Music Curriculum Overview

Team Vision

Music is the perfect vehicle to help develop confident young people ready to face the challenges that await them.

Music lessons are to be musical. Our journey - To become a musician.

There are 3 core ambitions we have for Music learning at Chilton Trinity School:

1. To Love music and musical learning.
2. To become a more confident musician.
3. To deliberately focus on Social Emotional Learning (SEL) through musical participation.

Learning Music at CTS is more than just an ability to play an instrument. Students should have the opportunity to develop their voice in terms of self-expression, self-awareness, curiosity, creativity, collaborators, and community members.

We believe that by focusing on SEL through music we can help grow our students into confident, self-reliant, self-regulatory, and problem-solving learners. Music is a learning activity that uniquely allows students to practice the social, and employment skills they will later rely on after their time in education.

All students will have the opportunities to learn musicianship skills in the context of a variety of instrumental disciplines. They will develop a love of music and musical learning. They will understand the challenges a musician faces, collaborate and problem solve like a musician.

All students will be encouraged to explore their musical 'voice' to help them develop their musical literacy through musical performance, as-well-as developing their creative thinking skills.

Students will feel the value of working hard to achieve, and plan to make progress, in musical explorations, whether this is through musical performance, composition, or ensemble skills. Students will learn to set themselves ambitious challenges appropriate to their starting point. There will be times within any musician’s journey where frustration sets in. A quality musician will analyse their progress, problem solve, and work through solutions to make further progress.

Students will learn to understand the wide-ranging careers and skills within the Music Industry to realise career pathways available to them.

Starting with WHY (Simon Sinak)

WHY?

Our journey - To become a musician.

Social Emotional Learning is a key driver to success in Music.

To use Music as a vehicle for students to develop Social Emotional Learning (SEL) skills as they prepare for life beyond secondary school education.

1. To love music and musical learning.
2. To become a more confident musician.
3. To deliberately focus on SEL through musical participation.

As students transition through secondary education and into the world of work, they will be faced by a significant number of challenges, many of which will test their academic and emotional intelligences.

FOUNDATIONS OF MUSICIANSHIP

Notation – Music is written in a variety of different ways. Students will learn to understand how music is notated and develop an understanding of how to apply this to making music.

Rhythm – To make music interesting, and to help melodies tell a story, rhythm is used. This brings music to life and is one element towards creating musical purpose.

Tempo – All music must have a tempo, but this should be controlled and appropriate to the context of the musical purpose. Tempo is one element that is used to build atmosphere.

Pitch – Controlling pitch helps us understand how to manipulate melody and harmony within music. This is also a key element of building musical purpose and atmosphere.

Ensemble – As musicians we need to better understand our musical relationship with others. By being responsive and communicative within music we can perform with more meaning & purpose.

At the end of KS3 students will have a workable understanding of:

• Rhythmic and note length notation.
• Recognition of notes (do-fa) both in Bass and Treble Clef.
• Terminology and markings for dynamics and tempo.
• Time Signatures.
• Expressive musical direction and markings.
• Tonality and harmony.

Students will develop singing, listening, composing, and performing skills within learning activities.

Curriculum Intent

To successfully achieve our 3 core ambitions, we believe that a multi-pronged approach is needed:

• A well-constructed curriculum for Music following much of the Model Music Curriculum plan published Mar ’21 by the DfE.
• A well implemented Student-Centred Learning approach.
• An appropriately levelled approach to facilitating learning, which will be Piagetian in essence.
• Extra-Curricular activities that contain a wide and rich music participation program.
• Providing opportunities for students to showcase their musical talents and learning.
• Engaging environment in the Music area and around the school.

The focus on student engagement in Music is at the uttermost importance. Students who engage in learning activities will tend to challenge themselves, accept criticism more positively, and therefore achieve a higher standard of work.

Students will be encouraged to recognise, understand, and use musical terminology throughout all units of work. Teaching strategies will be used to ensure music is the most dominant language.

HOW?

Student-Centred Learning

We are looking to implement a Student-Centred Learning (SCL) approach to lessons where we will change from being ‘Teachers of Learning’ to ‘Facilitators of Learning’. Under this approach students will be coached through their learning by their learning facilitator.

It will be vital, therefore, to support children with their independent learning by creating and maintaining reference material that encourages Self-Reliance, Resilience, and Self-Regulatory skill development.

