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TITHE AN OIREACHTAIS An Comhchoiste um Ghnóthaí Ealaíon, Spóirt, Turasóireachta, Pobail, Tuaithe agus Gaeltachta An Tríú Tuarascáil Ceol don Aos Óg HOUSES OF THE OIREACHTAS Joint Committee on Arts, Sport, Tourism, Community, Rural and Gaeltacht Affairs Third Report Music for Young People Feabhra 2004 Music for Young PeopleTable of ContentsAcknowledgements Chairperson’s Introduction Chapter One: “The Surveys Say…” Chapter Two: “The Curriculum Says…” Recommendations Appendix I Some of the comments on the previous Report: Arts as a Building Block Appendix II The Survey Sheets “as Gaeilge agus as Béarla” Appendix III Relevant Parliamentary Questions posed over the duration of this study to both the Minister for Arts, Sport and Tourism and Minister for Education and Science Appendix IV Membership and Orders of Reference of Joint Committee on Arts, Sports, Tourism, Community, Rural and Gaeltacht Affairs Acknowledgements:The Arts as a Building Block Report outlined International experience in relation to how important the Arts were to Society and the Economy. This Report surveyed Primary School Principals in Donegal to establish both the status of music in their school, and thus the music our young are being exposed to currently, and their interest in developing music programmes into the future. Therefore we are indebted to all the 118 schools who responded to the study and included below are the list of those who put their name to the survey: S.N. an Chillin, An Cillin, Inver Scoil Adhaimhnain Luinneach, Doirebeag, Leitir Ceanainn S.N. Duigh, Anagaire, Letterkenny S.N. Mhin Teineadh De, Ard an Ratha, Ardara Crannaighe Buidhe N.S., Crannog Bui, Ardara Arranmore Island N.S., Leabgarrow, Arranmore Island Ballymore N.S., Ballymore, Portnablagh, Dunfanaghy Ballyraine N.S., Letterkenny Rockfield N.S., Ballyshannon St. Aengus N.S., Bridgend Bruckless N.S., Bruckless Scoil Mhuire, Caiseal Ceaundroma, Fanaid S.N. naCarraige, An Charraig St. Safans, Drumdoit, Castlefinn Castletown N.S., S.N. Baile an Chaisleain, Castletown, St. Johnston S.N. Cholmcille, Baile na Finne Stramare N.S., Churchill, Letterkenny Clonmany N.S., Clonmany Cloontagh N.S., Clonmany Scoil Cholmcille, Ballindrait, Lifford St. Oran's N.S., Cockhill, Buncrana Scoil Cholmcille, Convent Rd., Letterkenny Convoy Joint N.S., Main St., Convoy Scoil Cholmcille, Craigtown, Carndonagh Cranford N.S., Cranford Croaghross N.S., Portsalon Cnoc na Naomh N.S., Derryconnor, Gortahork St. Egney's N.S., Desertegney, Buncrana Scoil Mhuire B&C, Doire Beaga Donagh N.S., Carndonagh Scoil Aodh Rua agus Nuala, Donegal Town S.N. Domhnach Mor, Castlefin S.N. Duchoraidh, Doochary P.O. Dromore N.S., Crossroads, Killygordan Drumfad N.S., Drumfad Lr., Kerrykeel, Letterkenny Scoil Croise Naofa, Dunfanaghy Killayhtee N.S., Dunkineely Faugher N.S., Portnablagh, Dunfanaghy Gaelscoil Cois Feabhail, Moville Gaelscoil na gceithre Maistri, Drumcliabh Gaelscoil Eirne, Fearainn an Bhaile, Beal Atha Seannaigh Gaelscoil Bhun Crannach, Bun Crannach Gartan N.S., Churchill, Letterkenny St. Patrick's G.N.S., Carndonagh Glebe N.S., The Glebe, Donegal Town Glencovitt N.S., Glencovitt, Ballybofey Scoil Mhuire, Gleneely, Inishowen Scoil Cholm Cille, Glengad, Malin St. Brigid's N.S., Glenmakee, Carndonagh Kilkenny N.S., Glenties St. Mary's, Hillhead Ardara Holy Trinity N.S., Horn Head Rd., Dunfanaghy Lower Illies N.S., Illies Ballymangan P.O. S.N. Fiachna, Illstrin, Letterkenny Inver N.S., Inver P.O. Kerrykeel N.S., Kerrykeel Kilbarrow N.S., Ballyshannon Kilkenny N.S. Glenties Killygordan N.S., Killygordan Scoil an Leinbh Iosa, Killymard, Donegal Town Portlean N.S., Kilmacrennan St. Riaghans, Drimacrosh, Kilraine P.O. Scoil an Leinbh Iosa, Carrigans Meenagowan N.S., Letter mac a Ward Muire Gan Smal, Lifford St. Patrick's N.S., Lurgybrack, Letterkenny Scoil Naomh Dubhthach, Machaire ui Rabhartaigh, Gort a Choirce S.N. an Iorball Riabaigh, Baile ui Ghormain Magherabeg N.S., Manorcunningham Monreagh N.S., Carrigans St. Columb's N.S., Moville Scoil Naomh Brid, Muff St. Patrick's N.S., Murlog, Lifford S.N. na Hacrai, Ailt an Chorrain, Letterkenny Scoil Cholmcille, Newtown Cunningham Scoil Bhride, Porthall, Lifford St. Conal's N.S., Narin, Portnoo Raphoe Central N.S., McBride St., Raphoe S.N. Seosamh, Rathdomhnall, Treantach, Leitir Ceanainn Robertson N.S., Stranorlar Rosin N.S., Dungloe Scoil Bhride, Minachladaigh, Gort a Choirce Scoil Bhride, Convoy Scoil Chaitriona, College Street, Ballyshannon Scoil Cholmcille, Oilean Thorai Scoil Eoghain, Moville Scoil Iosagain, St. Mary's Rd., Buncrana Scoil Naomh Brid, Downings, Letterkenny S.N. An Ghlasan, An Chraosloch, Leitirceanainn St. Bernadette's Special School, College Farm Road, Letterkenny St. Francis N.S., Barnsmore St. Baithin's N.S., St. Johnston, Lifford St. Mura's N.S., Cockhill Buncrana, Buncrana St. Patrick's B.N.S., Church Rd. Carndonagh, Lifford St. Eunan's N.S., Laghey Wood School, Ardara St. Garvin's N.S., Drunfialla, Rathmullan Scoil Mhuire, Pettigo, Pettigo St. Naul's N.S., Keelogs, Inver P.O. Scoil Mhuire, Stranorlar S.N. Fionan, Whitecastle, Quigleys Point Welchtown N.S., Ballybofey St. Davadog's N.S., Tamney, Letterkenny Tiernasligo N.S., Urris, Clonmany St. Mura's N.S., Tooban, Burnfoot Trentagh N.S., Trentagh, Letterkenny In sending out the questionnaires and assisting in the final drafting of the responses the help of two interns, Maureen Ward and Katie Rose, is acknowledged. Chairpersons IntroductionVarious individuals in the sphere of Music Education and Music Provision and the Arts in general, have had indirect influences and roles in the completion of the Report and so to all those who took time to share what is going on in Donegal and other counties and what is possible in terms of co-operative ventures into the future - your input has been valued. The Joint Committee on Arts, Sport, Tourism, Community, Rural and Gaeltacht Affairs wish to acknowledge the assistance of Pádraig Ó hAilín, Clerk to the Joint Committee and the Committee Secretariat in the compilation of this Report. It will be the Minister of Arts, Sport and Tourism, Mr John O’Donoghue, T.D. and the Minister of Education and Science, Mr. Noel Dempsey, T.D. in partnership with those involved in music that will ensure that this document becomes more than merely another doorstop but instead opens the door to music opportunities for our young people.
