Best Practice

Music education: Breaking down barriers for vulnerable pupils

The arts Extra curricular Pupil Premium and disadvantage Poverty
Music provision is an integral part of the curriculum and yet evidence suggests variability in quality of provision and considerable barriers for pupils facing socio-economic deprivation. Laura McPhee considers what support is out there
Image: Adobe Stock

School leaders continue to face numerous challenges and so it can feel ambitious to ask them to prioritise music education and consider making adaptations to their provision.

While there has been much discussion in recent years of a “broad and balanced” curriculum, in practice a culture of high-stakes accountability has contributed to an unspoken hierarchy between traditional academic subjects and the arts.

This is compounded by a lack of resource and competing priorities. In some instances this has resulted in a narrowing of the curriculum.

However, the benefits of high-quality music provision extend far beyond any recommendations made by the Department for Education (DfE) or Ofsted.

Research demonstrates how proficiency in music can contribute to achievement across the curriculum. For some time now, scientists have extolled the benefits of brain “plasticity” – the brain’s ability to re-organise and develop new neural pathways. When we learn something new or memorise new information, we create lasting changes in the structure of our brain.

Studies of a music programme delivered to disadvantaged pupils in America demonstrate how music boosts the brain and cognitive function that is important for learning. In turn, these heightened skills facilitate success in school (see Kraus & White-Schwoch, 2020). More generally, studies have confirmed the role of learning music in cognitive development and academic achievement for all pupils (see Miendlarzewska & Trost, 2014). 

It stands to reason that policy-makers and school leaders should invest in music education because it equips students to achieve success across the curriculum. Children and adults with music training, for example, have a superior ability to understand speech in noisy environments, such as classrooms (Strait et al, 2014).

Fascinating though this research is, we should also remind ourselves of the numerous additional benefits that are less easy to quantify or evaluate as part of a controlled study. For example, the focus and discipline that come from years of regular practice or the personal growth and resilience required to learn music.

Not forgetting of course the social skills and friendships that come with taking part in after-school clubs and rehearsals, or the pride and confidence that comer from taking part in performances.

 

The current landscape

The DfE explains that all schools should have a music development plan, as set out in the National Plan for Music Education (DfE, 2022) and schools were required to publish a summary of the plan on their websites by September this year and renew it annually (see DfE, 2024a).

Educators are also familiar with Ofsted’s music subject report – Striking the right note (2023). While there is much to celebrate, the report notes that in most schools composition was the weakest part of the music curriculum as too few schools had provided pupils with the mental models required.

Similarly, of the schools visited, only a small number had a clear understanding of the curriculum goals for music and could clearly articulate what they expected pupils to be able to achieve as a result of completing their studies.

Naturally, these were the leaders who were best placed to evaluate the impact of their music curriculum.

Perhaps most concerning is the persistent gap and lack of opportunity that remains for disadvantaged pupils compared to their peers. This division is most evident when it comes to peripatetic music lessons and music tuition which enable pupils with musical interests and talent the opportunity to progress.

The Child Poverty Action Group has also raised this concern in its report – The cost of the school day in England (2022) – which highlights the stress families are placed under when faced with additional financial burden.

The cost of music tuition combined with the hire of the instrument often precludes pupils from being able to take part. In instances where there is also variability in the quality of provision being delivered, this negatively impacts on pupil engagement over time (see also Hutchinson et al, 2020).

As part of a new government initiative, plans are in place to support pupils from disadvantaged backgrounds and those with SEND. The Music Opportunities Pilot will, with support from Music Hubs, expand on Young Sounds UK’s programme – Young Sounds Connect (see further information) – which gives pupils the opportunity to learn to play an instrument of their choice or how to sing with free lessons (DfE, 2024b).

Meanwhile, how do schools currently manage these competing priorities in order to develop a comprehensive and sufficiently challenging music offer – one that is accessible for all?

 

Case Study: St Joseph’s Catholic Primary School

 

In tune: Pupils from St Joseph’s Catholic Primary School have access to whole-class music teaching, numerous opportunities to perform, and peripatetic lessons (images: supplied)

 

St Joseph’s is a small one-form entry school in the heart of Kensington and Chelsea in London. The school has a highly ambitious music curriculum and leaders foster a love of learning music.

Music specialist Helen Wiles recognises the challenge smaller schools face when implementing a broad curriculum. At St Joseph’s they have tackled this by ensuring pupils have access to a music specialist who is based at the school three days a week. Pupils also have access to high-quality whole-class music teaching, numerous opportunities to perform, and peripatetic lessons.

The leadership team has worked to remove potential barriers for pupils to partake in music tuition. Those who are eligible for free school meals are entitled to subsidised music tuition (up to 50%). Any instances where pupils continue to struggle to afford tuition are reviewed on a case-by-case basis and lessons are fully funded where necessary.

This has contributed to very high levels of engagement and as a result more than 70 pupils now play a musical instrument, and the orchestra has grown from four children to 40.