A narrative example of this - Kathryn is struggling to read the notation for the keyboard piece she has been given. Either independently before, or during dialogue with her learning facilitator (teacher) they discuss the kind of support material that will help her unlock the barrier in her learning. This conversation is often coaching in style and therefore Kathryn will be able to critically think about ways to overcome this problem. Kathryn will then take action to remedy this specific problem using the strategies and/or learning material suggested. If Kathryn was still stuck, she could reach out to her teacher to discuss the problem further and get more specialist advice and direction.

By working in this way students will develop important problem-solving skills needed in the modern learning and working environments. They will not be left to ‘figure-it-out-on-their-own’, instead they will be encouraged to think harder about how they can overcome problems and barriers, and therefore become less-reliant on others for their learning. We wish to encourage students to see teachers as facilitators of expert knowledge, as they provide well timed, and strategically planned expert support.

It is important to note that the SCL approach will need to be Piagetian in essence, so that these independent learning methods are introduced, practised, and mastered throughout the 5 years at CTS.

Monitoring & Support

Careful thought, and planning will need to be given to rolling out this approach, specifically in the development of self-reliance, and self-regulatory learning material.

Monitoring and Progress assessment markers will need to be carefully planned for to ensure consistency in learning, and that students are well supported throughout their learning journey.

Extra-Curricular

The development of a rich extra-curricular program is vital, however there are challenges in terms of opportunities, staffing, and cost.

Within lessons students will learn the musical skills, values, and disciplines of learning the keyboard, using music sequencing software, singing, and developing ensemble skills.

To supplement this, we will offer a variety of extra-curricular activities that may include a choir, music technology club, and whole school / lower school productions.

Behaviour and attendance within Music lessons is historically good with low levels of issues needing to be resolved. In student voice exercises students have reported to enjoying music and engagement is high throughout all year groups. By deliberately focusing on Social and Emotional Learning skills, students will develop a confidence that will help them become more flexible, and resilient when life and/or work becomes challenging. Through music students will develop an understanding of national and global cultures, as well as how music is used widely as a method of self-expression and communication.

Although case studies suggest that some students initially react negatively to a change in learning approach (in both the context of SCL and SEL), the positive impact this can have for students long term future could be incredible. We will need to be encouraging, supportive, and developmental in our approach to motivate students and bring them with us on this journey. Historically students have done well in Music, and it is because of the excellent foundations laid before that supports changes to our learning approach.

With the utilisation of specialist teachers within the subject, students can benefit from quality musical feedback and engagement. Lessons will be an environment where experienced musicians work with developing musicians in helping them understand and work through musical problems to achieve better outcomes.

Students will make musical progress through the Foundations of Musicianship. This is a set of musical skills that transcend all units of work allowing students to focus on improving their musicianship regardless of the specific instrumental discipline.

WHAT?

The impact we expect this to have been quite wide reaching. We expect students develop SEL skills and improve their emotional literacy. This will positively impact on academic progress across the school, but more importantly it will foster growth in their character and help them thrive in life.

Students will become more engaged in the life of the school and develop a sense of community within Chilton Trinity School.

Students will take more care and pride in their work.

It is expected, as suggested in multiple case studies into the impact of SCL and SEL approaches, that students will not only engage more, develop Social and Emotional skills needed in life, but also excel in academic study.

 

We expect students to develop SEL skills in the following ways:

Problem Solving	Resilience	Self-Reliance
Creativity	Self-Regulation	Curiosity
Collaboration	Communication	Critical Thinking
Community	Self-Confidence	Participation

 

RESEARCH and READING MATERIAL

Learner-Centered Teaching – Putting the Research on Learning into Practice by Terry Doyle

Simple, Powerful Strategies for Student Centered Learning by George M. Jacobs, Willy A. Renendya, Michael Power

Teaching in the Online Classroom – Surviving and thriving in the new normal By Doug Lemov

Balance with Blended Learning by Caitlin R. Tucker

Sail the 7 C’s by Becki Keene & Kathi Kersznowski

What 21st Century Learning? A review and a synthesis by Punya Mishra

The class of 2030 and life-ready learning Collaborative report between Microsoft and McKinsey & Company’s Education Practice.

