1. The Future of Singing in Transition and Secondary Richard Jones National Specialism Coordinator for Performing Arts and Music SSAT Steve Cook Director of Performing Arts/AST Personalised Learning Co-ordinator SSAT Lead Practitioner Formby High School
3. An EISTEDDFOD! The word eisteddfod is derived from the Welsh word eistedd, meaning "to sit", and bod meaning "to be" and therefore means "to be sitting" or "to be sitting together" ("bod" is softly mutated into "fod").
4. “ SINGING? In SCHOOLS? Someone should have thought of that before.... Oh! They did! “
5. What History Tells Us.. With thanks to Prof. John Paynter Around 1025 Guido D’Arezzo created a system of musical notation using a 4-line staff which has evolved into the system we use today. The importance of this work is enormous. Before Guido's invention of musical notation, every singer had to memorize the entire chant repertoire.
6. The Tonic Sol-fa method of teaching vocal music was codified by an English Congregational minister, the Reverend John Curwen (1816-1880) who drew upon a number of earlier European and English music teaching systems including an indigenous English music teaching method known as Norwich Sol-fa . The Norwich method had been devised by Sarah Glover (1785-1867 )
10. 1932 The first Scheme of Work – written by Margaret Donington Mary Datchelor School, Camberwell
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18. 1959 Primary Education: suggestions for the consideration of teachers This Ministry of Education publication provides a snapshot of primary education in the 1950s, eight years before the publication of Plowden .
19. Singing comes foremost among the resources available at any time of day; it calls for no apparatus apart from the teacher's voice, and experience shows that there are few teachers of young children who cannot learn to sing simply, naturally and rhythmically the traditional songs that are the children's heritage and that should form the basis of all their musical training of the primary stage.
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21. The treatment of 'growlers' has already been discussed. These children should never be excluded from the singing class, nor silenced altogether when the others are singing. A little individual attention usually produces rapid improvement in sense of pitch and control of voice, and the provision of simple instruments as an alternative means of musical expression is particularly helpful in such cases.
22. Read the full chapter on music with much more on singing at http://www.dg.dial.pipex.com/documents/docs4/primary15.shtml
23. The Plowden Report (1967) Children and their Primary Schools The rot sets in?
24. If the upper age limit of the primary school is extended to 12 some fresh problems will result but there will also be new opportunities. As far as boys are concerned, many of their voices will be at their best, and singing of high quality, which should include singing in parts, will be possible at the primary stage. With earlier maturing, however, some boys and not a few girls of this age will be passing through a phase of uncertainty, and it may be advisable to reduce the amount of singing expected from some children, to limit the register range of what they sing and to provide other means of practical music making.
26. The 70’s - Schools Council Music Project lays the foundation for composing an an integral part of the music curriculum. The 80’s - The National Curriculum The 90’s – Influence of Local Financial Management of Schools The 00’s - Commitment for all primary school children to learn an instrument Music Manifesto