Cecilia Keaveney, T.D. Chairman February 2004 “All art constantly aspires towards the condition of music” Walter Rater. IntroductionMusic for Young PeopleThe Role of the Arts as a Basic Building Block was the first Report of the current Joint Committee. It placed the role of music as a central Building Block for the cognitive development of all children and thus much more than a subject in its own right. The response to this Report was very positive (copies of some responses are enclosed in Appendix I) and has led to the Committee taking a closer look at what is happening musically for our young people and aspiring musicians. The County of Donegal was taken as the focus. Given that the vast majority of our youth have the common denominator that they all attend school, where music is a subject in the curriculum, it was felt that the primary school was the correct location to start with. Questionnaires (copies of which are to be found in Appendix II) were sent out to each of the 176 primary schools in the county as Gaeilge agus as Béarla, to assess the status of music currently as determined by those working closest to our young people. The enthusiasm of the response (67%) and the incisive nature of the comments were very encouraging and have led to this Report. While throwing up the issues that both ensure music is taught and the issues that curtail the provision of a more satisfactory music programme, the teachers concerns are then juxtaposed with the “solution” that is deemed, by the Department, to be the New Curriculum. In critically evaluating this “new” curriculum which was first introduced in 1999 but whose In-Service is still not provided for, there is an effort in this Report to fix what is broken in a more comprehensive fashion than the current remedy would be seen to offer. The crux of that solution lies, this Report suggests, in the development, with the assistance of the New Curriculum Guidelines amongst other existing resources, of a comprehensive and co-ordinated music package incorporating age related Music Book, Music Workbook, Teacher Handbook and Accompanying Tape. The existence of such a straightforward resource, covering performance, composing and listening exercises in different genres, would lessen the amount of time required for lesson planning as the basic material would be readily available and as the “answers” to questions can be supplied in the Teacher Handbook, the uncertainty for the non-musician will be overcome with the support of In-Service alongside this resource material. In that manner the main drawbacks of Human expertise, Time and Material resources that are presented through the questionnaires by those currently at the helm would begin to be dealt with. One of the issues referred to in the Building Block Report was the question of where national responsibility for music as an art form lies. The answer suggested at the time was the Department of Arts, Sports and Tourism and this Report concurs and it demonstrates the absence of support and resources forthcoming from the Department of Education and Science. It is to be assumed that the matters raised and the solutions sought by those at the coalface of music delivery in Donegal can be deemed to be similar to many other parts of the country but while the proof of that, as yet, lies in other Reports, the solution offered here can assist in music delivery anywhere. Chapter One: “The Surveys Say…” “We noticed an amazing improvement in children’s readiness to read after total immersion in rhythm work, nursery rhymes, songs, etc. A recent example: In our senior room we have several children with learning difficulties. Even without very much guidance the introduction of a drum to the classroom has led to 3 boys being able to keep a consistent beat — something unthinkable 6 months ago. On a personal level I do strongly feel that the development of Musicality, Musicianship and associated skills greatly enhances a child’s ability to learn and succeed. Success in one area leads to a development of self-confidence and ultimate success in other areas. It is also a talent and skill that can be developed in later life, similar to sport. Though, in contrast to sport, it is something one can do on as an individual as well as a group basis. Developing the individuals ability to ‘cope’ with and occupy their free time seems to have become increasingly important with the rise of ‘stress’ in children’s lives and I’m sure you’ll agree music, whether playing oneself or just listening to good quality music is one of the best ‘de-stress’ mechanisms of all.” The tenant of the Arts as a Basic Building Block was that Students, Society, Economies, all gained from investments in the Arts. The words of the Donegal school principal above embraces so much of what was said by the majority of the 118 respondents to this current survey. They know that there is a value in music education and participation, which can present a very visible resonance in their classes, as reflected in another school: “This school bought a set of drums and is currently in the process of finding someone capable of teaching special needs children how to drum. We have provided some basic drumming and are surprised at how well these children have come on, not only with co-ordination but in their feeling that they can do something better than others. To expand this would be such a blessing and would give children such a boost — any money spent has unbelievable value to children”
The recognition of the value of music is seen in the fact that while one in three schools quantify their existing music strength to be between Very Strong and Strong and 62 percent say they are currently between Fair/Weak/Very Weak, 79 percent have stated that their interest in developing a music programme is between Strong and Very Strong. The enthusiasm for the debate is undoubtedly present in the fact that 118 questionnaires were returned of the 176 sent out. Additionally, the speed of reply and incisive commentary on a significant percentage - 68 percent - of the questionnaires is indicative of a high interest. Only two forms were returned uncompleted. Overall, however, these teachers want to give their constructive comments and share their experience in relation to how things can happen, what does happen and what should happen musically, for example: “Our school is part of “Giving Children an Even Break” with disadvantaged status. We have a very capable music teacher coming to the school once a week whom we pay from school funds. She taught recorder here for a number of years but with the arrival of the new curriculum last year we decided to explore different avenues. The children were introduced to all the musical instruments associated with an orchestra and they also studied 5 or 6 composers and their music. This year we have once again returned to learning the recorder as we feel that it is beneficial to those children preparing for secondary school”. Currently 157 of the 176 primary schools in Donegal qualify for Giving Children an Even Break support. There are problems of continuity thrown up by this seeming dependency on the use of Giving Children an Even Break for music: “The music in school is taught by our Giving Children an Even Break Co-ordinator which, strictly speaking, is not within her brief yet she has the ability to do so therefore it is taught throughout the school by her. While this scheme is ongoing we have music but if the scheme should discontinue or should she move on, our music programme would not be taught to the same level of expertise.” The Schools Completion Programme is the title getting credited for music development in some schools: “Any resources so far have been funded by Parents’ Committee and fundraising events. It is also costly to pay a tutor to teach instruments. At the moment that funding again is coming from S.C.P. It would be great if additional resources could be made available in the line of Classical Music Selection (CDs, perhaps), definitely more instrument funding. There’s so much more that we would like to be doing but we try to make the most of what we have. So any additional funding help will be greatly appreciated.” This shows that music is prioritised above other possible spends as a right spend in disadvantaged schools and that stance is fully