Victoria Kinsella, Martin Fautley and Adam Whittaker explore the role of partnerships between schools and out-of-school providers in music education.
In England, there is curriculum music in school, specialist instrumental and vocal tuition delivered by visiting teachers, along with a multitude of music organisations providing a range of activities on a short and long term basis, as well as independent music educators teaching aspects of music across genres in independent settings. Henley (2011) observed that this provision was ‘fragmented’ and ‘patchy’. Consequently, there was a demand for change in provision ‘to ensure all pupils receive a high quality music education’ (DfE & DCMS 2011). Recognising this fragmentation, in 2011, the English government supported a National Plan for Music Education (NPME) (DfE & DCMS 2011), which has been significant in altering the music education landscape. It set out to dispel many challenges through the creation of Music Education Hubs that would join up provision and augment music teaching in schools. Not only did the NPME support music hubs, but it also aimed to join up delivery across a range of music-making and music learning activities stating:
The best model for Music Education includes a combination of classroom teaching, instrumental and vocal music tuition and input from professional musicians. Partnership between organisations is the key to success. (DfE & DCMS 2011)
In this paper, we explore the challenges of partnership working, in particular the issues posed by policy and practice in schools and the complexities of funding and deployment of music activities...Keep reading on Taylor & Francis.
In England, there is curriculum music in school, specialist instrumental and vocal tuition delivered by visiting teachers, along with a multitude of music organisations providing a range of activities on a short and long term basis, as well as independent music educators teaching aspects of music across genres in independent settings. Henley (2011) observed that this provision was ‘fragmented’ and ‘patchy’. Consequently, there was a demand for change in provision ‘to ensure all pupils receive a high quality music education’ (DfE & DCMS 2011). Recognising this fragmentation, in 2011, the English government supported a National Plan for Music Education (NPME) (DfE & DCMS 2011), which has been significant in altering the music education landscape. It set out to dispel many challenges through the creation of Music Education Hubs that would join up provision and augment music teaching in schools. Not only did the NPME support music hubs, but it also aimed to join up delivery across a range of music-making and music learning activities stating:
The best model for Music Education includes a combination of classroom teaching, instrumental and vocal music tuition and input from professional musicians. Partnership between organisations is the key to success. (DfE & DCMS 2011)
In this paper, we explore the challenges of partnership working, in particular the issues posed by policy and practice in schools and the complexities of funding and deployment of music activities...Keep reading on Taylor & Francis.