Music in primary schools
This report on primary music is the last in the series published by Ofsted over several years, based on evidence from whole school inspections and surveys by HMI. It draws on data from Ofsted inspections from September 2003 to July 2005. The report also reflects upon changes since Ofsted inspections began, referring to subject issues identified in Primary education: a review of primary schools, 1994–98, and inspection judgements from 1998/991. From September 2005, subject evidence will be gained from qualitative inspections of a small sample of schools, and future methods of reporting will reflect this change.
Main findings
- The achievement of pupils is good or better in around three fifths of schools, maintaining recent trends.
- The quality of teaching is good or better in nearly three quarters of schools.
- Live performances are an important part of pupils' music experience, but too often are in isolation from their other work.
- Assessment of pupils remains a challenge in most schools with about one third being good or better and one fifth unsatisfactory.
- Accommodation for music is good or better in fewer than half of schools.
- There is too little use of ICT by pupils in music.
- The leadership and management of music are good or better in just over half of schools.
- Wider Opportunities pilot programmes are having a significant impact on pupils in Key Stage2.
Overview and trends in primary music since 1998
Most schools have improved their provision since 1998, though in many this has been slow, because of other priorities. The characteristics of schools that are most improved include:
- clear leadership for the subject which, on the basis of a secure overview, has set priorities for curriculum and staff development
- good quality information at transfer from Key Stage 1 into Key Stage 2, even when this involves two or more different schools
- careful consideration of the ways that time for music is allocated and used
- attention to the teaching of music-specific skills, using experienced staff with expertise to support whole-school or key stage developments
- where they are available, use of LEA music services to support the music curriculum: in some cases, this has led to in-school support for subject leaders or class teachers; in others, there have been cluster or pyramid arrangements to share developing practice.
Figures 1 and 2 show the improvements in pupils' achievement and in the quality of teaching.
Figure 1. Achievement in music in primary schools – 2003-05 and 1998/99.
Figure 2. Teaching in music in primary schools – 2003-05 and 1998/99.
Although the quality of teaching has improved, many class teachers need support if pupils are to reach the standards expected of them at the end of Key Stage 2.
Figure 3 shows improvements in the leadership and management of music.
Figure 3. Leadership and management in music in primary schools – 2003-05 and 1998/99
Discussion of both assessment and the role of the subject leader in music can be found in 'Issues', below.
National developments and the introduction of the Primary National Strategy have stimulated significant numbers of schools to review their music curriculum and resources and to define realistic targets for improvement. In particular the government's 'Wider Opportunities' policy and the pilot programmes which have been introduced since 2002 have demonstrated what can be achieved when schools work in partnership with their local music service and with freelance musicians 2. The best of these are supported by committed headteachers, knowledgeable music coordinators and partnership arrangements with LEA music services. These are illustrated in the next section of the report.
Since 2002, music services have been encouraged to work in partnership with primary schools, in order to give 'all pupils who wish to, the opportunity to learn a musical instrument'. In addition, a small amount of funding has been allocated so that LEA music services could plan and introduce pilot programmes. National organisations have helped to coordinate information, as well as to disseminate good practice in this new work. The Ofsted report Tuning in, published in March 2004, describes and evaluates the pilot work in 12 LEAs3.
Pilot programmes are continuing in LEAs new to the work and are demonstrating the positive impact on pupils – and on the school as a whole – of larger numbers of pupils learning instruments. These programmes are covering a wide range of new experiences for pupils, including whole-class brass tuition, strings, guitar and music technology. Pupils, schools, tutors and families are responding with much enthusiasm, skill and commitment to these new ways of working. In particular, the widespread use of whole class-tuition, involving an LEA specialist tutor, the class teacher/music coordinator and teaching assistant is bringing about outstanding progress. This includes not only tuition, but in many cases, the joint provision of the National Curriculum for one or more years in Key Stage 2, using these specialist partnership arrangements. In these cases, the partnership is delivering the full range of National Curriculum expectations, including vocal work, improvising, composing and appraising.
In these sessions, standards are highest when due time is given to playing the instruments to consolidate and acquire skills and using these to perform in whole class ensembles, to improvise and, on occasion, to compose. Pupils make best progress when there are arrangements for them to practise at school or at home between sessions. In the earliest stages, aspects of the technical work, as well as the musical activities, can be carried out without undue pressure on pupils to take the instrument home.
Where pupils in Y6 are involved in programmes, effective schools liaise carefully with the music service and the receiving secondary schools, so that the progress which has been made is not lost in transition. They also make sure that there is continuity in the availability of instruments and tutors.
