An Roinn Oideachais agus Eolaíochta
Department
of Education and Science
Subject
Inspection of Music
REPORT
Skibbereen,
Roll number:
62490T
Date of
inspection: 3 May 2007
Date of
issue of report: 6 December 2007
Subject provision and whole school support
Summary of main findings and recommendations
Report on the Quality of Learning and Teaching in MUSIC
Subject
inspection report
This report has been written following a subject
inspection in
Subject
provision and whole school support
Music is available to all students in all years as an
optional subject in
In addition to the curricular aspects of the subject
and examination preparation, a variety of musical activities take place during
the school year. Traditional Irish groups and rock bands play for events such
as Seachtain na Gaeilge,
talent shows, masses, open nights, awards day and so on, while the choir
performs at carol services, masses, retreats and graduation evenings. Students
have also been involved in the Battle of the Bands TY competition and
the school produces a musical on a bi-annual basis with very successful
productions of such shows as Oliver and The
Wizard of Oz. This range of activities is commendable. The music teacher’s
commitment to these events and the school’s support in facilitating such
activities are highly commended.
Music
lessons take place in a dedicated music room which is bright and acoustically
adequate. A very good stock of resources is available: a wide range of
classroom instruments, piano, keyboard, drum kit, sound system, audio
resources, sheet music, TV, VCR and DVD player, and a computer. The walls are decorated with a variety of
posters, pictures of instruments, posters of previous musical shows and a
colourful mural painted by the students. These all contribute to a heightened
awareness of the subject and are to be commended.
Although
the music room is very well equipped, space is at a premium. The teacher has
tried to make the best use of the available space by arranging chairs with
attached writing areas in a semi circle towards the back of the room but even
so, ways in which the teacher and students can interact in a music teaching
setting are extremely limited. The overhead projector (OHP) appears to be too
low for comfortable operation by the user and thus it would be beneficial if
raised to a more appropriate height. Space around the OHP is extremely
restricted due to the position of the drum kit and other instruments but there
is no other available space in which to put these instruments. In addition,
there is an inordinate amount of glare and the curtains on the windows are
insufficient to counteract this. Blinds would probably alleviate this
situation. The speakers for the sound system are positioned incorrectly with
all audio sources come from the left of the room from the students’ point of
view. It is recommended that the speakers be positioned on the wall, on both
sides of the whiteboard as it would, in this case, improve the situation
considerably and allow for appropriate aural stimulation for all students.
Students practise in the room during lunchtime and for security reasons all
instruments are stored here, adding to the already cramped conditions. Space is
needed both for teaching in a classroom setting and for practice and
performing. It is recommended that long-term planning be put in place taking
cognisance of the logistical needs of this very effective department. In time,
the frustration that builds up from working in these kinds of conditions
impinges on enthusiasm and goodwill. As it is, so many of the students in the
school are involved in music activities, and the numbers opting for the subject
are continually increasing, that not to plan for further development within
this area would be regrettable. Whilst acknowledging that space is an issue,
the ongoing development of resources should be continued, including further
development of information and communication technology (ICT). Though it may
not be an option at present, it is recommended that whenever feasible,
consideration be given to relocating the music room to a site with sufficient
space to allow for a flexible teaching area, permanent performing area and
ample storage.
Planning and preparation
There exists a good level of planning for the
development of Music in
Subject planning outlined the broad plan for each class
group, included references to the various syllabuses, appropriate methodologies
and a stock of support material and resources suitable for all levels. In all
lessons observed, clear objectives were evident, there was continuity from
previous lessons and appropriate resources and stimuli were utilised. In
general, a good level of planning for performing was evident in the prior
preparation of relevant materials such as sheet music, accompaniments,
worksheets, and audio and visual resources. This indicates that short-term
planning is at a satisfactory level.
The music teacher is committed to continuing
professional development (CPD) and keeps abreast of all information pertaining
to music education at second level, keeps up to date with ongoing curricular
innovation and networks with other music teachers whenever possible. This is
commendable and it is hoped that management will continue to support and
facilitate any opportunities for CPD in music education that arise in the
future.
Teaching
and learning
In all lessons observed, a secure, work-orientated
atmosphere prevailed. Material was presented in a coherent manner and the
purpose of each lesson was clearly established from the outset. High
expectations of attainment and behaviour were set. A warm, friendly rapport
prevailed between the students and the teacher at all times, with good use of
humour. There was a very good level of student engagement in lessons seen, and
students’ contributions to class discussions were valued, with praise used effectively
to acknowledge their efforts. Effective questioning to named students was
employed to evaluate prior learning and to reinforce recently learnt subject
matter.
