced.

At key stage 1:
• the music curriculum should maintain its focus on increasing pupils’ accuracy, fluency and expression through singing and playing a range of instruments.
• Singing familiar songs together, concentrating on intonation, phrasing and clear diction, and adding simple rhythmic accompaniments can help to build
pupils’ confidence and quickly develop their listening skills.

At key stages 2 and 3:

The focus should be on the technical knowledge and skills that pupils have not been able to practise or develop sufficiently through performance or
composition work when they have not been in school.
• More attention should be given to the extent to which pupils have missed the opportunity to develop their instrumental and singing skills, or their
knowledge of constructive elements such as scales, chords and musical forms.
• Close consideration should be given to the order in which key components are taught or re-taught, so that these important skills can be rebuilt deliberately
and incrementally.

As schools reintroduce pupils to practical music-making, they should also focus on their aural development, which is important in rebuilding their expressive
knowledge and understanding of music. This includes:
• providing effective feedback on pupils’ musical responses or choices, showing them how to resolve their musical difficulties and correcting inaccuracies
• training pupils’ musical hearing to appraise, shape and improve their performances and compositions.

When work during remote education focused on theoretical knowledge about music, schools should ensure that pupils are given every opportunity to secure
that knowledge through practical musical activity. Equally, while many teachers have made creative use of technologies to create ensemble ‘performances’
during the restrictions, schools should plan how they can reintroduce in-person ensemble activities. Well-organised ensemble activities can:
• help pupils to develop mature aural skills
• build their confidence and support their wellbeing
• play an important part in re-building school communities, particularly when performances to an audience are permitted.

Finally, schools should take every opportunity – both through and outside the school curriculum – to foster pupils’ re-engagement with a wide range of music.
Further support can be found through the Music Education Hubs which bring together local authorities, schools and art, community or voluntary organisations
to make sure all pupils have access to music education.

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TBMH Supporting Whole Class Instrumental learning
FREE Whole Class Instrumental Learning (WCIL) groove‘n’play licence (for state-maintained schools)
The TBMH has developed over many years, its own Whole Class Instrumental Learning (WCIL) resources through the commission of bespoke
programmes from composer Sally Greaves. The groove‘n’play (https://www.groovenplay.com/) class ensemble series give pupils the opportunity to develop
their music skills, knowledge, language and understanding, as well as developing instrumental technique, through performance .
The TBMH will provide one FREE Whole Class lifetime licence for ONE groove’n’play programme (to be delivered by the school), plus free CPD for one
teacher online or at a centralised venue, & the programme resource. This is worth £200 to the school - £150 for the license, & £50 for the CPD. The resource
will only. Please note that due to licensing agreements, the Rastamouse programme does not form part of this offer be provided following attendance at CPD.
GnP Programme Year Delivery Focus Minimum
groove‘n’play programmes: Group Tutors
• are a progressive series of first-access musical learning resources Ukulele, Sticks and Songs 2/3 Curriculum / Instrumental and voice 1
from Years 1 to 7 Fiddle, Sticks & Songs 2/3 Curriculum / Instrumental and voice 1
• take a comprehensive approach to the initial stages of learning to play Recorder, Sticks & Songs 3/4 Curriculum / Instrumental and voice 1
an instrument FIFTHS 4/5 Curriculum/ multi-instrumental and voice 1
FIFTHS 2 5/6 Curriculum / multi-instrumental and voice 1
• are the starting point of a long-term progression route and access to *Brass (mixed) 4/5/6/7 Multi-instrumental 2
pathways beyond the programmes *Guitar and Mini Bass 4/5/6/7 Multi-instrumental 2
• are resource packages that include high-quality visual/audio *Strings (mixed) 4/5/6/7 Multi-instrumental 2
resources with a teaching book including session plans, teaching *Woodwind in C (mixed) 4/5/6/7 Multi-instrumental 2

notes & learning outcomes N.B. Samples of each of these outstanding resources may be reviewed at:
• are resources which are flexible and can be used according to the skill https://www.triboroughmusichub.org/school-services/whole-class-instrumental-learning-programmes/
N.B. * for programmes asterisked above, a minimum of two staff members with the required instrumental
and experience of the person(s) delivering the programme skills is required

The exact wording in the MMC regarding Whole Class Instrumental Learning programmes has led to some confusion by directly contradicting itself. In one
bullet point it uses the words ‘recommended’ and ‘mandatory’, and also references ‘Years 3 or 4’ which is counter to National Plan for Music Education
guidance (more commentary on this matter can be found HERE):

“In Years 3 or 4, it is recommended that each class should start a whole-class instrumental programme lasting a minimum of one term. The mandatory term
will be supported by teachers from the local Music Education Hub. Opportunities for development should continue beyond the mandatory term.”
The DfE/ACE specify that the funding for MEHs augments and support schools’ music curriculum provision.
It is for each school to devise a broad, balanced and relevant music curriculum that meets the needs of all its learners.
Therefore, the TBMH’s approach has been one of universal support for all schools in some aspects, coupled with the option of buying-in additional expertise.
Our approach to Whole Class Instrumental Learning is a good example.