endorsed by staff: “Staff interest confirmed. Assistance for school/staff desirable. In-service training tips – scale, breathing exercises /history of music /variety. Schools Completion Programme has created opportunities to bring other outside school personnel to schools to share musical enjoyment, create, nurture musical/choir appreciation”. Similarly the Schools Completion Programme monies are welcome and directed to music in the following school: “We have seven mainstream class teachers and two of these have piano grade qualifications. One has a Post of responsibility for Communion Choir and the other staff member volunteers ‘after school’ to help train the children’s choir for Parish purposes i.e. Saturday evening Mass/Christmas Eve. Music is also an integral part of the integrated school curriculum but with the introduction of the new curriculum time is already at crisis point. As the New Music Curriculum has not as yet been delivered, we would hope that suitable planning time will be allocated as well as the appropriate in-service training. Funding for equipment is also an issue that needs to be addressed, as the last DES Funds for Visual Arts were shared among subjects. Funding needs to be ongoing. At present, the ‘schools completion’ programme funds a tin whistle tutor for classes from 1st - 6th on a weekly basis but this funding is not reliable as it may be withdrawn in the future. But that alternative provision again suffers the same criticism as those who talk of Giving Children an Even Break, that is, the perceived lack of continuity and potential inconsistency of music delivery. While the definition of music in the curriculum embraces the three strands of listening/responding, composing and performing, the survey points to the fact that in Donegal the level of music delivery is quite inconsistent. The difference in the experience one student in any school will have compared to another is wide ranging. This example is of a Gaelscoil school that is confident: “We use music in practically every subject we teach and we are teaching through a second language. We have a special emphasis on music. In a way there is a third mode of communication through music, drama and the arts.” Another positive and musically motivated teacher outlined their schools programme thus: “All children from 1st -6th learn to play the tin whistle. Lessons are once a week from September to Easter. Children from 3rd -6th are in the school choir. Children audition for the choir. The Christmas Carol Service is the highlight of the choir’s work. Choir also sings in local nursing home at Christmas. Have entered in Lyric FM choir competition – no reply!! Would be very interested in entering other competitions, but have no information about them and also, I am the only teacher who can play the piano. Usually use backing tracks for choir, but I know come competitions will not allow backing tracks. Every Wednesday we have a whole school assembly. Each class practices two choruses for that day. Also at Christmas Carol Service, JI and SI sing 2 songs, 1st and 2nd sing 2 songs and a tin whistle group performs, usually with percussion instruments.” While other schools could be seen to relate more to the following comment: “I commend your initiative. There are few teachers who feel confident in teaching music — unless they can play an instrument or have a good singing voice. I don’t have either so I hire in a skilled music teacher to do it. His main interests are instrumentation and notation. Voice, composition, listening and responding suffer. Suitable materials are not really available — either too hard or unhelpful. Children do not associate with either traditional or classical — they need a middle medium. Music in the classroom by Irish Times was good to introduce classical and orchestra. We need something the same for voice and traditional.” It is clearly not a lack of interest that is the main drawback to advancing the delivery of a broad music programme: “Our school employs a qualified person to come in and teach music on a weekly basis. She teaches singing in the Junior Room and both singing and recorders to the senior pupils. While we are very happy with this situation, it is a drain on our financial resources. My colleague who has music competency supports this work. On the other hand I have made many attempts to learn to play keyboard/piano, but it just doesn’t seem to be for me! We would be very interested in support to help us provide a school music programme.”
The main drawback cited by respondents was the deficit of musical training and thus confidence in human terms (33%); followed by a lack of time (27%), Instrumental resources (20%). It would seem that there is a link between a lack of human expertise and a lack of time for music in that the time that it would take a teacher to find proper resources leads them to opt out of it altogether: “Perhaps if there were music courses organised for school staffs the competence required to teach music regularly and enthusiastically would be more readily seen. Lack of resources can also have a negative effect on teachers. Grants for the purchase of a selection of musical instruments should be available.” Asked for their second drawback the results showed that Materials (26%), followed by Human (21%), followed by Time (19%), and Instrumental resources (19%) are cited second: “As the teacher of the senior classes in the school I have little time to fit music in during one week. However I would like to do some singing more maybe tin whistle with the children. However I find it difficult to get good material – tapes, cds that we (the children) can sing along with. A lot of material is produced for people who are competent at music and singing. I cannot sing! The junior teacher in the school does some singing with her class. However, time is a major drawback.”
It would seem too that there is a link between a lack of human expertise, a lack of materials and the lack of time for music. An interpretation for this could be that if a teacher is not musically proficient and they have to source materials suitable for a given class, then the time that it takes to find these resources may be the factor that stops the teacher from achieving their goal. Similarly if a teacher does not play the instrument that they have available in the school and they do not have someone to give them some guidance, then the preparation time needed for the teacher to feel proficient enough is the factor that decides that the instrument will remain unused. The least problem cited was Interest — 3 percent of first answers and 3 percent of second answers: “Interest in teaching music is very strong in the school. However, with greater resources such as materials and instruments, this would allow us to do better programmes than are currently in practice.” When asked what hindered schools the least, half mentioned interest. Most of the other half did not even use the option: “We are very interested in music and it is important for us to show and to share that with all the children. The Children are very interested in music. We like most of all to foster that interest. Any help you can give in that respect would be very welcome”. When we ask what is going on in schools musically, the answers given were relatively straightforward. For our students in Donegal, music in their school, in the main embraces singing (practically every school) and listening exercises (80%). To a lesser extent there is some singing with percussion (56%); singing with instruments (53%). The music lessons generally take place on a weekly basis — although in some schools all teachers do not necessarily teach the subject and in some schools individual teachers may introduce music on a daily basis.
The Music component of the school year manifests itself, almost exclusively, in singing in school (100%) and the production of School Plays (73%) — often with a religious content and usually it has an association with the Nativity Theme at Christmas. There is very little involvement in Feiseanna (14%); Interschool competitions (8%); National Choir (1%) or Youth Orchestra (2%) work coming through in the survey and this is a point worth noting in a county where Feiseanna were once rife and the Youth Orchestra has been in existence for a number of years now.
