Taking an interest
Surely the government's non-statutory model music curriculum should be drafted by experienced music educators in conjunction with experienced and professional musicians from all genres?
Why has this curriculum been put out to tender in the first place? And why to those who have a vested interest in profiting from the outcome, like the Associated Board? Are the Maths or Science curriculums put out to tender with vested interests like BP or GlaxoSmithKline?
The risk to the future, or non-future, of A Level Music and Music Technology and GCSE Music needs to be part of the discussion.
- Robin Marsden
The Bigger Picture
I am writing in response to the online article published on 22 March [tinyurl.com/mt5-letters]. London Music Masters is one of those organisations which, in Nick Gibbs’ words, offered to ‘participate in development of the model curriculum’. To answer your question [‘it is unclear whether these offers came before or after the announcement of the bid winner’], our offer was submitted ahead of the announcement that ABRSM was appointed as the contractor. We contacted the chair of the expert panel with our offer prompted not by a desire to lead a process (we were unaware that there was a process to lead, wrongly assuming that the panel chair would be doing this) but because of the lack of representation on the panel. Ten out of the fifteen panellists are men, thirteen of them have white ethnicities and there are no acting classroom teachers, or curriculum specialists.
Many of these criticisms have been voiced by others, but it strikes me that your desire for a more robust process regarding the appointment of a contractor could be similarly directed to whatever process was used to appoint the panellists. There are yet more questions regarding the purpose of modelling a curriculum that is not statutory, why practitioners would sign up to it, what resources would be available to deliver it and why the energy isn't being focused on addressing the weaknesses in the existing statutory curriculum.
I have strayed in my comments perhaps a little further than you requested, but London Music Masters supports your championing of greater transparency in this process. Thank you!
- Rob Adediran
Opportunities: Writing for Music Teacher
Music Teacher magazine invites you to become a contributor. We always welcomes pitches from people working in the music education sector. We are especially keen to publish material which will aid other music educators, such as teaching tips, pedagogy theory and guides to running projects such as end of term performances or community engagement schemes.In addition to feature writing, we are always looking for new reviewers for sheet music and educational resources. If you are interested in this sort of work, just let us know what instruments and areas you are happy to review in and we will add you to our pool of contributors.There are writing opportunities for both the magazine and the website and all of our commissioned content is paid at a competitive rate. Contact details are on page 8.
Call for papers
The Music and Drama Education Expo | Manchester 2019 is looking for submissions from professionals working within the music education sector. The conference programme will provide best-practice learning, insight into innovative new technology, and topics that cover music education from Early Years to conservatoire level study. We welcome submissions from any individual or organisation looking to share information that can benefit the evolution and development of the music education industry. Submissions covering core CPD topics will be considered most highly and a guide can be found at the link below. This year's Expo will be taking place at Manchester's Old Trafford stadium on 10 October. To submit a paper, please visit tinyurl.com/MDEEM2019. The deadline for submissions is 20 May.