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groove‘n’play vocal and instrumental programmes provide a music curriculum that supports musical progression in line with the National Curriculum for
Music and includes:

groove‘n’play programmes include:

• performance through playing and singing (sticks & songs, multi-instrumental programmes)
• reading and playing from notation with an understanding of the inter-related music dimensions (e.g. dynamics, tempo, structure)
• range of music styles, genres and traditions to increase knowledge and understanding of music
• extended listening and extension activities related to music and other curriculum areas

The high-quality curricular resources are intended to support the development of a child’s musical talents and skills as performer, creator and listener.
This is achieved through the scaffolded learning that groove ‘n’ play classroom programmes provide.

groove‘n’play Lifetime Licences for classroom programmes include:

• teacher’s book (print resources) including: permission to photocopy/print materials
• teaching classroom delivery assets (electronic resources)
• access to National Curriculum related information. Click here
• access to groove ‘n’ play planning and progression curriculum support materials. Click here

To redeem your free programme, courtesy of the Tri-borough Music Hub for state-maintained schools in LBHF, WCC, RBKC:

1. Complete the online form https://tbmh.wufoo.com/forms/z1jr3m0i0dm15fw/ indicating which programme your school chooses
and/or email musicsla@triboroughmusichub.org

2. Provide name and email details of contact person that will be attending the training

3. Check that you have the requisite instrument resources to deliver the programme.
More details about this can be found here: https://www.triboroughmusichub.org/school-services/whole-class-instrumental-learning-programmes/

Whole Class Instrumental Learning (WCIL) programmes (Year 1 to Year 7) - Buy in delivery from our tutors
Alternately, schools can buy-in tutors to deliver the programmes via our Service Level Agreement.
All costs are calculated at the standard tutor hourly rate of £44 plus additional 30 mins PPA for Lead teacher, and 15 mins for support tutor.
Prices correct as of July 2021.

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Music in Early Childhood
The Early Years Foundation Stage
‘The MMC complements the National Plan for Music Education and is intended to be used by specialist and non-specialist music teachers
at Key Stages 1 and 2 (Primary level), building on an Early Years Foundation, and by specialist music teachers in Key Stage 3
(Secondary level).’ Page 4 of MMC
In the view of the TBMH, musical development starts within Early Childhood development from aged birth to 5 years old. Guidance that will support all
schools in better understanding early childhood music development can be found in Musical Development Matters (MDM) (HERE).

• Download the FREE MDM resource here - https://www.early-education.org.uk/musical-development-matters

• Visit all supporting MDM materials (videos, documents, advice and more) here - https://network.youthmusic.org.uk/musical-development-matters

MDM has been written to support those who work with young children in Early Childhood - Early Childhood practitioners, teachers, musicians, and parents.

The MDM guidance is split into 4 aspects of musical development:

Hearing & Listening Vocalising & Singing Moving & Dancing Exploring & Playing

And draws upon the following principles specified in the EYFS:

A Unique Child Positive relationships Enabling Environments

Music interweaves through all areas of learning and development which can be seen throughout the guidance. We hope that this will help those working
with young children to recognise and enjoy listening to children’s creative music making, listen to music with children, make music with children and support
children’s musical and holistic development.

The MDM guidance was written by Nicola Burke, on behalf of the Tri-borough Early Years Music Consortium, and is co-badged by The British Association of
Early Childhood Education and Youth Music.

Further Information and Reading

More details about the EYFS can be found in Development Matters (2021) and Birth to 5 Matters (2021)

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Model Music Curriculum: Key Stage 1

Singing Composing Musicianship

• Sing simple songs, chants, and • Improvise simple vocal chants, using Pulse/Beat
rhymes from memory. question and answer phrases. • Walk, move, or clap a steady beat with others, changing the speed of the beat as
• Sing collectively and at the same • Create musical sound effects and short the tempo of the music changes.
pitch. sequences of sounds in response to stimuli. • Use body percussion and classroom percussion playing repeated rhythm
• Start with a very small range > mi- Combine to make a story, choosing and patterns (ostinati) and short, pitched patterns on tuned instruments to maintain
so (3rd) > slightly wider range. playing classroom instruments or sound- a steady beat.
Include pentatonic songs. makers. • Respond to the pulse in recorded/live music through movement and dance.
• Pupils sing a wide range of call and • Understand the difference between creating a
response songs to control vocal rhythm pattern and a pitch pattern. Rhythm
pitch and to match the pitch they • Invent, retain, and recall rhythm and pitch • Perform short copycat rhythm patterns accurately, led by the teacher.
hear with accuracy. patterns and perform these for others, taking • Perform short repeating rhythm patterns (ostinati) while keeping in time with a
• Respond to simple visual directions turns. steady beat.
and counting in. • Use music technology, if available, to capture, • Perform word-pattern chants; create, retain, and perform their own rhythm
• See p.13 MMC for song examples: change and combine sounds. patterns.
o Sing for Pleasure: Boom • Recognise how graphic notation can
Chicka Boom represent created sounds. Pupils explore and Pitch
Year 1

o Voices Foundation: Have you invent own symbols. • Listen to sounds in the local school environment, comparing high and low
Brought your Whispering sounds.
Voice? • Sing familiar songs in both low and high voices and talk about the difference in
o Voices Foundation: Hello, How sound.
are You • Explore percussion sounds to enhance storytelling.
o Bance: Copy Kitten • Follow pictures and symbols to guide singing and playing.
o Voicelinks: I’m a Train
o Bounce High, Bounce Low
o Singing Sherlock: Dr
Knickerbocker
o Dragon Dance
o Trad. Bangladesh: Mo matchi
(Song of the Bees)
o Trad. Ghana: Kye Kye Kule
o Trad. England: An Acre of Land

Listening
• See page 14 of the MMC for
suggested listening materials

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 Singing Composing Musicianship Years
• Sing songs regularly with a pitch • Create music in response to a non-musical Pulse/Beat
range of do-so (5th) with stimulus. • Understand that the speed of the beat can change, creating a faster or slower pace
increasing vocal control. • Work with a partner to improvise simple (tempo).
• Sing songs with a small pitch question and answer phrases, to be sung • Mark the beat of a listening piece by tapping or clapping and recognising tempo as
range, pitching accurately. and played on untuned percussion, creating well as changes in tempo.
• Know the meaning of dynamics a musical conversation. • Walk in time to the beat of a piece of music or song. Know the difference between
and tempo. • Use graphic symbols, dot notation and left and right to support coordination and shared movement with others.
• be able to demonstrate these stick notation, as appropriate, to keep a • Begin to group beats in twos and threes by tapping knees on the first (strongest)
when singing by responding to record of composed pieces. beat and clapping the remaining beats.
the music leader’s directions and • Use music technology, if available, to capture, • Identify the beat groupings in familiar music that they sing regularly and listen to.
visual symbols (e.g., crescendo, change and combine sounds.
decrescendo, pause).
• See p.16 for song examples: Rhythm
o Little Sally Saucer • Play copycat rhythms, copying a leader, and invent rhythms for others to copy on
o Trad. Star Light, Star Bright, untuned percussion.
First Star I See Tonight • Create rhythms using word phrases as a starting point.
Year 2

