Teach-Secondary-14.1

A rich soundworld Kerry Andrew has a unique perspective, positioned as she is alongside Beethoven and BobMarley as one of the featured composers in the BBC’s acclaimed ‘Ten Pieces’ listening project (see tiny.cc/ ts141-ML1). Their commissioned piece, ‘NO PLACE LIKE’ has been performed and listened to by thousands of young people. Kerry’s own listening experience was traditional, very much tied to notes on the page, but their own music is anything but – blending genres and various sounds heard all around us into a vivacious, yet accessible style. What was it like to be asked to write a piece for this long- established and highly regarded resource bank? “ This was such an amazing commission and project to be part of, ” Kerry says. “ I wanted to create a piece that drew on students’ experience of sounds in their home towns and actual homes, and sent out questionnaires all around the country. I got this fantastic range of responses back – a rich soundworld including bagpipes, football songs, mobile phones, traffic, ice cream vans, sea shanties, a cancer machine... it was this portrait of the UK through children’s ears. “ I made a huge poem from their answers, and then honed it down to a more general set of lyrics that celebrated the idea of different, yet connected communities and home. ” Freedomand creativity The freedom and creativity of the kind of listening Kerry encourages in their work can only be envied by those facing the demands of preparing students for the KS4 and 5 listening papers – but can we perhaps take something from this? “ I do wonder if a teacher can be a bit more inventive with the listening requirements, Can listening be a part of all activities, not a separate thing? ” Kerry suggests. “ Can your students write reviews of each other’s performances? Can you look at the way a classical composer likeMozart is used in lots of different contexts? Is it possible to encourage students to bring in music they like that works in similar ways to something they’re studying? Can there be listening parties? “ I think it’s important to really celebrate music as a whole world that includes all genres and activities, and for none to seem any less worthy than any other. ” Not every listening lesson will necessarily be a party, but it’s maybe worth thinking about how you can free things up when planning – especially when we consider the long-term potential impact of the music we put before our students. AWORD INYOUR EAR Classic FM’s Secondary School-Age Teacher of the Year, Chris Drake, presents his top tips when it comes to developing students’ abilities to listen to music closely and attentively... Make listening part of what students do regularly. If it becomes part of your routine, students won’t think anything of it and quickly get used to participating in listening activities. Make it clear that students don’t have to like every piece you show them, but that theymust learn to appreciate the skill of the relevant composers. For new teachers, I’d say start by finding accessible and engaging examples. Once your students are used to listening in lessons, gradually introduce a wider variety of music. Show students videos to accompany the music that’s playing, so they can also see the instruments being played, rather than just hearing them. Find examples of the music you love and share these with your students. This can be a great way of getting your students to know you better – and if you have the trust of your students, then they’ll listen to anything! ABOUT THE AUTHOR Helen Tierney has run music departments in comprehensive schools for over 25 years, was an advanced skills teacher for secondary music in Barnet and now works freelance in music teaching, examining and dementia work. Find out more about Kerry Andrew’s music on scores.kerryandrew. com; their recent novel, WE ARE TOGETHER BECAUSE , is available now (£9.99, Atlantic Fiction) 61 teachwire.net/secondary T H E A R T S