MusicNet East Research To Date 2015-16 As Lyndall finished off by saying MNE is a Research and Development project. The main research question, is ‘What is the benefit of music education hubs developing more inclusive ways of teaching music?’ Learning is being produced on the project by teachers developing and trying out new ways to teach, from conversations between people with different knowledge, approaches and specialisms. On the project we’re calling this triangulation, but…

Consilience William Wherwell 1789 ‘Jumping together’, Strength of science is in diversity and dialogue between different approaches and voices Edward Wilson 1998 science/humanities Music is increasingly marginalised in schools by stem subjects and value narrowed Broaden offer to use full value of music A posh word for this is Consilience . Consilience comes out of science, and literally means ‘jumping together of knowledge from different perspectives and voices Strength of science is in diversity and dialogue between different approaches and voices, And also between different disciplines,. In 1998 Edward Wilson suggested the benefit of dialogue between science/humanities But we’re doing this at a time when schools are more interested in maths and science than in the arts. As a consequence, its becoming narrower in how it is valued By producing knowledge through dialogue from different perspectives, we hope to learn about and promote the full value of learning music to support pupils inclusion, wellbeing, and attainment So if you’ve come along feeling you don’t know enough, or perhaps anything yet about the project, that’s a positive benefit Broadly we’re suggesting that developing a more diverse and inclusive musical offer can benefit both vulnerable young people and music teaching.

Previous Research to Date Lucy Green 2001 How Popular musicians learn. 5 principles, KS3 classroom 2004-5 Musical Futures. Susan Hallam 2010 broad benefits NPME 2011 Gary Spruce 2013 Taming of English Music What Hubs Must Do 2013 David Elliott 2012, Music Education for Artistic Citizenship Previous music education research has shown more diverse approaches help inclusion. But this has recently been reversed by government policies. In her book How Popular musicians learn (2001) Lucy Green identified 5 principles of how informal musicians learn, in peer groups, haphazard, listening and copying, start with music they know and like, create own. Applying this to the KS3 classroom in the Musical Futures project showed a person centred approach to leaning music benefits engagement and agentic learning In 2010 Susan Hallam’s review of music considering benefits of music participation found Cognitive, Personal and social benefits, including wellbeing and motivation for wider learning. She later identified match between genre and pupil’s as key to this being inclusive. In 2011 the National Plan for Music education suggests marginalised young people particularly benefit from learning music, ( but seemingly from the aesthetic values of classical music). Gary Spruce 2013 The Taming of English Education suggests NPME makes no mention of value of different music genres or pedagogy. Narrowing at a time when we should be making full value obvious. Also no mention of why we teach music IN 2013, Ofsted guidance ‘What hubs must do’ advocates opening challenging conversations with schools to improve musical standards, but links this to narrowing , rather than broadening diversity. David Elliott 2014, ‘Music Education for Artistic Citizenship’, rather than for its aesthetic value, we should teach music to promote personal and social change and inclusion. Praxial philosophy of music education ( 1995)

Community/Peripatetic approaches Community Music Tutors, Praxial, Constructivist, Groups, Personal and Social outcomes Susan Hallam 2015 Genres for inclusion+ ongoing Peripatetic Tutors, aesthetic, Behaviourist, one to one, Musical outcomes Artistic citizenship is best demonstrated by community music practice, which uses a person centred, creative approach to produce personal and social outcomes, and to produce a hospitable space for excluded people. Community music follows a constructivist paradigm, valuing process and making our own new music for intrinsic value, for how it how it makes us feel. And by producing learning from reflecting on this, it can also change attitudes to learning more widely. However, community music practice has largely happened out of school, and timebound rather than on-going. Susan Hallam (2015) suggests that for music to benefit young people at engage risk of exclusion, as well as needing to be in a style they like, provision must be on-going. Peripatetic tutors work regularly one to one, but teaching tends to follow behaviourist paradigm, transmission of skills and fixed knowledge, has extrinsic value ( passing exams, performances) and focuses on musical outcomes. The project research is developing dialogue between these different approaches to teaching instrumental music, to promote learning instrumental music as a way to support wellbeing, and as an effective way to teach music.

Dialogue with Schools Young Minds, 1 in 10 aged 5-16 diagnosable Links between wellbeing and attainment Inclusion agendas Prevent, British Values Status of instrumental teacher Dialogue with SENCOs, and with schools Different sorts of ‘challenging conversation’ Schools are interested in wellbeing and inclusion 1 in 10 young people have a diagnosable mental health condition. Schools are making links between wellbeing and attainment, and looking for sustainable ways to support this. They also have inclusion agendas to promote (Prevent, British Values, PSHE). Peris don’t get the information we need to plan properly. We’re low status. The project is exploring a way to turn this around to promote instrumental music teaching as way to support wellbeing and inclusion To do this we’re developing dialogue between peri and Senco, music services and schools, promote full value of music. This is producing different type of challenging conversation Early indicators from the project suggest schools are very interested in this….  

New Teaching Models Family Music Music based mentoring Film Not just bringing community musicians into schools, developing new approaches with existing teachers New frameworks, definitions and pedagogy We’re developing new models of teaching. A Family Music strand helps schools engage risk of exclusion young people, links to First Access, and is developing young music leadership…training them to teach their parents. A one to one model runs in Education Support Centres, to where pupils often get excluded, and in mainstream schools, to help prevent their exclusion. We’re branding this model as Music Based Mentoring.. Here’s a film about it…https://www.youtube.com/embed/F6_whzQrKcE Key points, MBM tutors start with music pupil likes, value their opinion about it, help them create their own music, use this as a chance to talk more broadly without an agenda, improving attitude to school and learning more broadly. Throughout, relationship is key. Martin is from a community music background, and we could have interpreted the project as bringing in community musicians to work as peri tutors in mainstream schools, but one of our aims is to develop the models with existing instrumental tutors, so that we embed them as part of music services core work after the project ends. From CPD sessions at Easter, we know that existing peripatetic tutors of different instruments and genres are already producing personal and social outcomes in their teaching, that are not always seen by parents and schools. When they are seen the teaching is valued for personal and social outcomes as well as for exam results. The tutors told us they were interested both in learning about how to produce more personal and social outcomes in their work, and to make these more visible.

Definitions ‘Funds peris to work with vulnerable and risk of exclusion children to support their school attendance, and wider learning’ (Manager) ‘Harnesses enthusiasm for music to benefit wider learning’ (Project officer) ‘Youthwork with music’ (Senco) ‘Teaches the whole child, not just the musical part’ (Music tutor/workshop leader) One of the beauties of the project is that discussions from different perspectives can distil down thought into concise definitions Here are some off-the-cuff definitions that have come out of conversations on the project so far ‘Funds peris to work with vulnerable and risk of exclusion children to support their school attendance, and wider learning’. ( Service Manager) ‘Harnesses enthusiasm for music to benefit wider learning’ MNE officer ‘Youthwork with music’ (Senco) ‘Teaches with the whole child, not just the musical part’ (Music tutor/workshop leader). I really like all these, but I think that above all it offers a really musical way to teach music. And that this depends on us making connections between music and other areas of school life, rather than teaching in musical silos…

6 principles of MBM Person Centred Empowering Freeing and connecting Deals with feelings Relational Focuses both on personal and social outcomes and the development of musical skills To do this, we need to create new frameworks for capture outcomes, ( Lyndall will be leading a session on this presently)We also need to refine both definitions of the model and pedagogy. Here are 6 principles we’ve identified from conversations so far.