o Trad. Hey, Hey, Look at Me • Read and respond to chanted rhythm patterns, and represent them with stick
o Trad. Rain, Rain Go Away notation including crotchets, quavers, and crotchets rests.
o Trad. Acka Backa • Create and perform their own chanted rhythm patterns with the same stick
o Voicelinks: The King is in the notation.
Castle
o Young Voiceworks: Pitch
Ebeneezer Sneezer • Play a range of singing games based on the cuckoo interval matching voices
o Trad. Oats and Beans and accurately, supported by a leader playing the melody. The melody could be played
Barley Grow on a piano, acoustic instrument or backing track.
o Singing Sherlock 1: Teddy • Sing short phrases independently within a singing game or short song.
Bear Rock n Roll • Respond independently to pitch changes heard in short melodic phrases,
o Trad. Oliver Cromwell indicating with actions (e.g., stand up/sit down, hands high/hands low).
• Recognise dot notation and match it to 3-note tunes played on tuned percussion.
Listening
• See page 17 of the MMC for
suggested listening materials

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Model Music Curriculum: Key Stage 2

Singing Composing Performing

• Sing a widening range of unison Improvise • Develop facility in playing tuned percussion or a melodic instrument such as violin
songs of varying styles and • Become more skilled in improvising (in a or recorder. Play and perform melodies following staff notation using a small
structures with a pitch range of range of contexts) inventing short ‘on-the- range (e.g., Middle C–E/do–mi) as a whole class or in small groups (e.g., trios and
do–so, tunefully and with spot’ responses using a limited note-range. quartets).
expression. • Structure musical ideas (e.g., using echo or • Use listening skills to correctly order phrases using dot notation, showing different
• Perform forte and piano. question and answer phrases) to create arrangements of notes C-D-E/do-re-mi:
• Perform actions confidently and in music that has a beginning, middle and end. • Individually (solo) copy stepwise melodic phrases with accuracy at different
time to a range of action songs. Pupils should compose in response to speeds; allegro and adagio, fast, and slow. Extend to question-and-answer
• Walk, move, or clap a steady beat different stimuli, e.g., stories, verse, images phrases.
with others, changing the speed of (paintings and photographs) and musical
the beat as the tempo of the music sources. Reading Notation
changes. • Introduce the stave, lines and spaces, and clef. Use dot notation to show
• Perform as a choir in school Compose higher or lower pitch.
assemblies. • Combine known rhythmic notation with letter • Introduce and understand the differences between crotchets and paired
• See p.22 MMC for song examples: names to create rising and falling phrases quavers.
o Sing Up: Heads and using just three notes (do, re and mi). • Apply word chants to rhythms, understanding how to link each syllable to one
Shoulders • Compose song accompaniments on untuned musical note.
Year 3

o Singing Sherlock 2: Si, Si, Si percussion using known rhythms and note • Crotchets, Paired quavers, Minims, Fast (allegro), slow (adagio), Stave, lines
o Flying a Round: To stop the values. and spaces, clef, reading dot notation - do–me Range of a 3rd, Loud (forte),
train Quiet (piano)
o Trad. Japan: Kaeru no uta
o Trad. Morocco: A ram sam
sam/Pease Pudding Hot
o Trad. Bangladesh: Now
charia de (A Boatman’s
Song)

Listening
• See page 22 of the MMC for
suggested listening materials

Indicative musical features

✓ Rhythm, Metre and Tempo - Downbeats, fast (allegro), slow (adagio), pulse, beat
✓ Pitch and Melody - High, low, rising, falling; pitch range do–so
✓ Structure and Form - Call and response; question phrase, answer phrase, echo, ostinato
✓ Harmony - Drone
✓ Texture - Unison, layered, solo
✓ Dynamics and Articulation - Loud (forte), quiet (piano)
✓ Instruments and Playing Techniques - Instruments used in Foundation Listening

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 Singing Composing Performing
• Continue to sing a broad range of Improvise Instrumental Performance
unison songs with the range of an • Improvise on a limited range of pitches on • Develop facility in the basic skills of a selected musical instrument over a
octave (do–do) the instrument they are now learning, making sustained learning period. This can be achieved through working closely with
• pitching the voice accurately and use of musical features including smooth your local Music Education Hub who can provide whole-class instrumental
following directions for getting louder (legato) and detached (staccato). teaching programmes.
(crescendo) and quieter • Begin to make compositional decisions • Play and perform melodies following staff notation using a small range (e.g.,
(decrescendo). about the overall structure of improvisations. Middle C–G/do–so) as a whole-class or in small groups.
• Sing rounds and partner songs in Continue this process in the composition • Perform in two or more parts (e.g., melody and accompaniment or a duet)
different time signatures (2, 3 and 4 tasks below. from simple notation using instruments played in whole class teaching. Identify
time) static and moving parts.
• begin to sing repertoire with small and Compose • Copy short melodic phrases including those using the pentatonic scale (e.g., C,
large leaps as well as a simple second • Combine known rhythmic notation with letter D, E, G, A).
part to introduce vocal harmony. names to create short pentatonic phrases
• Perform a range of songs in school using a limited range of 5 pitches suitable for Reading Notation
assemblies. the instruments being learnt. Sing and play • Introduce and understand the differences between minims, crotchets, paired
• See p.25 MMC for song examples: these phrases as self-standing compositions. quavers, and rests.
o Junior Voiceworks 1: Calypso • Arrange individual notation cards of known • Read and perform pitch notation within a defined range (e.g., C–G/do–so).
o Junior Voiceworks 2: Our note values (i.e., minim, crotchet, crotchet • Follow and perform simple rhythmic scores to a steady beat: maintain individual
Dustbin rest and paired quavers) to create parts accurately within the rhythmic texture, achieving a sense of ensemble.
Year 4

