Your SlideShare is downloading. ×
0
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Long And Winding Part 3
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×
Saving this for later? Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime – even offline.
Text the download link to your phone
Standard text messaging rates apply

Long And Winding Part 3

269

Published on

Published in: Education
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
269
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
1
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide
  • Transcript

    • 1. We are the Specialist Schools and Academies Trust (SSAT), an independent, not-for-profit membership organisation dedicated to raising levels of achievement in secondary education. We have a membership of over 5,600 schools and organisations. We are a registered charity. What we do We work with headteachers, teachers and students to encourage them to develop and share new and effective teaching and learning practice, and to improve schools to raise standards and levels of achievement. In practice, headteachers and teachers design, lead and deliver our work, and continue to develop what we do
    • 2.  
    • 3.  
    • 4. 2010 The Future
    • 5.  
    • 6. Transition Recommendation 19 With their local authorities, primary and secondary schools should agree a joint policy for bridging children’s transition from Key Stage 2 to Key Stage 3.
    • 7.  
    • 8. Transition
    • 9. “ Making More of Music” – An evaluation of music in schools 2005/2008 Weaker practice: In contrast, while in many of the schools visited, pupils enjoyed singing, all too often there was insufficient attention to improving the quality of the singing or sufficient increased challenge. Singing was an area of relative weakness. It was good or outstanding in only two in 10 schools and was inadequate in over three in 10. In the latter, it was not that the quality of the students’ singing was poor but, rather, that no singing took place at all .
    • 10. ‘ Making more of music…’ Ofsted 2009 <ul><li>“ Weak continuity in all aspects of music provision affected the progress pupils were making” </li></ul><ul><li>Better continuity is needed across Key Stages 1 to 3, so that teachers have sufficient knowledge to ensure expectations are high enough and pupils can build on previous work; continuity across the primary and secondary schools was virtually non-existent” </li></ul><ul><li>Effective partnerships between primary and secondary schools were extremely rare. Virtually no information was being shared at the point at which pupils transferred to other schools except, at most, some information about which pupils learnt musical instruments. </li></ul>
    • 11. ‘ Making more of music…’ Ofsted 2009 <ul><li>The best secondary schools recognise the need for better continuity at transition. The most effective option was to develop continuing links between the schools, so that teachers got to know the pupils by sharing work. This is best done over time, but a single project at the end of Year 6 also gives helpful information, provided the work is planned jointly and discussed fully. </li></ul>
    • 12.  
    • 13. A workforce that is responsive to the musical needs and intentions of the students
    • 14. 2010 – The Big Musical Bubble <ul><li>Ring-fenced funding for music and Wider Opps </li></ul><ul><li>Sing Up! </li></ul><ul><li>Building schools for the future </li></ul><ul><li>CPD programme </li></ul><ul><li>Instrument fund </li></ul><ul><li>In Harmony </li></ul><ul><li>Music Partnership Projects </li></ul><ul><li>Find Your Talent </li></ul><ul><li>Making More of Music </li></ul><ul><li>Year of Music </li></ul><ul><li>Transforming Transition </li></ul>
    • 15. 2012 .... Or 2022? An understanding of the value sustained music education Music at the centre and not at the periphery A National Curriculum in Music where “Music” is the only word on the page
    • 16. Positive Well informed Clear Inclusive Encouraging Creative Musical
    • 17. SUCCESS FACTORS FOR MUSIC IN SCHOOLS and a SUCCESSFUL TRANSITION <ul><li>Commitment of Headteacher and Senior Management </li></ul><ul><li>Leadership by Music or Arts Coordinator </li></ul><ul><li>Achieving whole school support </li></ul><ul><li>Recruiting staff committed to music </li></ul><ul><li>Financial investment </li></ul>
    • 18. Key Transition Questions <ul><li>What strategies do you have for passing on what you do to receiving secondary schools? </li></ul><ul><li>How does your work co exist with other music </li></ul><ul><li>providers? </li></ul><ul><li>3. What strategies could you implement? </li></ul><ul><li>What is the impact of the enhanced music provision in primary schools? </li></ul><ul><li>How can you ensure sustainability? </li></ul>
    • 19.  
    • 20. THE VISION = JOINED UP MUSIC PROVISION
    • 21.  
    • 22. W.Richard Jones National Specialism Coordinator Music and Performing Arts Specialist Schools and Academies Trust 16th Floor, Millbank Tower 21-24 Millbank LONDON SW1P 4QP   Tel: + (0)20 7802 2300 Mobile: 07834 866 990 Home Office Phone/Fax 01748 823163
    • 23. Key Transition Questions <ul><li>What strategies do you have for passing on what you do to receiving secondary schools? </li></ul><ul><li>How does your work co exist with other music </li></ul><ul><li>providers? </li></ul><ul><li>3. What strategies could you implement? </li></ul><ul><li>What is the impact of the enhanced music provision in primary schools? </li></ul><ul><li>How can you ensure sustainability? </li></ul>

    ×