Teach-Primary-Issue-19.2

It's easy to get lost in the clamour and the clangour of music lessons, but there are some straightforward tools to avoid a real racket, says Dr Liz Stafford M usic lessons can and should be one of the most joyful experiences of the week. However, the very qualities that make them so much fun can also present significant classroommanagement challenges. Unlike other subjects, music lessons often involve noise, movement, and the irresistible allure of musical instruments; a combination which almost inevitably leads to some sort of disruption, and can feel chaotic. However, it would be a mistake for teachers to try and clamp down too hard; there needs to be a certain amount of acceptance that behaviour in music is not going to be the same as in other subjects, and that we therefore also need to adapt our classroommanagement strategies. The challenge for teachers is finding a balance between maintaining order and embracing creativity and noise. Once you have accepted that music lessons will be noisier and more energetic than other subjects you can start to plan your strategies for keeping control. Clear expectations Before the first note is played, establish your ground rules, making it clear that whilst noise and movement are part of the lesson, they must be purposeful. A key expectation to establish is that instruments should only be played when and how instructed. You will need to reiterate this an awful lot before it sticks, but it is worth the effort. The worst thing you can possibly do is avoid using instruments because the children are ‘too silly’ with them. This just perpetuates the problem. Instead, use instruments as regularly as possible until the novelty wears off and the sanctions for breaking the rules are clearly established. Non-verbal signals Over noise, verbal instructions can get lost. Develop non-verbal cues, such as clapping a certain rhythm (I guarantee everyone reading this is thinking of the exact same one right now!), using a particular instrument that cuts through the noise, or using a hand signal – although this latter approach relies on pupils actually noticing you standing at the front semaphoring at them. One of the best strategies I ever saw used was at Perryfields Primary School in Sandwell, where when teachers flicked the lights off and on all the children stuck both hands in the air and wiggled their fingers! Admittedly it was a bit freaky the first time I saw it, but I instantly adopted it as my own go-to strategy, because it doesn’t involve raising your voice or trying to be heard over the din, and it means their hands are busy so they can’t make noise on their instruments while they're responding. Managing MELODIC MAYHEM www.teachwire.net | 63 T EACH PR I MARY MUS I C SPEC I A L I N AS SOC I A T I ON W I TH “The challenge is finding a balance between maintaining order and embracing creativity and noise”