o Voiceworks 1: Hear the Wind sequences of 2-, 3- or 4-beat phrases, • Crotchets, Paired quavers, Minims, Rests, getting faster (accelerando),
o Kendrick: Servant King arranged into bars. getting slower (rallentando), Fast (allegro), slow (adagio), Stave, lines and
o Happy Birthday • Explore developing knowledge of musical spaces, clef, reading dot notation - do–me Range of a 3rd, Loud (forte), Quiet
components by composing music to create a (piano), Getting louder (crescendo), Getting softer (decrescendo)
specific mood, for example creating music to
Listening accompany a short film clip.
• See page 26 of the MMC for • Introduce major and minor chords.
suggested listening materials • Include instruments played in whole
class/group/individual teaching to expand the
scope and range of the sound palette
available for composition work.
• Capture and record creative ideas using any
of:
o graphic symbols
o rhythm notation and time signatures
o staff notation
o technology
Indicative musical features
✓ Rhythm, Metre and Tempo - Getting faster (accelerando), Getting slower (rallentando), Bar, metre
✓ Pitch and Melody - Pentatonic scale, major and minor tonality, pitch range do–do
✓ Structure and Form - Rounds and partner songs, repetition, contrast
✓ Harmony - Static, moving
✓ Texture - Duet, melody, and accompaniment
✓ Dynamics and Articulation - Getting louder (crescendo), getting softer (decrescendo); legato (smooth), staccato (detached)
✓ Instruments and Playing Techniques - Instruments used in Foundation Listening including playing techniques

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 Singing Composing Performing
• Sing a broad range of songs from an Improvise Instrumental Performance
extended repertoire with a sense of • Improvise freely over a drone, developing • Play melodies on tuned percussion, melodic instruments, or keyboards,
ensemble and performance. sense of shape and character, using tuned following staff notation written on one stave and using notes within the Middle
• Include observing phrasing, accurate percussion and melodic instruments. C–C′/do–do range. This should initially be done as a whole class with greater
pitching and appropriate style. • Improvise over a simple groove, responding independence gained each lesson through smaller group performance.
• Sing three-part rounds, partner to the beat, creating a satisfying melodic • Understand how triads are formed, and play them on tuned percussion, melodic
songs, and songs with a verse and a shape; experiment with using a wider range instruments, or keyboards. Perform simple, chordal accompaniments to familiar
chorus. of dynamics, including very loud songs.
• Perform a range of songs in school (fortissimo), very quiet (pianissimo), • Perform a range of repertoire pieces and arrangements combining acoustic
assemblies and in school performance moderately loud (mezzo forte), and instruments to form mixed ensembles, including a school orchestra.
opportunities. moderately quiet (mezzo piano). Continue • Develop the skill of playing by ear on tuned instruments, copying longer
• See p.29 MMC for song examples: this process in the composition tasks below. phrases and familiar melodies.
o Trad. Ireland: Danny Boy
o Kodály: Rocky Mountain Compose Reading Notation
o Kodály: My Paddle • Compose melodies made from pairs of • Further understand the differences between semibreves, minims, crotchets
o High Low Chickalo phrases in either C major or A minor or a key and crotchet rests, paired quavers, and semiquavers.
o Ally Ally O suitable for the instrument chosen. These • Understand the differences between 2/4, 3/4 and 4/4 time signatures.
o Trad. Caribbean: Four White melodies can be enhanced with rhythmic or • Read and perform pitch notation within an octave (e.g., C–C′/do–do).
Horses chordal accompaniment. •
Year 5

Read and play short rhythmic phrases at sight from prepared cards, using
o Trad. Uganda: Dipidu • Working in pairs, compose a short ternary conventional symbols for known rhythms and note durations.
o Are You Ready? piece. • Crotchets, Paired quavers, Minims, Rests, Semibreves, Semiquavers, Time
o Row, Row, Row your Boat • Use chords to compose music to evoke a signatures 2/4, 3/4 and 4/4, getting faster (accelerando), getting slower
specific atmosphere, mood or environment. (rallentando), Fast (allegro), slow (adagio), Stave, lines and spaces, clef, reading
For example, La Mer by Debussy and The
Listening River Flows In You by Yiruma both evoke
dot notation - do–me Range of a 3rd, Loud (forte), Quiet (piano), Getting louder
(crescendo), Getting softer (decrescendo).
• See page 30/31 of the MMC for images of water. Equally, pupils might create
suggested listening materials music to accompany a silent film or to set a
scene in a play or book.
• Capture and record creative ideas using any
of:
o graphic symbols
o rhythm notation and time signatures
o staff notation
o technology.
Indicative musical features
✓ Rhythm, Metre and Tempo - Simple time, compound time, syncopation
✓ Pitch and Melody - Full diatonic scale in different keys
✓ Structure and Form - Ternary form, verse and chorus form, music with multiple sections
✓ Harmony - Triads, chord progressions
✓ Texture - Music in 3 parts, music in 4 parts
✓ Dynamics & Articulation - Wider range of dynamics including fortissimo (very loud), pianissimo (very quiet), mezzo forte (moderately loud) and mezzo piano (moderately quiet)
✓ Instruments and Playing Techniques - Instruments used in Foundation Listening including playing techniques and effects, for example pizzicato (e.g., mysterious) and tremolo
(e.g. dark and expectant)