Dancing with Robots – Human Skills for Computerized Work by Frank Levy & Richard J. Murnane

ITL Research 2011 Findings and Implications - INNOVATIVE TEACHING AND LEARNING RESEARCH By SRI International

Start with Why by Simon Sinek

Permission to Feel by Marc Brackett

The Power of Us by David Price

Principles of Instruction by Barak Rosenshine

Long Term Plan

	Term 1	Term 2	Term 3	Term 4	Term 5	Term 6
Year 7	Unit 1: African Music	Unit 2: Musical Futures	Unit 3: Folk Music	Unit 4: Klezmer Music	Unit 5: Vocal Music	Unit 6: Tech Composition
Key Learning Students need to know and remember from this unit of work	Beats & Counting Rhythm Notation Basic Drum TAB	Reading Chord Charts Ukulele TAB Dynamics & Pitch	Reading Guitar TAB Rhythmic Notation Tonality	Traditional Notation Rhythmic Notation Tempo & Pitch	Key Signatures Structure Expression	Musical Structure Textures Dynamics
Check for Understanding How we will check for understanding in this unit of work	Assessment Checkpoint: On-going formative feedback. Group (G) performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. Paired (P) performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. Individual (I) performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. P / I performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. Group performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. Individual performance with teacher feedback.
Year 8	Unit 1: Samba Ensemble	Unit 2: Popular Music	Unit 3: Baroque	Unit 4: Minimalism	Unit 5: The Blues	Unit 6: Music Editing
Key Learning Students need to know and remember from this unit of work	Rhthmic Notation Time Signatures Texture	Rhythmic Notation Reading Guitar TAB Musical Structures	Traditional Notation Melody & Phrasing Tonality	Drum Matrix Timbre Atmosphere & Dynamics	Chord Progression Phrasing & Harmony Improvisation	Dynamic Balancing Creating Atmosphere Effects
Check for Understanding How we will check for understanding in this unit of work	Assessment Checkpoint: On-going formative feedback. Group (G) performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. Individual (I) performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. Paired (P) / I performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. P / I performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. P / I performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. Individual performance with teacher feedback.
Year 9	Unit 1: Romantic Music	Unit 2: Musical Futures	Unit 3: Instrumental Development	Unit 4: Popular Music Composition	Unit 5: Popular Music	Unit 6: Careers in Music
Key Learning Students need to know and remember from this unit of work	Traditional Notation Texture Melody & Harmony	Popular Music Notation Ensemble Aural Skills	Metacognition Regulation Rehearsal Skills Instrumental Discipline	Tonality & Scale Modulation Chord Progressions	Melody & Harmony Musical Structure Riffs & Hooks	Authentic Learning Problem Solving Creativity
Check for Understanding How we will check for understanding in this unit of work	Assessment Checkpoint: On-going formative feedback. P / I performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. P / I performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. Individual performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. P / I performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. P / I performance with teacher feedback.	Assessment Checkpoint: On-going formative feedback. P / I performance with teacher feedback.

 

Year 10	Unit 2: Composition	Unit 2: Composition	Unit 2: Composition	Unit 2: Composition	Unit 1: Performance	Unit 1: Performance
Key Learning Students need to know and remember from this unit of work	Musical Intentions Musical Features Short Compositions	Composition Intentions Planning & Milestones	Research & Development Musical Analysis Portfolio Development	Music Composition Presentation Composition Evaluation Portfolio Completion	Instrumental Development Research & Planning Action Plan	Research & Development Portfolio Development & Monitoring
Check for Understanding How we will check for understanding in this unit of work	Assessment Checkpoint: Informal progress checking policy	Assessment Checkpoint: EDUQAS Assessment Objectives 1 Planning	Assessment Checkpoint: EDUQAS AO 2 Development	Assessment Checkpoint: EDUQAS AO 3 Presentation & Evaluation	Assessment Checkpoint: EDUQAS AO 1 Research & Impact	Assessment Checkpoint: EDUQAS AO 2 Schedule Planning
Year 11	Unit 1: Performance	Unit 1: Performance	Unit 3: Perf Arts in Practice	Unit 3: Perf Arts in Practice	Unit 3: Perf Arts in Practice
Key Learning Students need to know and remember from this unit of work	Research & Development Portfolio Development & Monitoring	Performance Presentation Performance Evaluation	Proposal: Factors that influenced it Plans and ideas Timeline, roles, resources	Organising: Marketing Examples of artists	Pitch: Present your proposal. Evaluate: Success and learning
Check for Understanding How we will check for understanding in this unit of work	Assessment Checkpoint: EDUQAS AO 3 Progression	Assessment Checkpoint: EDUQAS AO 4 Perform & Evaluation	Assessment Checkpoint: EDUQAS AO 1 Planning	Assessment Checkpoint: EDUQAS AO 2 Developing	Assessment Checkpoint: EDUQAS AO 3 Deliver & Evaluate

 

Useful Links

https://www.bbc.co.uk/music/uk

https://www.music-news.com/