What was your introduction to music?
We had an old piano in our living room, replete with candlestick holders and probably families of mice. It sounded as decrepit as it looked, but as soon as I could reach the keys I was hooked. I remember my dad's vinyls – classical masters and 60s/70s pop like Simon and Garfunkel and The Beatles. My teenage brother played mostly 80s synth pop like Erasure, Blancmange, OMD and Visage. It was an eclectic mix. Once I started picking things out on the piano aged five, and composing my own music, my parents scrimped and saved for piano lessons, for which I will be eternally grateful. My early memories also include my mum's singing, my Year 3 teacher who would sing funny songs about the other teachers, and the incredible choir which sang every day in four-part harmony. These are the sort of experiences all children should have – if it doesn't happen in school, we leave it to chance.
How did you come to be a teacher?
It was always at the back of mind when I was growing up. Playing the piano means everything to me. It moderates my mood and my ADHD, helps me focus, invigorates and calms me – whatever I need at the time. It has brought me thousands of opportunities, contacts and life-long friends. It has given me confidence and identity, and helped my intelligence to develop. It has given me rich experiences which I could write books about. Why can't everyone have this? I could see that as I developed as a musician, others were being put off by how it was taught. Many who have been labelled ‘non-musicians’, usually by music teachers, love music but did not love music education. They love performing and making music together, in the right conditions. I'm inspired by the inclusivity and communality of music-making in cultures across the world, where everyone plays or sings together. This is what music is all about for me. As Kodály said: ‘It is not worth much if we sing for ourselves; it is finer if two sing together, then more and more people – hundreds, thousands, until the great Harmony rings forth in which all of us can be united. Then we can truly say: Let the whole world rejoice.’
What principles guide your teaching?
When I started to learn more about the wide-ranging effects of music on younger children – inspired by people like Susan Hallam and Anita Collins – I wanted to teach in primary schools and switched from secondary. Once I started learning about primary music education, I was delighted to discover that Kodály, Suzuki, Orff and Dalcroze all shared my dream of everyone being a musician, with no child left out.
What do you see as the particular challenges at primary level?
The greatest is that music education is at the whim of the headteacher – if they value and support it, it will thrive even in the harshest of conditions. If not, they can easily shove it under the carpet. Even heads who value it are constrained by a system where resources are limited, and where literacy and numeracy is all that matters.
Few places offer primary Initial Teacher Training with music specialism. Even if more did, the jobs or necessary support from schools would not be there. As a result, we have untrained generalists delivering music, often with fear and a lack of confidence, or secondary-trained music specialists without the requisite knowledge of age-appropriate pedagogy and approaches. As a result, there is a huge shortfall in skills and knowledge in primary schools – provision is very much a lottery.
What do you love about teaching?
Developing confident speech in children who are new to English or may talk very little in class. Being able to take children on a carefully sequenced musical journey, from parent and toddler groups to age 11. Seeing children practise of their own volition and how it makes their confidence, ability, knowledge and skills grow daily. Creating life-long, well-rounded, socially confident musicians who can enjoy music fearlessly.
How do we ensure that more students continue with music?
Kodály said: ‘The purpose of music is not that it should be judged, but that it should become our substance. Music is a spiritual food for which there is no substitute.’ By getting it right in primary schools, we lay foundations for the future.
Any advice for new teachers?
Network. Train in Kodály, Dalcroze, Orff and MLT. Enjoy yourself. Do everything you can to prevent your work being compromised by those who may not value it. Be inclusive. Share your successes and learn from your mistakes.
Anything else you would like to add?
Plenty, but I'm running out of space! People can find me on Twitter (@MusicEd4All) for more info or to get in touch.