13
 Singing Composing Performing
• Sing a broad range of songs, including Improvise Instrumental Performance
those that involve syncopated Extend improvisation skills through working in • Play a melody following staff notation written on one stave and using notes
rhythms, as part of a choir, with a small groups to: within an octave range (do–do); make decisions about dynamic range,
sense of ensemble and performance. • Create music with multiple sections that including very loud, very quiet, moderately loud and moderately quiet.
This should include observing rhythm, include repetition and contrast. • Accompany this same melody, and others, using block chords or a bass line.
phrasing, accurate pitching and • Use chord changes as part of an improvised This could be done using keyboards, tuned percussion or tablets, or
appropriate style. sequence. demonstrated at the board using an online keyboard.
• Continue to sing three- and four-part • Extend improvised melodies beyond 8 beats • Engage with others through ensemble playing (e.g., school orchestra, band,
rounds or partner songs, and over a fixed groove, creating a satisfying mixed ensemble) with pupils taking on melody or accompaniment roles. The
experiment with positioning singers melodic shape. accompaniment, if instrumental, could be chords or a single-note bass line.
randomly within the group in order to
develop greater listening skills, balance Compose Reading Notation
between parts and vocal • Plan and compose an 8- or 16-beat melodic • Further understand the differences between semibreves, minims, crotchets,
independence. phrase using the pentatonic scale (e.g., C, quavers and semiquavers, and their equivalent rests.
• Perform a range of songs as a choir in D, E, G, A) and incorporate rhythmic variety • Further develop the skills to read and perform pitch notation within an octave
school assemblies, school and interest. Play this melody on available (e.g., C–C/ do–do).
Year 6

performance opportunities and to a tuned percussion and/or orchestral • Read and play confidently from rhythm notation cards and rhythmic scores in up
wider audience. instruments. Notate this melody. to 4 parts that contain known rhythms and note durations.
• See p.33 MMC for song examples: • Compose melodies made from pairs of • Read and play from notation a four-bar phrase, confidently identifying note
o Trad. South Africa: Siyahamba phrases in either G major or E minor or a key names and durations.
o Junior Voiceworks 1: Calypso suitable for the instrument chosen.
o Sing Up: Touch the Sky • Either of these melodies can be enhanced
o Sing Up: Dona Nobis Pacem with rhythmic or chordal accompaniment.
o Sing Up: We are the Champions • Compose a ternary piece; use available
Listening music software/apps to create and record it,
discussing how musical contrasts are
• See page 34/35 of the MMC for achieved.
suggested listening materials
Indicative musical features
✓ Rhythm, Metre and Tempo - Simple time, compound time, syncopation
✓ Pitch and Melody - Full diatonic scale in different keys
✓ Structure and Form - Ternary form, verse and chorus form, music with multiple sections
✓ Harmony - Triads, chord progressions
✓ Texture - Music in 3 parts, music in 4 parts
✓ Dynamics & Articulation - Wider range of dynamics including fortissimo (very loud), pianissimo (very quiet), mezzo forte (moderately loud) and mezzo piano (moderately quiet)
✓ Instruments and Playing Techniques - Instruments used in Foundation Listening including playing techniques and effects, for example pizzicato (e.g. mysterious) and tremolo
(e.g. dark and expectant)

Transition Project
(suggested in Appendix 6 of the MMC, on page 98)

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Model Music Curriculum: Key Stage 3
Approaches to Listening at KS3
Technical - Pupils should be able to listen to and analyse music with reference, as a baseline, to the following musical elements by the end of Year 9:
• Tonality - Major, minor, modal, or atonal
• Texture/Instrumentation - Instruments of the orchestra, Typical band/ensemble set-up, Traditional instruments
• Metre/Rhythm/Tempo - Beats in a bar, Duration of notes, Use of syncopation, Speed
• Pitch - High/Low
• Harmony - Primary chords, Consonant, dissonant, and extended harmony
• Dynamics Volume, articulated using, English or Italian words

Expressive - In order for pupils to explore musical meaning, they could answer the following questions:
• Where does the music come from?
• When was it first written/performed? Do we know?
• Was the music written for a particular reason?
• What else was going on in the world at the time, and did these factors influence the piece?
• How is this music expressive? What techniques are used to communicate its expressive intent?
• What is your subjective/personal reaction to the music? How does this interact with any objective meaning the music might have?

Singing Composing Performing

• Sing regularly from an extended Develop understanding of composition through Instrumental Performance (other options might include a string ensemble, jazz big
repertoire with a sense of one of/a combination of: band or rock band)
ensemble and performance.
• This should include observing ‘Song’ Writing (with or without lyrics) Keyboard
phrasing, accurate pitching, and • Play chord sequences from a range of • Learn to find notes on the keyboards.
dynamic contrast. familiar songs as compositional models. • Play rhythmically simple melodies on keyboard instruments, following staff notation
• Sing three- and four-part rounds, • Compose chords sequences on the written on one stave.
transposing music according to the keyboard or guitar in C major or A minor • Use notes within a range of a 5th transposed into C major or A minor.
needs of the class. using mainly primary chords. Compose
• Create opportunities for
Year 7

bass lines using the root note of each Class Brass Band
engendering a sense of chord. • Play melodies on brass instruments learnt aurally or using staff notation on one
performance, whether that be in • Create melodic song-lines shaped by stave.
front of an audience, in the lyrics and/or harmonic intention. • Develop lip flexibility and tonguing, and increase range from a 5th to a 9th using
community or through recordings to the keys of Bb major and C minor.
be shared on virtual platforms. Programme Music
• See p.46 MMC for song examples • Play given chord sequences as Reading Notation
examples of harmonic effect. • Read and play short rhythmic phrases at sight, using conventional symbols for
• Compose chord sequences on the known rhythms and note durations.
Listening keyboard or guitar in C major or A minor. • Read simple phrases using pitch and rhythmic notation on the treble clef containing
• Explore melodic line and simple melodies that move mostly in step.
• See page 47 of the MMC for
structural ideas, e.g., ABA. • Semibreves, Minims, Crotchets, Quavers, Semiquavers, Dotted crotchets/quavers,
suggested repertoire listening
Dotted quavers/semiquavers, Treble clef Middle C to F, Bass clef G to Middle C,
materials
3/4 and 4/4, C major/A minor, forte & piano, Crescendo and Decrescendo.