While one school did comment that they did not believe in children competing, another school was very interested in having information sent on in relation to competitions. The reality of any skill — be it musical, sporting or in the field of languages — is that they do thrive best when used and thus the more forums and opportunities that would present themselves the greater the result for both student and school, whether in school assemblies or outside school events be they competitive or not. It seems like developing “opportunities” to perform is a good place to start but most teachers also feel that this enthusiasm has to be led by a musician: “A specialist teacher with an ability to teach primary school students and enthuse them about singing and playing music would make all the difference”. Similarly the ability for children and teachers to witness music and have access to live musicians is echoing heavily from the survey sheets and a part of that vicious circle that so often is heard in debates on the Arts — how will we get the audiences and performers of the future if we do not expose young people to the performances and chances to perform of today? “We feel that it is most important that all children who attend our school learn to appreciate and enjoy all types of music, that they will all learn to play the tin whistle and another instrument before 6th class. For the past seven years two professional musicians have been giving music classes every Monday afternoon in our school so that all children from J. Infants - 6th class take part. This has been a great success, the parents have been paying for these classes and they are very supportive and keen that these classes should continue. However as teachers we feel that the children should not have to pay, so we would welcome any form of help — i.e. annual grant towards provision and improvements of Music in our school, visiting artists, workshops, etc. We feel strongly that if children do not get the opportunity to enjoy music, etc. in primary school, many will never get the chance later in life.” In the New Curriculum the choice seems to be that the class teacher does teach the music class: “Since music is an essential aspect of an integrated and child-centred curriculum, the class teacher is the most suitable person to present rounded musical experiences in listening and responding, performing and composing in most circumstances. In addition to a wealth of teaching expertise from throughout the curriculum, the teacher brings skills of planning, questioning, organising and motivating children, as well as an understanding of child development and learning” And while many place emphasis on the need for a specialist (alluded to again later) to assist them, many too want the necessary support to deliver a coherent and organised programme to their students as they have accepted the value of the subject to both student and school. The remarks generally found reflect that schools are prepared to act and to be imaginative: “Give us the money to buy the resources and the musical instruments, accordions, wind, and percussion and we will willingly do the rest. Unless the Dept. of Education and Science take their responsibilities in the areas of Arts and P.E. seriously, then subjects like music will be left in a corner gathering dust. What an opportunity lost! It costs hard cash to buy expensive musical instruments — and maintain them. Fundraising is a thing of the past.” Performing: For those who rely solely on singing they can employ backing tracks (where these are available) but aspire to the day when they have an accompanist. Principals are investing but few schools could be considered fully equipped: “As a principal in the school and very interested in music myself. I feel that the children in the school would benefit a lot from having different instruments in the school. At the moment we have tin whistle classes every Monday evening which the children thoroughly enjoy but I would love to develop this into more musical instruments available.” Many schools have some level of percussion instrument (62%); keyboard (53%); Wind instrument (46%) and Strings (34%) yet none have indicated any brass section (which is ominous for the Brass Bands that once did thrive): “Although there are percussion instruments in the school, access to string, brass and wind instruments would be helpful. The cost of many of these instruments is a problem”. The main wind instruments tend to be the Tin Whistle and Recorder and are there because of their inexpensive nature. As said before, they want investment in instruments — whether through a grant or a loan system because they value the role music plays in the development of their children:
“We operate a lending system for guitars. At the moment the school owns 10 guitars. Each child from 3rd class learns recorder and 4 children learn piano after school. They are taught by one of the teacher son a voluntary basis. Three of the four are being prepared for the RIAM exams in 2004. As our school is in the BT Cycle of Educational Disadvantage we targeted music as our subject in ’96-’97. I dearly would love if the children with the talent were given further opportunities in the string section particularly violins and further development in the wind section. Some of the children show great potential.” They will try to teach with the resources that they have but in the main acknowledge that they need specialist help: “At the moment the basic musical instrument in the school is the tin whistle which is limited but very inexpensive. If we had more funds available we could expand the range of instruments and musical experiences. It would be great to have a dedicated music teacher for a session(s) per week who would be competent to teach a variety of instruments to the children. Further training for teachers would be necessary to expand the programme particularly in the areas of composing and using different instruments.” For some classes, it is felt, that if specialists came into at least show the class teacher what to do, this would be helpful: “Music is a very specialized subject and the guidance of a music advisor or dedicated specialized music teacher would greatly enhance musical education… On a more basic level it would appear that many teachers feel uncomfortable teaching music — for some bringing in a teacher is a good idea – for others particularly infant teachers providing them with the necessary skills would be a priority.” For other classes there would need to be more direct specialist intervention in instrumental, composing and listening terms given: “The new curriculum is so full at present it is had to give so much time to any one part of the curriculum. There is a fairly wide range of the confidence of the teachers in this area even though the interest is there with all the teachers. We feel that it would benefit if certain people with more expertise could visit schools and do workshops with the children or if money was made available to schools to access these people.” The dependency level related to the existing competency on the staff in any given school but permeated most schools for differing reasons: “If the Dept. paid a qualified/specialized music teacher to teach 1 lesson per class per week this subject wouldn’t be so neglected. Also, they should provide funding for visiting workshops or for travel expenses to outside workshops. Primary school teachers no longer have to do a music/singing part of their interview in teacher training colleges (maybe I’m out of touch). But with so many of teachers in the system now trained elsewhere music needn’t be a necessity to get a job. It’s a very sad state of affairs. And since you so rightly quote “music is a subject which is seen to develop the entire brain,” we do our best here — but time or competency doesn’t allow us to do a great job in our ever increasing ‘new curriculum.’ ” Only 30% of schools acknowledged having a member of staff musically “qualified” — while 70% of schools acknowledged having members of staff with no competency in music: “Not having a music qualification, both teachers feel inadequate to teach music.” However, many schools have member(s) who feel competent on their staff: “All the teaching staff are very competent with regard to music. We have a huge interest in it. The children through school presentations, etc., enjoy expression and performance through music. After school music classes are presently being organised and we hope to promote adult classes in the near future. We would benefit from perhaps some form of grant to subsidise music class and towards the purchase of instruments.” Again the focus is on moving forward with In-Service provision: “More training (as in summer/in-service training) for those with an interest in music.” Surprisingly, the majority (53%) of people, however, were not aware of who they could reach out to in the community for support in the Music Programme, which is a situation that must be remedied through the information being collated and disseminated. On the positive side many schools had the support of a Musician from a Traditional (30%) or other (9%) background. The role of Comhaltas in this must be commended: “At the moment we have a music teacher coming to the school every Thursday to teach the children traditional music instruments. This has been a major success and from discussion with the other teachers we decided we would love to have outsiders come to the school to sing etc. with the children and help them make musical instruments. The children love visitors and usually they see the visitors as ‘friends’ and not teachers and it really adds to their enjoyment.”
It is important to voice two concerns at this point that have the potential to undermine the overall musical experience for the pupil: (1) should teachers equate music lessons with performance solely (2) should the concept that the annual school show constitute exclusively the schools music provision. The curriculum guidelines has a strong and right message on that matter: “Special events should compliment and not replace classroom music” Teachers, quite rightly, stress that they want all children to be able to access instrumental tuition and not have the elite few facilitated: “Financial aid towards employing a trained music teacher to teach all the children in the school setting is suggested… At present many children are receiving private tuition in piano, and other instruments and some are receiving private singing lessons. The other children then feel more left out when shows are put on. It tends to be the ‘elite’ that are picked to do set pieces which is not in the spirit of inclusiveness of the revised or traditional curriculum”. Overall, comments were constructive and revolved around the one main topic. This issue was the need for outside musicians to support the music delivery in the school. The manner and concept of that support varied from school to school: “It would be nice to have an expert in the field to come to visit the school for teacher observation.” “It would be nice to have people visiting the school each week to help us with singing. “Our school has a visiting music teacher 1.5 hrs per week. Parents pay for this. An annual grant would be wonderful to buy instruments and help pay the teacher.” “We have a man in one term each year with a keyboard and it’s been a great help to the children.” “Outside help: a person with musical qualification to come in and teach music throughout the school, preferably with experience and training in dealing with the age group 4-12 years. However we could not afford to pay for this service – outside funding would have to be made available. All children should also have the opportunity to learn to play an instrument free of charge.” “Music Workshops: Trained professionals could visit school for block of lessons to work with children on percussion, choir, classical, etc. The staff is interested in music and reach to best of ability but it is a field of expertise that we cannot all be good at”. The related issue was, of course, the manner in which that could be funded: “If a grant was made available to enable schools to employ a singing/music teacher from the community for 6/8 weeks during the school year…” “Funding would help - specialists could be employed. We used ‘Simply Music’ Workshops last year – but do not have sufficient funds this year. We have a visiting teacher for traditional music, but as the children have to pay for this only about ¼ avail of it.” “External music teachers brought in once a week. Pupils pay. Teachers continue with music during the week.” “Education Committee of the I.N.T.O. is studying proposals on the development of music in the primary school. Proposals include local schools of music, specialised teachers, etc. Lack of in-service needs to be addressed by D.E.S.- would be helpful if there was an easily accessible music database.”