The school has designed its enrichment offer to promote high levels of engagement and ensure inclusivity. All activities are timetabled to take place during the school day rather than after school hours ensuring maximum attendance. For example, orchestra takes place from 8:45am to 9:30am and choir sessions take place weekly for key stage 2 pupils during the afternoon.

In keeping with the school’s high aspirations for learners, children are also able to enter graded music exams, enabling the pupils’ musical achievements to be officially recognised.

Helen also acknowledges the difficulty schools face when teaching composition: “This was the area I spent the most time developing. I worked hard to make sure there was clarity about the specific knowledge that pupils needed to know in order to learn how to construct and deconstruct music.”

She advocates using a range of high-quality resources to support the delivery of composition, such as Classical 100 or the English National Opera’s composition project Finish This (see further information).

St Joseph’s is a lead school for the local Music Hub, which offers a broad professional development programme co-constructed with local practitioners and designed in response to local need.

In addition to in-person and virtual training sessions, the hub also runs one-to-one sessions to cater to practitioners’ specific needs and queries, enabling them to offer more personalised support.

There are also numerous opportunities for pupil leadership at St Joseph’s, exemplified through the enrichment programme. The school has appointed pupil orchestra managers and choir managers who complete a range of tasks, for example leading the warm up at the start of each session.

Similarly, music ambassadors in key stage 2 enthusiastically raise the profile of music. As part of the school’s partnership with the Royal College of Music, students from the college regularly visit St Joseph’s to deliver sessions to younger pupils.

The team has carefully mapped out school music trips so that pupils have access to a range of opportunities they may not otherwise have had. For example, free trips to the English National Opera and relaxed matinees at the London Coliseum.

Leaders are committed to developing pupils’ life-long passion and appreciation for music. Head of school James Stacey is keen to emphasise the need to have “whole-school buy-in” and the support of the leadership to champion music.

He explained: “We want to create life-changing magical experiences for pupils – that requires passion, dedication, and lots of energy.”

 

Case Study: William Patten Primary School

Inclusive learning: A music leader and specialist delivers whole-class music teaching to pupils at William Patten Primary School (images: supplied)

 

William Patten is a two-form entry primary school in Stoke Newington, Hackney. The school has worked to develop a curriculum that far exceeds national curriculum expectations and is highly inclusive.

Progression documents which denote how learning is carefully sequenced over time are shared with teachers. Clear learning goals and curriculum end-points are mapped out from early years through to year 6 ensuring teachers are secure in their understanding of coverage and where this sits within the progression document.

This enables teachers to confidently refer to pupils’ prior knowledge and ensure there is sufficient challenge. This is coupled with topic vocab mats and graphic organisers which support pupils to access lessons. The visual aids detail the skills and knowledge pupils are expected to know.

Music leader and specialist Elaine Singleton delivers whole-class music teaching to pupils across the school. However class teachers remain in the classroom and facilitate the lesson, which fulfils professional development needs for the wider staff body.

School leaders place a high premium on music as a vehicle for community cohesion. Pupils regularly perform to elderly members of the community from local care homes and retirement communities, as part of the school’s partnership with Intergenerational Music Making, a national non-profit which uses the power of music to reduce loneliness, improve wellbeing, and create stronger communities.

The music provision is further strengthened by an extensive enrichment offer. Pupils have opportunities to participate in performances in range of contexts, including professional theatres and venues such as the O2 Arena.

In keeping with their commitment to inclusive practice, teachers use adaptive teaching techniques to ensure pupils with SEN have every opportunity to be successful in music. Leaders are also aware of the needs within the community and actively support and plan for vulnerable pupils to participate fully in the music offer.

At William Patten, music is used to improve pupils’ cultural capital. Careful consideration has gone into ensuring that the music curriculum reflects pupils’ cultural heritage. In keeping with the school’s commitment to equity and equality, the team has worked with resources from the London Symphony Orchestra and BBC Ten Pieces to identify female composers and explicitly refer to the contributions they have made over time which have been overlooked.

 

Final thoughts

The cognitive benefits of accessing high-quality music provision are well-documented. However, music educators are also fierce advocates of the qualitative benefits that derive from the hidden curriculum and boost pupils’ social emotional and mental health. Finally, we are reminded of the numerous opportunities music provides us to embrace cultural diversity, develop critical thinking, and promote analytical conversations. Music is a universal tool with which we can strengthen community links and further develop pupils’ intercultural understanding.

  • Laura McPhee is director of education at University Schools Trust. She is a facilitator for the National Professional Qualification for Headship on behalf of the London South Teaching School Hub. She is also board member of the Virtual School Management Board, executive committee member of the Lambeth Safer Partnership and guest lecturer at London South Bank University. Find her previous articles and podcast appearances for Headteacher Update via www.headteacher-update.com/authors/laura-mcphee  

 

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