15
 Singing Composing Performing
• Sing regularly from an extended ‘Song’ Writing (with or without lyrics) Instrumental Performance (other options might include a string ensemble, jazz big
repertoire with a sense of • Play chord sequences from familiar band or rock band)
ensemble and performance. This songs with rhythmic vitality.
should include observing phrasing, • Compose chord sequences on the Keyboard
accurate pitching, and dynamic keyboard or guitar in C major, G major, A • Expand the rhythmic scope of melodies on keyboard instruments, following staff
contrast. minor or E minor. notation written on one stave or two staves.
• Sing chordal harmony in two or • Compose simple bass lines using the • Use notes within a range that includes a change of hand position and an optional
three parts, transposing music root note of each chord. left-hand part.
according to the needs of the class • Create rhythmic accompaniment to
• See p.49 MMC for song examples: support chord sequences. Class Brass Band
o Trad. English: The Trees • Compose melodic lines, shaped by lyrics • Develop technique through playing melodies with a range up to a 10th, increasing
They Do Grow High and/or harmonic intention. lip flexibility and tonguing technique with a focus on arpeggios, e.g., in Destiny’s
o Trad. Latvian: Oleleloila Child’s Survivor. Expand key to F major and D minor.
o A Great Big World/Christina Programme Music
Aguilera: Say Something • Compose chord sequences on the Reading Notation
•
Year 8

o Kelly/Steinberg: True keyboard or guitar in C major, G major, A Read and play short rhythmic phrases at sight, using conventional symbols for
Colours minor or E minor. known rhythms and note durations.
o Trad. Chad/Congo: Soualle • Compose a harmonic sequence in • Read simple phrases using pitch and rhythmic notation on the treble or bass clef
o Boberg: How Great Thou Art response to an extra-musical stimulus. containing mostly conjunct movement.
o Aswad: Don’t Turn Around • Use percussion and percussive sounds. • Semibreves, Minims, Crotchets, Quavers, Semiquavers, Dotted
• Explore melodic line/structural ideas, e.g. crotchets/quavers, Dotted quavers/semiquavers, Treble clef Middle C to F, Bass
Listening AABA. clef G to Middle C, 3/4 and 4/4, C major/A minor, forte & piano, Crescendo and
Decrescendo, mezzo piano, mezzo forte, one ledger line, staccato/ legato, G
• See page 50 of the MMC for Melody and Accompaniment Major/ E Minor.
suggested repertoire listening • Compose melodies using vocal or
materials instrumental improvisation, bearing in
mind phrase structure.
• Harmonise melodies using the root notes
from primary chords and appropriate
cadences. Improvisation
• Improvise new musical ideas over chord
sequences or over a groove within a
chosen key or keys.
• Experiment with the use of sound and
silence as well as anticipated and
unexpected musical moments.

16
 Singing Composing Performing
• Sing regularly from an extended ‘Song’ Writing (with or without lyrics) Instrumental Performance (other options might include a string ensemble, jazz big
repertoire with a sense of • Compose chord sequences on the keyboard or band or rock band)
ensemble and performance. This guitar in C, G or F major, A, E or D minor.
should include observing phrasing, • Compose contrasting chord sequences to Keyboard
accurate pitching and dynamic create pieces in either ternary or verse/chorus • Further increase the rhythmic scope of melodies on keyboard instruments,
contrast. form. following staff notation written on two staves.
• Sing homophonic and/or • Write simple bass lines using the root note of • Add either a single note or chordal accompaniment to the melody; alternatively
polyphonic harmony in three parts. each chord. Give these bass lines rhythm and play a piece based on chords (e.g., an arrangement of the start of the
• See p.52 MMC for song examples: use passing notes to enhance them. Moonlight Sonata).
o Trad. England: Ah, Robin • Create rhythmic accompaniment to support
o Trad. South Africa: chord sequences. Class Brass Band
Babethandaza • Compose melodic lines, shaped by lyrics and/or • Develop playing technique to expand range to a 12th. Use scales and pieces
o Turtles: Happy Together harmonic intention. such as Grieg’s Hall of the Mountain King to increase ability to play at a range
o Brumley: I’ll Fly Away of tempi.
o Bricusse/Newley: Feeling Programme Music
Good • Compose chord sequences on the keyboard or Reading Notation
o Charlie Puth: One Call Away •
Year 9

guitar in C, G, or F major, A, E or D minor. Read and play short rhythmic phrases at sight, using conventional symbols for
o Trad. Shalom Chaverin • Compose contrasting harmonic sequences that known rhythms and note durations.
o Gibbons: Drop, Drop, Slow respond to extra-musical stimuli. • Read simple phrases using pitch and rhythmic notation on the treble and bass
Tears • Use percussion and percussive sounds. clef containing some leaps.
o George Ezra: Shotgun • Explore melodic line, use of contrast and • Semibreves, Minims, Crotchets, Quavers, Semiquavers, Dotted
o Parry: Jerusalem structural ideas, e.g., ABACA. crotchets/quavers, Dotted quavers/semiquavers, Treble clef Middle C to F,
Bass clef G to Middle C, 3/4 and 4/4, C major/A minor, forte & piano,
Listening Melody and Accompaniment Crescendo and Decrescendo, mezzo piano, mezzo forte, one ledger line,
• Compose melodies using vocal or instrumental staccato/ legato, G Major/ E Minor, 6/8, Slurs
• See page 53 of the MMC for improvisation, bearing in mind phrase structure.
suggested repertoire listening • Harmonise melodies using the root notes from
materials primary chords and appropriate cadences.
• Embellish the accompaniment with passing
notes.