The teaching observed employed many strategies to
engage the students and include them in all aspects of the learning process. In
a lesson focussing on backing chords, for example, student knowledge and
experience were used to support learning wherever possible, and this was
broadened and expanded through detailed questioning, explanation, clarification
and encouragement from the teacher. At all times, an aural focus was maintained
with elements of music-making central to the learning process. Students and
teacher discussed possible solutions, with decisions made as a result of keen
listening rather than justification of the theoretical parameters. Comments
like ‘Listen to it again and see what you think’ abounded, with students
playing a range of chords on guitars and piano and proffering insightful
opinions as to the suitability of these progressions. When the decisions were
made, a performance of the exercise ensued, consolidating the work covered and
integrating the three components of performing, listening and composing. All
these activities contributed to a stimulating and challenging music-learning
environment and are highly commended.
A collaborative learning environment allowing
constructive and productive peer-peer interaction and purposeful group work was
observed, where the teacher guided students through various stages and facilitated
this effective autonomous music-learning environment. Student knowledge and
experience were used to support learning wherever possible, with some notable
examples including students playing a variety of dance tunes on the fiddle and
flute as an aid to understanding the differences between a jig, reel and
hornpipe and links made by the students to other areas of Irish traditional
music. In this way a range of material was revised such as dance tunes,
instruments used in Irish music, the Belfast Harp Festival and Sean Nós.
This work was further reinforced through a listening question, the format of
which was familiar and accessible to all students. The ease with which they
used expressive and technical language to analyse what they heard or had
learned was commendable.
When revision of coursework was undertaken, once more
all students were suitably engaged. The development of skills to undertake the
dictation question in the Junior Certificate examination was approached in a
musically focussed rather than mechanical way. This is commendable as it once
more allows the focus to remain on the music as opposed to the ‘skill and
drill’ tactics usually associated with this area. The teacher gave sufficient
guidance to tackle the four-bar pattern with student contributions welcomed and
affirmed. Students' aural competencies were suitably developed and
appropriately checked and evaluated throughout the activity. The revision of
prescribed material was carried out through student performances with the set
songs for example being performed by the entire group. Supportive and assured
accompaniments by the teacher and students on piano, guitar and drums enhanced
the quality of the playing and singing, which is commendable. After each
performance of such songs as Amhrán na Cuiginne, Click Go The
Shears, Yesterday and Can’t Help Lovin’
Dat Man, the students were questioned on the
features particular to each, with an elaboration of the answers by the teacher.
This ensured that the process was thorough and complete. Furthermore, this
focus on building the role of Music and giving students the opportunity to take
part in and enjoy practical music-making is entirely appropriate especially in
light of the cramped conditions outlined above.
The subject knowledge and skills evident in the music
teaching observed impact well on students’ musical thinking, attitudes and
skills, and when these were utilised, a wide range of interesting musical
activities was introduced. These varied activities and methods used to
reinforce learning, understanding and appreciation of music, and which allowed
for suitably challenging situations and yet were accessible to all students are
commendable.
Assessment
In all lessons observed, students were generally
confident and capable, and performed to a good standard. Students’ folders,
copybooks and manuscripts showed evidence of good organisation, were generally
neat in appearance, and contained detailed information sheets, coursework, and
worksheets.
In addition to regular assessments at Christmas and
summer, and the mock examinations for Junior and Leaving Certificate students
in the spring, formative assessment takes place in a variety of ways. Homework,
which includes written, aural and practical work, is given on a regular basis
and is mostly corrected the following day. Other examples include questioning
in class, completion of worksheets and projects, end-of-topic tests and
practical assessments. Students also undergo practical assessments similar to
those encountered in the state examinations. These methods allow for careful
monitoring of a students' progress, provide sound guidelines for performance in
these examinations, and are indicative of the commitment of the teacher to
helping all students achieve their potential in Music.
The school has an open communication policy for
parents and, in addition to reports issued after formal examinations at
Christmas, spring and summer, regular parent-teacher meetings take place for
all class groups. There is also a willingness on the part of staff to meet
parents at any stage if they have concerns about their daughter’s progress.
Summary of
main findings and recommendations
The following are the main strengths identified in the
evaluation:
- Very good standards of teaching and learning, employing sound
musical practice, and a positive classroom atmosphere were significant
aspects of the lessons seen during the visit.
- Students displayed a high level of motivation and had a positive
attitude towards Music. Observation of students’ work, both
practical and written, indicates that the skills developed are appropriate
and are of a very good standard.
- The available resources are used as appropriately and effectively
as possible to support the teaching and learning of Music.
- Student involvement in extracurricular musical activities also
impacts greatly on their musical development. Teacher commitment to all
these activities and the school’s support in facilitating these
experiences are highly commended.
As a means of building on these strengths and to
address areas for development, the following key recommendations are made:
- It is recommended that, whenever feasible, consideration be given
to relocating the music room to a site with sufficient space to allow for
a flexible teaching area, permanent performing area and ample storage.
- The ongoing development of resources should be continued including
further development of ICT.
- It is hoped that management will continue to support and facilitate
any opportunities for CPD in music education that arise in the future.
Post-evaluation meetings were held with the teacher of
Music and with the principal at the conclusion of the evaluation when the draft
findings and recommendations of the evaluation were presented and discussed.