The ultimate request, which was only actually openly mentioned by one or two schools, was for the core music provision to be based out of a School of Music: “…it seems crazy that a county the size of Donegal hasn’t a properly funded School of Music in the county- one would also envisage this dedicated School of Music or Department providing peripatetic teachers to teach instruments -these teachers travelling round from school to school in an area” Listening/Responding and Composing: While performance is important and used as such by schools to transmit to people outside the school a positive image of the school, Music is made up of three constituent parts: Performing, Listening and Composing. The initial part of this study has outlined the difficulties presented in engaging in advanced performance but the basic use of things such as singing in class has been confirmed. However, it is in exploring performance and hearing other composers’ ideas, that young students can develop some compositional ideas of their own. The fact that 46 percent of schools state that they do not have a Hi-Fi or mention a similar device would suggest that the listening exercises do not involve recorded music. It calls into question — given the lack of instrumental / orchestral work going on in schools — just what constitutes the listening and responding that 80 percent of schools state they are doing? The new Curriculum speaks of “listening for” being more important than “listening to” music but how can almost half Donegal Primary Schools do either? Therefore, the provision of a basic tape/CD player with the facility to record is essential if children are to be exposed to pre-recorded music and record their own. The next step then is to have the relevant tapes or CDs to play for the topic under discussion. The library service could have a part to play here but so too can the proper development of a co-ordinated Music Book, Work-book and Teacher Hand Book that would integrate the three strands of music. These resources exist in other countries but could be modified to suit our needs: “Some of our Irish Music Programmes have been very poorly presented, i.e. songs on tape in too high a key for children, not enough variety, etc. In stark contrast many of the English Schemes are very well presented and very detailed, though not containing as much singing material as one might like! They also provide a wide base of material — including Irish music — though one has to supplement this.” The ideal situation for Listening, Responding and Composing is to expose children to live music. This enables them to see what each instrument type sounds like and the range, timbre or special effects associated with them. Schools are asking for this: “Musicians should be brought into the school to let children see live music” “Trips to see musicals or artists performing at the local theatre …Visits to the school by singers and musicians.” At present some schools are actually asking for Posters of the Instruments of the Orchestra and Composers, as a basic requirement. The concept of composing, however, does scare many non-specialist teachers. This is seen clearly in the fact that 85 percent of schools are admitting that they are not doing composing. And yet this is a problem that can be both addressed and overcome and the interest is there: “I, myself, would be competent musically, but feel, music in the senior room can often take a secondary place and is often a subject that can be left out of a day or rushed due to pressure of time. Whilst, I’ve no qualms about teaching songs or rhythm, sight reading is very much to the sideline and composing I find difficult to organise as this is the area which I would have least competency myself. We introduced an English Music Programme 2 years ago and it has been highly successful and child centred. We would be interested in taking part in a Music Pilot Programme if one was to become available.” People assume that composition is very technical and only for the most advanced student. This can be true if you have a strong knowledge of what you are presenting or capable of rising to the challenges and opportunities that technology offers, as one school commented: “We had a visit (organized and paid for by principal and teachers) from a music teacher who installed some very good software programs, which we do use.” However, generally, pre-conceived ideas about just what constitutes musical composition — just like musical performance — can be wrong and can be perpetuated if support is not given: “Music does play a role in our school but not on a daily basis. The children love everything about music but we feel that we do not have enough training to develop skills such as singing and composing.” Composing at the primary school age can be as basic as creating a story and adding loud noise for the “scary” parts and soft noise for the gentle effects — as outlined in the curriculum guidelines. The “writing” of the score can be: ascending lines to indicate rising pitch or descending lines for pitch going lower; large symbols with colour for sudden noise and so forth. The complexity of the piece can range from very short and simple to very complicated, long and multi-instrumental — depending on ability and resources available. It is important to see that this mixed ability learning experience can happen through composition unlike some of the other curriculum subjects — given that each student can express themselves individually and to their own level of ability: “Being in a one teacher school with 11 pupils of ages 4-13 it is difficult to implement of programme that is suitable for all age groups. Funding for external music teachers has to be raised locally. Music should be more frequent than the ½ hour we have on a Friday afternoon. Visiting artists would be very welcome.” Composition can link very much into the art, language and/or history programmes. Children can work alone or in groups and can achieve on a range of levels in that they can stretch themselves or confine their imagination within their own abilities. In other words, some small supports in terms of In-Service or specialist intervention can yield enough ideas to keep a non-specialist teacher in composition classes for a term. This has a by-product far beyond being a means to progress the provision of this creative aspect of the music programme — it also offers a variety of means to explore the issues of history, language, arts or other subjects. Many teachers believe that they can do more with the proper support: “Further training for teachers would be necessary to expand the programme particularly in the areas of composing and using different instruments.” Resources needed for composition need not be expensive if the concepts are distilled, as you can do a lot with voice and percussion (tuned or un-tuned). The guidance, however, of a composer or music specialist is perceived to be vital: “We feel very strongly that for music to be taught effectively in our school, we would need a specialized teacher with a music qualification. We teach singing, with percussion to the best of our ability. Many of our parents have expressed an interest in these children learning an instrument in school or at least to do more intensive lessons in percussion and composition. We have sourced a teacher who is willing to do this but it would cost 2 euro per child. We have compiled a questionnaire to ask parents if they are willing to pay this. As this would depend upon all pupils participating, we don’t hold out much hope of this being passed. We feel strongly that funding should be available to assist in acquiring specialist help and to provide more resources within school.” There is a strong dependence by very many schools on the New Curriculum supports: “There is limited time given to music in the curriculum so it’s very difficult to explore and develop the various strands effectively and satisfactorily. Limited resources inhibit the development also but we are quite fortunate to have an active parent fundraising committee who contributed to our percussion instruments store. Perhaps when music is introduced in the new curriculum and we have in-service days, more funds will be pumped into it.” The simple statement made by one teacher embraced much of that same feeling: “Before we take on any new ideas, we are waiting in-service training on Music in the new curriculum.” Another school echoed this sentiment: “One Curriculum day’s in-service training in music would NOT be enough for many people. Two days would be much more realistic plus a follow-up day in school with an expert. There is a great need for training in this” The delayed implementation is seen as unacceptable: “No further delay in delivering the in-service in music to teachers (Primary Curriculum Support Programme) such as occurred this year due to the moratorium announced by the Minister of Education and Science for 2003/2004—it is vitally needed!” However others have confidence and are moving on alone: “We are currently developing a music program in the school in line with the new curriculum. Time for staff training in the use of relevant resources is necessary, as most teachers in the school don’t feel confident teaching music. We are also in the process of purchasing some string and wind instruments. There are two teachers in the school qualified to teach these instruments and this will be done outside of school hours.” The issue of Resources in terms of both instrumental and literary supports (song or music history books, for example) is huge and central to the argument as to why music is not provided. The big question remains whether the New Curriculum will be the answer to these needs. In some schools they simply say that they have little or no resources; in others there are a variety of instruments, computer programmes, Hi-Fi- systems and so forth but in other schools we find that the Resources are there but no-one is able to use them: “While we do have a keyboard, no teacher can play; while all teachers are very interested in developing a music programme throughout the school, we feel we would need more support and access to additional materials and instruments to help us.” Many are investing in Resource Material: “As principal of this small 2 teacher school, the main drawbacks are resources and lack of space even for storage. However after investing quite a bit of money in the last few years purchasing c.ds singing programmes etc, our next aim is to purchase some instruments. I would also like if the Dept. were to provide a visiting teacher to teach instruments to children during school hours, as neither teacher feels competent in this area. We teach singing all the time. Failing that perhaps some basic training for teachers to increase their level of confidence imparting same.” Many know what they want to see available: “Regarding traditional music, resources on a particular school’s locality and county such as information on songs, tunes and musicians would help as well as printable resources on the songs and tunes, For example, I feel that Donegal schools should have resources on the history of traditional music within the county, the people who played the tunes as well as notes and audio samples of the tune and access to the local musicians to help schools in passing on the music”. “The internet holds a wealth of information on composers, pieces of music, words of songs, etc. Relevant address would be helpful …Teacher Guidelines for Music provides a list of recordings of different types of music — funding to buy a selection of these would be helpful.” But getting appropriate resources is not straightforward given that in most cases non-musicians are trying to choose relevant materials without knowing what standard or content they are buying: “We have great difficulty in sourcing good resources as main music shops are in Dublin/Galway.” “A modern programme of ‘songs’ material which could be taught from infants to 16 would be useful. It is difficult to choose from the ‘catalogues’ etc we are currently using ‘music box (5 & 6) as a core for our singing/music”. They need resource materials that are basic enough for the non-qualified musician to be able to use and yet interesting enough for the senior classes to engage with. “Grants to buy instruments, a list of work that would interest the children, visiting musicians to the school, help to attend music concerts, and in-service for teachers on all sorts of music for example pop, classical, and traditional” Teachers currently feel alone in the decision taking, in this regard: “[We need] Department of Education Approved Resources: The Dept. could compile (or this council) a list or library of approved, tried and tested, teaching resources (songs, cds, etc) which schools could buy or borrow. We often invest money in programmes but find the material disappointing and/or much too difficult.” “A register (local/county) of people who would be available to work with schools and who would be familiar with the key principles underlying the Revised Primary Curriculum in Music”. The solution to all this may lie in one schools’ suggestion: “Establish a local chief tutor a school of Music” (?) Or is the solution at National level: “…A thoroughly planned curriculum would help…” In Chapter Two a critical commentary on the New Music Curriculum of 1999 will also ask whether the flexibility highlighted in the Teachers Guidelines is really a positive feature of the Curriculum or whether, given what is being heard through the teachers would suggest that, for music, a more prescribed and organised course is what is needed at this point in time. Chapter Two: “The Curriculum Says…” Music in a child-centred curriculum Music is an indispensable part of the child-centred curriculum as one of the range of intelligences and as a special way of knowing and learning. Musical activity challenges the child to act in unique ways to listen discerningly to his/her own music and the music of others, to sing, play or read sensitively and accurately, and to evaluate critically. In posing these challenges, music contributes to the development of artistic awareness, self-expression, self-growth, self-esteem and multicultural sensitivity and, therefore, to the development of the whole child. An important aspect of music in the curriculum is the way it contributes to the personal, social, mental and physical development of the child. Co-ordination of mind and body is achieved through singing action songs, playing singing games, tapping rhythms, moving to music and playing in time while simultaneously listening to others, following directions or reading from notation. Speech development is fostered through working with vocal sounds, chanting, singing nursery rhymes and songs, experimenting with vowel and consonant sounds and learning to control breathing. Language development is enhanced through exposure to a wide variety of songs, containing new words, idioms and phrases. These words are used and extended in responding to music, describing sounds heard, feelings sensed, or stories related. The development of listening skills, a critical aspect of all learning, receives special attention through the exploration of sound and the identification of and discrimination between sounds in the environment, leading to increased sensitivity to musical works. Listening skills are also emphasised in performing and composing activities, where the development of ‘inner hearing’(or thinking in sound) is nurtured. The development of both long-term and short-term memory occurs mainly, but not exclusively, through performing. Musical activities such as echo-singing and clapping develop short-term memory, while rote learning of songs, rhymes or games help to extend the capacity of long-term memory. Opportunities to develop the imagination arise in unique ways in the music curriculum, through listening to familiar and unfamiliar musical works, hearing sounds internally, creating sound pictures or stories and expressing feelings and emotions in sound. This type of imaginative work also enhances spatial reasoning, which is the brain’s ability to perceive the visual world accurately, to form mental images of physical objects, and to recognise variations in objects. As a collaborative, interpersonal activity, music develops social skills through group performing or composing projects where ideas, instruments or specific skills are shared. It also provides opportunities for the development of lifelong leadership skills and fosters verbal and non-verbal communication. Music enhances the child’s self-esteem through allowing him/her to see his/her own inventions valued and enjoyed by others, and to participate in singing games, songs, dances and group performances where each individual’s contribution is vital to the group’s success. Music is an integral part of the child-centred curriculum, not just because it enhances other areas of learning but because it deepens the child’s sense of humanity, teaching him/her to recognise beauty and to be sensitive to and to appreciate more fully the world in which he/she lives. As in the extensive quote above, the rest of the Music in the Primary Curriculum document reads well, on the whole. It covers the subject in a comprehensive fashion and yet, it is deemed by its authors, to be very flexible. This chapter endeavours not to be a comprehensive evaluation of every aspect of the document but tries to juxtapose it as a solution to the issues presented in chapter one. Having read the comments of teachers in the primary system the question, however, must be: have we too much flexibility and thus not enough direction? The “broad, balanced and coherent curriculum” is sought but who is at the coalface currently to deliver the ideals: “As the music curriculum allows considerable flexibility for the school in teaching approaches and content suggestions, planning will address the individual needs of the school, the teachers and the pupils.” Surely it is time to be realistic. Planning can only address the needs of the school if the person engaged in the Planning has some knowledge of the topic or if there is a very structured course that is comprehensive in its presentation. Some schools did call for time to be made available to plan. In the main, however, the schools are saying that they do not have such expertise and the emphasis on the 3Rs is such that the additional time needed for non-musicians to search for resources is ensuring that their concentration remains with the straightforward and organised next page in the English, maths, science …book. At Departmental level, there has been support given to groups such as Music Network but have we had anyone in the recent past assigned to look after music in the primary schools specifically or are we to gain such a person? A very basic question is what role does the Department of Arts and its agencies have in the delivery of music to our young people (note Appendix 3, which contains Parliamentary Questions on the topic)? Does the Department recognise the value of music education at this young age and the transfer of learning that experts ascribe to the subject and how is that recognition to manifest itself in terms of resources? The feeling from the curriculum is that “someone else” will filter through the information provided and thus plan a way forward. Surely, all good teams are led by their captain — the question remains is a Departmental captain on the pitch and/or are they in tune with the key players — will both teams play to entertain those watching or walk off the pitch with the ball as it is not “their responsibility”? The teachers are enthusiastic and want their students to be exposed to real music. They are calling out for live musicians to come to the school or that they are given monies to take children to hear musicians. The curriculum supports this stance when it says: “In the strand unit ‘Listening and responding to music’, the teacher may use recorded music as a focus for the child’s listening, although the experience of listening to live music will be of immense value to the child whenever this is possible” The point that came across from the survey sheets was that a large number of schools did not have a Hi-Fi, or tapes and/or compact discs. How therefore do we deliver this strand? The ideal is right — that students should be “’listening for’ (a structure, a specific feature or an associated idea)” rather than “ ‘listening to’, which may be considered a more passive activity” but if you have no tape to start with, no device to play the tape, no knowledge of what you should be pointing out from the music on the tape… how are these ideals to be realised? This is not a case whereby we are dealing with a second level staff base with a qualified music teacher already deployed in each school. While this seems very negative there are simple solutions. The answer is the provision of an organised and structured curriculum that has the Workbook / Teachers Handbook and the accompanying tape! These exist elsewhere and are constantly being improved upon. Should we not prescribe a basic course until such time as the expertise is evolved in our system? The aspiration in the Teacher Guidelines is commendable: “By fifth and sixth classes, children will have experienced song singing in innumerable and exciting ways and will enjoy the further challenge of part singing while seeking to achieve a more expressive singing quality”. The teacher that answered the survey by asking what she could do to get ten year old boys to sing leaves the reality of where the schools are starting from and the curriculum aspiration a distance apart. The success however is in the fact that the question is now asked and there is an onus on all involved in music to ensure that all primary teachers are given the answer to the likes of that specific question. This communication must expand. To find a song that the class enjoy singing may help the teacher ensure that she can look to fulfil the more sophisticated goal set in the Guidelines: “The simple tunes learned and practised in junior classes are given new meaning in more senior classes, when the child is guided in the discovery of their rhythmic and melodic elements”. Thus the songs need to be “child / age proofed” and revised on a regular basis to maintain their appeal to the target age group. When the basic course is laid down, the level of sophistication added to the core can be left to the individual school. However, it takes that basic support in terms of teacher In-Service and obviously instrumental resources to deliver listening and responding to the level that is outlined in the Guidelines, even when a music course-book and handbook is provided for that delivery: “…playing instruments in infant classes will begin with simple percussion … tuned percussion instruments … are introduced to show how a simple song can be represented on different media …and by fifth and sixth classes will have acquired sufficient knowledge and skill to attempt playing simple tunes from sight.” In terms of composing, the survey showed that 15% of schools admitted that they were doing some composing – the other 85% did not. The Guidelines suggest that composition can begin with very simple tasks and this is so. However, if such a small percentage of schools are exposing their students to Composition are they losing out in non-musical or musical ways? “The importance of developing the child’s own creativity through music making is central to the Composing strand. In many ways too the composing strand could be considered the ideal listening response and the best way of gaining an understanding of performance activities. Additionally, through the process of composing, the child is given opportunities to recognise the purpose of recording and notating music: to store sound patterns for future revision or retrieval and to enable others to read and interpret what has been previously composed.” Surely a child is at its most creative at primary level. The inhibitions of adolescence have not invaded and yet we are not giving the current primary generation the opportunities to explore that self-expression and creativity. Thus, their general cognitive development is potentially under-developed if you relate the understanding that is gained from the composition process outlined above to non-music subjects. Surely it is time for the Department to document what human resources are in the various communities or adjacent to schools and have that information disseminated to ensure that the aspiration of the Curriculum becomes a reality. It goes without saying that there is a lot of singing happening in our primary school system and singing can teach the students many things about pulse, duration, tempo, dynamics, structure and timbre. It must not be assumed however, that just because a child has sung any given song that they know that it had a, for example, verse / chorus structure or that it had a regular pulse. These things must be presented in a Teachers Handbook and / or the students Workbook to ensure that for the weakest of teachers there is no guessing required and that the awareness of the teacher can be developed alongside that of the child, where necessary. This is not an effort to kill spontaneity but an effort to interpret the findings of what is happening now in our Primary Schools and to aspire to the goals of the New Curriculum while recognising the distance from one point on the map to the other. Everywhere in the Curriculum notes there is talk of planning for music: “…effective planning is the cornerstone of the implementation of a broad and balanced music curriculum in the school. As in other subject areas, the benefits accruing from developing a school plan in music extend beyond the subject itself, improving learning for the child and creating a more effective organisation in the school. Planning for music should be a collaborative and consultative process involving the principal, the teachers and, where appropriate, the parents and the board of management …” Any teacher past or present knows that a class taught effectively is one that was well prepared and planned. In most other subjects there is a course laid out and the planning evolves around the speed of progression and the supplementary materials that can be added to clarify a given topic. In music – a subject deemed by most teachers to need a level of expertise - that same simplicity afforded to the 3Rs is not seen and the drawback that that lack of a clear and progressive course-book has on how to deliver a successful lesson can be daunting to even a musician, if resources are not made available. “There is also a special need to support class teachers so that they can teach music, make music with children and develop positive attitudes towards music. This may mean seeking the support of organisations outside the school and working in collaboration with them in a spirit of involvement and inclusiveness”. To ask for the level of collaboration and consultation that is mentioned in the “School Planning for Music” without putting in place a person with a musical background as a guide and/or co-ordinator to a number of these boards of management would seem very unrealistic. The fault begins at Departmental level and filters, therefore, right through to local level. Who would organise the running of the school if it had no Principal? If music in the Primary school has had no specific co-ordinator who can schools look to for advice? And it is advice that is sought – someone to speed up the process. This does not take away from the great work individuals and individual schools are doing, but interprets what the teachers have said in chapter one. The starting point, back at local level of course, is whether the school, its staff, parents and board of management accept that music has a role in the cognitive development of the child beyond that which any other subject can offer. If this is not so, even under the New Curriculum, things will hardly change. The “seeming” hands off rather than hands on approach would indicate that it is really up to the schools themselves to plan their own way forward as things stand. Is it so wrong to strive for some “middle ground” that everyone will be given support to attain. Should there be, like practically all other subjects, a minimum standard that all schools are expected to reach while letting the musically orientated schools move on? Or by leaving things as they are – in the relaxed approach will we always aspire to the extremes that seem to be alluded to in the following section: “Given a systematic music education from junior infants, by first class some children will be singing in tune reasonably well, handling percussion instruments with confidence, beginning to express themselves as young composers and even reading music a little. However, where children have had fewer musical experiences over an extended period their needs will be quite different.” A teacher asked for information on the assessment and standards a child or class should be at from junior through to senior cycle. The curriculum notes say: “Most teachers have little difficulty in rating or ranking the work of pupils in their class. Those with considerable experience at a particular class level may have developed a personal ‘standard’ or set of expectations for an age group…Parents and other teachers need to be informed of the progress of the child in all areas of the curriculum, and music is no exception” Again, if the teacher is a musician and experienced they will know what standards to set — but what about the 70 percent of schools in Donegal that said they have teachers who have no musical competency in their staff — how do they guess as to what is a reasonable standard to expect without that age related course-book to give them guidance? Also, if assessment