Improvise
• Improvise melodies and riffs over chord
sequences with a strong awareness of key.
• Improvise a melody on the voice or an
instrument to fit with the chord sequences
created.
• Take the listener on an original musical journey.

Culmination Project
(suggested on page 55 of the MMC)

17
Exemplar: Key Stage 3 Long-term Music plan
(courtesy of Kensington Aldridge Academy)

OVERVIEW

18
 Fertile Concepts Description of key learning activities and objectives Formative Assessments Summative Assessments Links to GCSE & A-Level
Year 7 Question

Autumn Y7 Why is Rhythms, note Introduction to the music department at KAA and encouragement to join our many Weekly teacher Written theory test on Reading and writing
rhythm an values, names ensembles and learn a musical instrument. Start with the building blocks of all music: monitoring. rhythm, notation, time notation
essential of notes, rhythm. This is reinforced by learning to play the djembe whilst exploring traditional music signatures, and tempos
ingredient to clapping from sub-Saharan Africa. This is a theory project.
make a
● Learn note values, names of notes, symbols, and how to draw each note Written work in exercise Key terms
successful
● Complete lots of musical maths problems books green penned by Practical performance
piece of
Djembe ● Learn about musical rests, dotted notes, time signatures and tempos students and peers assessment on the djembes
music?
drumming ● Learn how to play the djembe and perform in large/ small ensembles
Identifying features of
● Compose convincingly exploiting rhythms, as well as cross- and poly-rhythms
● Develop stylistic understanding and develop awareness of musical history performances by
● Appreciate traditional djembe composers and their music Short musical maths listening
questions marked in the
Spring How can we Pitch, melody, Singing based project learning the notes of the treble and bass clefs focusing on performance lesson Written theory test on
describe dynamics, in large and small groups. This is a performance project. naming notes in different Appraising music
Y7 music using articulation clefs and defining
words like up ● Introduce MAD T SHIRT with a focus on melody, dynamics and articulation terminology and symbols of
● Learn the letter names of the treble and bass clefs and start reading and performing Live marking
and down, dynamics and articulation
music through singing Ensemble performance
high and low,
Singing ● Practice singing whilst following different dynamic markings skills
long and
● Learn many vocal warmups and singing posture, breathing, articulation and Peer assessment
short?
phrasing. Sing as a class either in
● Focus on unison singing and two part harmony unison or two part harmony
● Sing as a class and in small groups in small groups Rehearsing, performing
Expectation to critically in exam environment/
Summer How did Performing, Piano project focusing on developing coordination, assigning numbers to fingers, and playing listen to musical EOY written paper testing conditions
Beethoven reading with two hands. Understanding of theory covered so far and sight reading. This is a examples in lessons and students on all theory
Y7 keep notation, performance project. contribute to class covered so far
composing harmony, discussions
● Consolidate theory covered so far and demonstrate understanding by learning to Solo performance
even though melody
he was deaf? play Ode To Joy on the keyboards
● Expand understanding of melody by analysing the Ode to Joy melody and using Individual performance
terms like ‘arch-shape’, and ascending and descending Weekly student assessment playing Ode to
Taking on board
The piano ● Short tasks recapping rhythms, pitch, time sigs, tempos, dynamics and articulation performances Joy (filmed)
● Develop piano skills using two handed technique feedback and acting on
● Continue to develop ability to read and understand staff notation it
● Perform music solo to the whole class
If at the keyboard,
perform under the
webcam

Performance feedback

19
Year 8 Fertile Concepts Description of key learning activities and objectives Formative Summative Assessments Links to GCSE & A-
Question Assessments Level

Autumn Do all pop Harmony and This term kicks off year 8 which aims to make sure students are confident with chords, triads and Weekly teacher Theory test consolidating all Reading and
songs follow tonality basic harmony. Students will explore these concepts within pop music with the additional monitoring. theory knowledge this term: writing notation
Y8 the same challenge of also trying to play the guitar. This is a performance project. harmony and tonality.
formula?
● Learn about the most important 4 chords and how to play them on both the piano and
Piano and guitar (C, G, Am, F) Written work in Key terms
guitar exercise books Listening and appraising
● Appraise pop music and study different genres from the 1950s to present day green penned by questions
students and peers
● Revise major and minor tonalities, as well as, chord symbols, inversions and accidentals Identifying
features of
● Learn to play famous songs and choose one for their assessment - Stand By Me, Three Performance assessment on performances by
Little Birds, Oasis - Don’t Look Back In Anger or No Woman No Cry Short musical maths piano or guitar performing pop listening
questions marked in song chords
● Includes song writing for 3 or 4 lessons - chord composition and lyrics in their books the lesson

Spring Y8 Should all Instrumentati This is a composition project on Logic Pro X asking students to record an existing song into Logic Submit recording from Logic Appraising music
music be on and focusing on instrumentation, texture, quantising and score editing. and students are assessed on its
created texture Live marking accuracy to the original
digitally? ● Pupils will learn the songs Don’t Stop Believing and Africa by Toto and learn how to
accurately sequence these into Logic on MacBooks. Ensemble
performance skills
Logic ● Pupils will also learn the different textural terms and identify these by appraising Expectation to No theory test
different styles of music critically listen to
musical examples in
● Students to explore features in Logic, such as, reverb, fx, EQ etc Rehearsing,
lessons and
performing in
contribute to class
Summer What are the Melody, pitch Pupils will explore the history of popular music analysing the impact of slavery on blues and jazz Written theory test on triads, exam
discussions
12 bar blues? rhythm, and how this has influenced the music of today. At the same time, pupils will continue their Roman numerals, chords, environment/
Y8 harmony, exploration of harmony and tonality. This is a theory and performance project. tonality, and accidentals as well conditions
tonality, as all knowledge covered this
improvisation ● Learn to play the 12 bar blues in C major (walking bass line/ chords/ melody). Students Peer assessment year e.g. structures and
will start learning either LH or RH and play as a duet. Students will be expected to play instrumentation
at least two parts individually and ideally with both hands at the same time Weekly student Solo performance
performances
The piano ● Sing the Roman Numerals of the blues
Individual performance
● Develop stylistic understanding and develop awareness of musical history Taking on board
assessment playing the 12 bar
If at the keyboard, feedback and
blues on the piano (filmed)
● Celebrate jazz composers from the 1800s onwards! perform under the acting on it
webcam
● Understand major and minor tonality, triads, C major scale, Roman numerals, chord
numbers, and the 12 bar blues in C, F and G major
Pupils to compose
● Learn about accidentals and how to play them on the piano (revise notation) as well as Performance own work using
practice drawing these two symbols and recognising them in piano sheet music feedback GCSE mark scheme