Issues in primary music in 2005
Developing subject leadership in music
The leadership and management of music are satisfactory or better in the great majority of schools and are in line with the average for all other subjects. Leadership and management could be improved by addressing some of the key issues. In particular, in large numbers of schools there is too little opportunity for the subject leader to have an impact on improving the quality of teaching. In one example of good practice, the subject leader has a time allocation which, over one term, allows co-teaching for a session with each class in Key Stage 2. The class teacher and coordinator plan the session together, where each has a distinctive role in the lesson. They evaluate the quality of the session, including the progress which pupils are making. They also plan sessions for the rest of the term, as well as how pupils' progress and standards can be 'caught' and logged. Later in the year, the coordinator works with each class teacher in the assessment of pupils' achievement and standards. This gives the coordinator a secure overview, as well as targets and plans to work with teachers again when pupils move into the next class. Wherever possible, the coordinator introduces new work and plans the series of follow-up lessons in detail with each class teacher. In this way, curriculum development, the assessment of pupils and staff development are part of an overall annual plan.
More broadly, where the role of music coordinator has been enhanced, this has resulted in a thorough audit of the subject knowledge and skills across the whole teaching team, which have been identified and matched to the curriculum provision. It has also enabled them to look for support and partnerships beyond the school in developing and improving the provision.
Continuity and progress from the Foundation Stage to the end of KS2
In too many schools, good provision, which is established in the Foundation Stage into Key Stage 1, is not followed through into the early stages of Key Stage 2. This is worsened at times, with the introduction of Wider Opportunities in Year 4 or 5, when the pilot programme is not linked with the provision for younger pupils.
Schools need to ensure that they build on secure foundations where they are already in place, rather than suggest that the work in Key Stage 2 is a 'new start' for all pupils and staff. Schools should ensure that teachers of younger pupils know the music curriculum of the whole school, not just their own contribution to it. Subject coordinators need to ensure that curriculum links are made through schemes of work, repertoire and classroom activities. The more that can be done to demonstrate progression, the better. So, for example, in some schools, younger and older pupils observe each other's work in class, or have joint celebrations several times each year, most commonly in assembly time or at special events.
Music technologies and ICT
The increase in the good use of interactive whiteboards and associated software is having a positive effect on the storage, editing and sharing of whole class and group work in music. It is also allowing for the appropriate use of more interactive and multi-media presentation of new content, or for the consolidation of skills and concepts. The use of digital video disks and video extracts allows pupils to observe and understand more easily the important kinaesthetic and ensemble aspects of music making. They also see and hear music traditions in which they may wish to participate and instruments which they may wish to learn.
There is, however, too little use by pupils of music technologies in Key Stage 2. National organisations are working well to disseminate examples of good practice, as well as advice on the acquisition of appropriate educational equipment and software in an increasingly complex and fast-moving aspect of music provision. Schools also need to consider a wider range of music technologies, beyond those which are screen-based, to include materials on interactive media and the use of backing tracks and digital recording facilities.
The use of live performances in schools
Schools use a range of ways to introduce live performances. In a significant number, the local music service offers programmes for different age groups, involving a range of repertoire and musical traditions. In other cases, schools have the benefit of working with local or regional professional music organisations through an educational programme.
In most cases, while the performances themselves give pupils new and often vivid experiences of high quality music making, these are too rarely integrated into the curriculum. Too often, there is little or no preparation, when pupils could be encouraged to use websites for information, which they could then present and share before or during the event itself. Pupils are also rarely involved and too often silent recipients of an isolated experience. In a small number of good examples, follow-up includes commercial video or audio recordings of the same or similar music; links with other parts of the curriculum - for example geography, when world music traditions have been introduced, or history, when music from mediaeval, Tudor or Victorian periods has been played.
While these experiences at their best are rich and significant for pupils, it is also important that they have opportunities for experiences of music beyond the school. There are excellent examples of events coordinated by school staff or LEA music services across clusters or pyramids of schools. This allows for large-scale music making, workshops, or special events, which single schools cannot provide. There are increasing numbers of partnership arrangements which provide for pupils to work with a range of musicians and traditions in large and prestigious venues, for example arts centres, concert halls and churches. While allowing them to share their work in the community this also builds their confidence and knowledge of the opportunities available beyond schools for participation and involvement in the longer term.
Assessing individuals involved in whole-class or group activities
Assessment of pupils' achievement and the standards they reach remains a significant challenge in most schools. Music coordinators have had very variable support in setting up procedures and systems which 'catch' and store evidence of pupils' achievement and standards. There are significant challenges in assessing pupils when they are working on complex, workshop practical activities.
In the best examples, teachers have shared with pupils very clearly what is expected, as well as how to develop and improve their work. The use of video and audio recordings, of discussions, feedback and interviews with groups of pupils and, increasingly, the observation of small groups of pupils over time, are allowing more secure assessments to be made.
For example, in one reception class, the music session involved a counting song using the numbers one to five. After whole-class activities with pictures and actions, groups of five pupils worked with a teaching assistant to develop the work using five different instruments with the song. At the end of this, there was evidence of the pupils developing singing skills, memory, selecting and playing an instrument and making an individual musical contribution in a group setting. This was logged by the teaching assistant against the learning objectives for music and creative development, linked to this mathematic topic.
1 Primary education: a review of primary schools in England, 1994-98, TSO 1999.
2, 3 Tuning in: wider opportunities in specialist instrumental tuition for pupils in Key Stage 2, Ofsted, 2004.