is that easy what prompted the question in the first instance? This difficulty of the disparity between where we are actually starting from and where we would like to think we are starting from must be addressed and part of the reason behind chapter one was to ascertain the “actual” situation not the aspiration. To move the situation on needs clarity on how the two points are to be drawn together. Music needs to have the continuity that is afforded the other subjects too. It is through the continuity that themes and concepts are reinforced. However if the purpose of music is merely to put on a play at Christmas to use a number of children to “show off” the school, then the real value and purpose of the subject has been missed entirely. This was a point raised in a number of the questionnaires and a very valid issue. In relation to the purpose of music, the choice remains with the teacher and the school as to the role they see music playing. International advice would strongly support the use of music to assist the development of all children. Therefore, even if time seems limited, time spent on music is not wasted. The Teacher Guidelines are right to highlight the fact that: “what is of greater importance in any music lesson is the quality of the learning experience, rather than the quantity of time allocated to it.” The aspect of Planning at a school level makes perfect sense when you think of the ability to thread music through many other curriculum areas to enrich another subject areas and time spent can be maximised through integration with other subjects. In Conclusion:Much emphasis remains on the Primary School Curriculum Support Programme to deliver music to all the primary schools in the country in the year 2004-2005. It is a mammoth task for all concerned. It remains to be seen whether schools will really be able to move on with the New Curriculum as it stands whereby: “The choice of content will be determined by the previous musical experiences and needs of the children” [and] “the school plan will cover the nature and extent of music in the school, recognising the social and cultural environment, the varying needs of children and the available resources.” Perhaps those tasked with its delivery will succeed but would it not be much easier if these issues were addressed; if partners in arts were recognised and encouraged into contributing to the solving of those matters; if decisions were taken in relation to both, what minimum resources would be made available, and what content and thus what standard we aspired to have, rather than giving more of the same to 118 schools who took time to say we want more? Recommendations: Recommended Performance Actions:1Everyone in Arts and Education be it students, parents, teachers, Boards of Management, Departmental Officials, must first of all accept international studies which place Music as a core support for the development of a young child. From that tenet all partners in education should work with all available resources in the community, from all musical backgrounds, to deliver a programme to the target group i.e. the child. Funding must, as a result, come from core provision not as is currently the case through year-to-year dependence on availability of disadvantaged funding programmes. 2All schools should be provided with a supply of basic instruments — recorders or tin whistles and a box of basic percussion per class. Bulk buying of instruments would ease the burden financially on any given Department and/or school. 3Teachers to be given In-Service on the use of basic percussion instruments and recorders/tin whistles. The In-Service for Donegal could be supplemented by the deploying of musicians from the neighbouring northern counties, which offers a vast resource of trained musicians –a resource not available in many other locations. 4A National decision to fast track the implementation of the Music Network Report needs to be taken between the Departments of Arts & Education. Meanwhile Local and National sources of Funding need to be identified in the immediate term to facilitate the movement into the schools of local musicians who can provide that specialist knowledge sought so openly in the responses to the questionnaires. 5IMRO should be approached to see how their Music Programme could be employed in Donegal to expand the Instrumental provision in the schools and a similar call be made within the county or links made with Derry to expand such a Music Bank Scheme. 6The County Arts Officer, Donegal Music Teachers Association, Donegal Branch of Comhaltas should all be approached to have a cumulative list/register compiled of all teachers in areas which Schools could link into. This would provide a first step towards assessing whether current gaps in music provision could be filled locally. “A register (local/county) of people who would be available to work with schools and who would be familiar with the key principles underlying the Revised Primary Curriculum in Music.” This could manifest itself on many levels from merely supplying the taped accompaniment for the choir work to actively team-teaching class music with the primary school staff, and/or teaching instrumental or a group, and/or individual basis. 7Encourage existing school performance opportunities foster new ones — e.g. more involvement in church services/introduction of a School Choir of the Year within the County; Interschool bands / groups / orchestras / competitions / performing in Day Care Centres or Nursing Homes (which will perform the dual role of brightening up the day of our elderly). Schools with a strong music tradition could be encouraged to partner weaker schools in a manner agreed between staff at local level to share ideas or resources. 8Orchestras such as the RTE Concert and Symphony, the Army and Garda Bands, or the Ulster Orchestra must be encouraged to perform in areas such as Donegal at least annually and that primary schools are given the facility to avail of the chance to see the performances and to have orchestral members visit the schools. This should supplement any activity undertaken by groups such as the National Concert Hall, the Ark, the National Chamber Choir or others working through the Arts Council, the Music Association of Ireland and Music Network. 9Department of the Arts must set up a proper investment structure for Community Bands of all musical backgrounds, with particular recognition where there is joint school/community use of instruments — to keep bands in existence and give forums for our youth to participate. 10Local media (radio/television) should be encouraged to develop Arts slots where a focus can be given to what’s going on locally and a short opportunity could be offered to expose local talent. 11Local/national media must re-engage in the Arts in the Classroom Concept. School programmes such as the Irish Times “Music in the Classroom” series could be reactivated; Music education programmes could be presented on-air with suitable worksheets provided alongside. Additional Recommended Actions for Listening/Responding and Composing: 1A Comprehensive Book / Teachers Guide / Workbook, should be developed in line with best practice in other countries where music has had a priority at Primary level so that there would be an incorporated and holistic journey for both teacher and student alike through all elements of the Music Programme. There would be an accompanying tape/cd to give musical examples where necessary. The presence of this resource would ensure a basic standard throughout all schools where musical competency in the staff is deemed to be low and could be expanded by schools where the interest is high. 2In-Service is vital for all schools to give teachers at all levels of competency some support in relation to the three central elements of music creativity – Listening/Responding, Composing, Performing. Locations such as the University of Ulster, Magee Music Department, the University of Ulster, Coleraine, Music Teachers Course and the Institute of Higher and Further Education in Derry, or existing Music Teachers would be all relevant starting points for support in the delivery of such In-Service should resources be stretched Nationally. 3A list of Composers in County Donegal and the surrounding counties should be compiled and composers approached in relation to their interest in supporting the composition section of the primary music curriculum, either on a regular weekly or term basis. 4Each School must have recording facilities to both record performance and to play it back for the performers. 5Links with Local /National Media and Third Level Institutions must be progressed to ensure the delivery of a schools music programme to which there would be both worksheets and the associated radio / television programme – this could be a “live” or “pre-recorded” concept. 6Links with Third Level Institutions should also explore the development of a Project, such as “Bridging the Gap” in Cork, whereby University College Cork is working in partnership with disadvantaged schools in the Cork area. 7There should be a strengthening of our use of the Library Service – both the mobile and permanent facilities in regard to the provision of listening materials. A call similar to that of the Music Instrument Bank would yield results for either the library system or individual schools. 8Each School should be provided with Posters of, for example, the Instruments of the Orchestra and/or Composers. 9Efforts should be made to both introduce and promote opportunities presented through Computer Programmes in Music given the access all schools now have to computers and the advances in the development of relevant music packages. 10The issue of Storage for Instruments and music equipment should be incorporated into designs for new buildings as the norm and accepted as a requirement in school extensions / temporary accommodation.
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