Teaching Secondary Music

Jonathan Savage is a Senior Lecturer in Education at the Institute of Education, Manchester Metropolitan University. Until 2001 he was Head of Music at Debenham High School, an 11-16 comprehensive school in rural Suffolk in the east of England. He is also Managing Director of UCan.tv (www.ucan.tv), a not-for-profit company that produces engaging educational software.

PART ONE: EXPLORING MUSIC THROUGH THE CUIRRICULUM The Key Concepts for Musical Teaching - Jonathan Savage The Key Processes of Musical Learning - Jayne Price Cross-Curricular Approaches in Music Education - Jonathan Savage Personal, Learning and Thinking Skills and Functional Skills - Carolyn Cooke PART TWO: ESTABLISING MUSIC IN THE CLASSROOM Developing Performing Opportunities - Anthony Anderson The Role of Music and Musicians in Society, the Music Industry and Intellectual Property Rights - Phil Kirkman Using Music Technology for Musical Performance - David Ashworth Working with a Range of Musicians - Jayne Price Developing Musical Leadership - Martin Fautley PART THREE: ENRICHING MUSICAL MODELS OF DEVELOPMENT AND ASSESSMENT Planning for Musical Progress - Jane Humberstone Assessment for Learning in Music - Kevin Rogers The 14-19 Curriculum in Music - Alex Timewell

'This book is a must have for the newly qualified or experienced secondary music teacher alike. It is easy to read, thought provoking and full of useful advice. The opening sentence in Chapter one sets the tone of the book. 'We believe that the study of music should be a central part of every child's education'. It explains the changes made to the National Curriculum unpicking the meaning behind the statements and exploring the Key concepts and processes. The current version of the National Curriculum is not prescriptive in content but provides a useful framework upon which to base a personalised programme of teaching and learning in music for individual school settings. As music educators we should be constantly reflecting on our practice and developing new ideas to ensure a continually vibrant and living music curriculum. This book offers a good starting point, with questions at the end of each chapter to encourage the reader to reflect on personal practice. The case studies give practical examples of how others have approached particular issues. Exploring the framework, range and content of a curriculum through to musical development and the thorny question of assessment, this is a book for planning and reviewing your own curriculum, what one plans to deliver, why and how the learning will take place' Sarah Kekus, Chair of the National Association of Music Educators 2011