20
Year 9 Fertile Concepts Description of key learning activities and objectives Formative Assessments Summative Assessments Links to GCSE & A-Level
Question

Autumn Are you a Performing, Pupils will consolidate their understanding of pitch and rhythm by learning to play Weekly teacher Perform either ‘Lonely Reading and writing
grade 1 notation, pitch, ABRSM grade 1 pieces with the hope of learning one in full with both hands. Students monitoring. Road’ or ‘Wiegenlied’ notation
Y9 musician? melody, will revise the key terms dynamics and articulation as well as the tempo directions of the from ABRSM grade 1 with
dynamics and graded pieces. This is a performance project. two hands (see
articulation differentiated resource)
● With differentiated resources, learn to play either ‘Lonely Road’ or Wiegenlied’ Written work in exercise Key terms
from ABRSM grade 1 on the piano with two hands books green penned by
students and peers
The piano ● Revise rhythm, pitch, melody, rests, dotted notes, dynamics, articulation and
Identifying features of
tempo
performances by
● Improve piano playing technique and perform in front of peers regularly Short musical maths listening
questions marked in the
lesson

Spring Is technology Composing, Composition based project using sequencing methods in Logic Pro X on MacBooks. Pupils Compose a short Appraising music
ruining the sequencing, will look at the effects of technology on the working musician and the record industry. piece/phrase using
Y9 music industry? harmony and This project will consolidate all theory knowledge taught so far as well as cover different Live marking chords and melody in a
melody musical structures and introduce an awareness of instrumentation, techniques, and clearly recognizable Ensemble performance
timbre. This is a composition project. structure using Logic skills
Expectation to critically
● Develop composition skills focusing on relationship between melody (pitch and
Musical history listen to musical
rhythm) and harmony
and stylistic examples in lessons and No theory test Rehearsing, performing
development ● Learn about musical structures (binary, ternary, rondo, verse-chorus etc) contribute to class
in exam environment/
discussions
conditions
● Learn about different instruments, their ranges, special effects and techniques
and how to realise these using software, e.g. pizzicato

● Further develop keyboard/ piano skills by using the keyboard as a MIDI Peer assessment
Solo performance
instrument to record into Logic
Weekly student
● Introduction to the use of music technology/ sequencing as an aid to enhance performances
the composition process Taking on board
feedback and acting on
● Look at the effect of technology on the music industry over the past 60 years it
If at the keyboard,
and the advantages/ disadvantages on musicians and the Industry
perform under the
● Students will learn about quantising and score editing webcam
Pupils to compose own
work using GCSE mark
Performance feedback scheme

21
Summer Is music the Composing, Pupils will explore the world of music and media and how music is used in jingles, tv Compose music for a film
most powerful sequencing, adverts and film music. Pupils will learn about the leitmotif and ultimately try to clip
Y9 tool in the harmony, compose their own film music! This is a composition project.
world? instrumentation,
texture, ● Pupils will demonstrate their understanding of Logic Pro X by composing their
own music Listening exam with
structure and
extended writing
melody.
● Pupils must demonstrate a clear understanding of melody, rhythm, texture, question
structure and harmony

● Pupils must compose a leitmotif

● Pupils must critically select and handle appropriate instruments and exploit
them to good effect

● Pupils will also sit the end of Key Stage theory written paper

22
Engaging your School’s Governors in Music Education
Governing boards play an important role in ensuring every child has access to a broad and balanced curriculum. Arts and culture form a key part of this,
allowing young people to develop their creative skills alongside their personal development, giving them the tools they need to succeed in life. Arts Council
England have updated their four guides (HERE) to support school governors champion the right for all young people to experience a creative education that
includes:
• Arts, culture and creativity (HERE)
• Art, craft and design (HERE)
• Dance (HERE)
• Music (HERE)
These guides have been developed in partnership by Arts Council England and the National Governors Association alongside key subject
associations, National Society for Education in Art and Design (NSEAD), One Dance UK and Music Mark.

Questions that governing boards can ask about music education:

The following are examples of the type of questions that governors and trustees might ask about music education in their school or trust. As a subject
leader, consider how you might respond to these examples of questions that may be asked of you a Governor or Senior Leader:

• What are the relative strengths of our music curriculum: what are the areas we need to develop?
• How does our music curriculum cater for the needs of pupils from all backgrounds and of all abilities?
• How is music present both within and beyond our curriculum?
• How are we utilising guidance such as the model music curriculum and national plan for music education?
• What opportunities do our pupils have to perform in front of an audience?
• What wider opportunities do we provide – extra-curricular, instrumental tuition, qualifications, careers advice?
• Are teachers and staff given the professional support and CPD needed to deliver a high-quality music education?
• Do we engage parents and the wider community in our music curriculum, through performance, for example?
• What is our relationship with the local Music Education Hub – does it extend beyond providing us with visiting music teachers?

23