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A Framework for Curriculum, Pedagogy and Assessment
in Key Stage 3 Music
Professor Martin Fautley (Birmingham City University)
Dr Alison Daubney (University of Sussex)
Supported by
ISM
KS3 assessment
Section 1:
1
ISM
KS3 assessment
Section 2: ISM
KS3 assessment
Section 3:
Planning for Musical Learning, Assessment, and Progression Questions to ask yourself
Assessment of musical learning should be rooted in the reality of This section provides a structure for you to think through your current
musical activity that the young people undertake. Consequently, curriculum, pedagogies, and assessment, and reflect upon how your
assessment should be of the musical attainment they have evidenced values and aspirations for music education are currently planned for
in a range of learning activities in which they have been singing, and enacted. It takes the form of a series of questions. You can work
playing, performing, improvising, composing, and critically engaging through these by yourself, or with a group of colleagues within your
with music. Progress is made over time, and evidence from ongoing school, music hub, locality, federation, or academy chain.
musical assessments should be used to show this. As an outcome of undergoing this reflective The questions which follow are intended to
Musicality should be the centre of attention. In the previous National Curriculum, process of addressing the questions, you help develop and promote music education
There should be ongoing opportunities attainment levels in music were written and should be in a strong position to be able in your school, and the ways in which it
through practical music-making, listening designed for use at the end of key stages to further develop and promote music is taught, conceptualised, delivered, and
to young people talking and playing, and only. Later they were inappropriately education in your school, and the ways assessed musically. They are designed so
watching them responding, to be able to adopted for individual pieces of work. In in which it is taught, conceptualised, that a ‘big’ question, which encapsulates
form assessment judgements which are addition, sub-levelling, which has been delivered, and assessed musically. a broad area of interest, often a difficult
appropriate to the work they have done, singled out by educators, academics and conceptual area, is followed by a series
and can be used to inform the next stage of Ofsted as being particularly counter- of small questions, designed to help you
their musical journey. Such assessments can productive and damaging to a high quality address the big issue.
be used over time to build up a portfolio music education, became the norm. As
of assessment data which demonstrates National Curriculum levels have been Values
progression. As this is music, assessment abolished, this is an exciting opportunity
data should include audio and/or video to develop musical assessment which is Big Question 1: What do you value Big Question 3: How do the values that
recordings of work built up over time. These relevant and meaningful to young people, in music education? you listed in answer to Big Question 1
should include work in progress, so that teachers, and parents. This means that Can you make a list of the things that you figure in your answers to Big Question 2
pupils can learn from them and develop assessment should be based on actual work value in music education? For example, and its sub-questions?
work over time, not just be recording of final done by pupils, and not, as was the case, be a group of teachers listed these, are they Which of the things you value are exclusive
performances for archive purposes which used simply to ‘prove’ linear progression. In on your list? What else is on your list? to music?
are never played back. It is likely that many the new system, pupils should be assessed • creativity Which of the things you value are
of these recordings will be of groups and using suitable musical criteria, rather than supporting wider transferable personal,
• enjoyment
whole classes rather than individuals, as simply being graded as being one sub-level spiritual, moral, social, and cultural
appropriate to normal KS3 music teaching. higher than before. • active learning
development?
Given all of the changes across the curriculum, • inclusion
now is a prime time to revisit planning for • skills
learning and assessment in music. • opportunities to make music together Big Question 4: How do the pedagogies
• singing you employ at KS3 support your values?
• expressing thoughts and feelings What pedagogies do you employ? (eg group
work; whole class performing; singing;
Please note: your list might look very
workshopping; Musical Futures).
different from this!
Do you use different pedagogies for
different topics?
Big Question 2: How does what you value
appear in your KS3 curriculum?
Big Question 5: Do you assess what you
What is included in your KS3 curriculum?
value? If so – how, and why?
Is it topic based? Or something else?
Revisiting the lists you made in answer to
What order are the topics (or whatever you Big Questions 1-3, are the things you say you
have) in? value evidenced in your assessments?
Why are they in this order? If so – how are they evidenced?
Does each topic (whatever you use) have its Are any missing, or under-represented?
own learning outcomes?
Big Question 5 Rephrased: Do you value
Does each term/year/KS have its own what you assess? Or do you assess what you
learning outcomes? value? Or is it a combination of both?
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KS3 assessment
Section 3 continued: ISM
KS3 assessment
Section 3 continued:
Purposes of KS3 Big Question 9: Who makes the decisions Big Question 10: Do you know who owns
about how, when, and why pupils are your assessment data? (you; pupils;
Big Question 6: What are the purposes of What is the place and role of contemporary assessed? assessment manager; School Information
KS3 music education in your school? classical music? What are the purposes of your assessments? Management System (SIMS))
Is KS3 preparation for GCSE or other What is the place and role of pop, rock, Do you assess holistically? Or atomistically? Are you/your pupils creating a portfolio
options at KS4 and beyond? musical theatre, and jazz? (why?) of ‘a well-ordered catalogue of recordings
over time, supported by commentaries and
Is KS3 for everybody? What is the place and role of folk and Do you think your assessments support
scores’ (Ofsted 2011).
Does KS3 promote positive musical traditional music? musical learning?
(How) do your pupils use such recordings
identities for all pupils? What is the place and role of world music? Who is the assessment for? (pupils; teachers;
over time?
Whose music figures in your KS3 What is the place and role of the pupils’ systems; parents).
How do you record formative comments?
curriculum? Why? indigenous cultural music? (How) are pupils involved in assessment?
(How) do you share these with pupils?
Are there spaces for pupil voice and/or What is the place and role of local Are you and your school systems separating
How do you record grades, marks, scores?
pupil choice? community cultural musics? assessment of attainment from assessment
(How) do you share these with pupils?
Is it designed to feed extra-curricular music Are there connections between the ways in of progress?
What would be your preferred method
activities? If so, are these available and which you ‘package’ your KS3 curriculum Who owns the decisions made about
of assessment data recording to make it
desirable to all pupils? (see Big Q2), and your answers to Big Qs processes assessment? (eg commercial
musically meaningful? How distant is this
What is the place and role of western 3-5? systems; whole-school policies;
from your current practice?
classical music? If so, are the connections you noted academy chains).
in Big Q2 made explicit in your Do you have to modify what and how
curriculum documentation? you would like to assess because of school
Big Question 11: What form does reporting
circumstances or expectations? (eg having
take in your context?
Ownership of curriculum, pedagogies, and assessment an assessment lesson; only using evidence
from assessment lesson for grading) How often do you have to report to:
Big Question 7: Who makes the decisions Big Question 8: To whom do you have to Is there target setting for KS3 music? a. systems/SLT
on curriculum in your school? justify your pedagogies? (why did you If there is target setting for KS3 music, b. pupils
Who do you have to justify your curricula choose to teach it [whatever ‘it’ is] what is it based upon? (eg only maths and c. other staff
choices to? (eg “why are we doing this” in this way?) english scores at KS2; Fischer Family Trust d. parents
[pupils]; “why are you doing this” [SLT]). Have you considered different pedagogies (FFT) predictions; Cognitive Ability Test e. governors
What do you publish about your curriculum for teaching what you teach already? (CAT) scores; predicted GCSE grades).
What do you have to report on? (eg grades;
on the school website? Do you have to modify what and how Who decides? attainment, effort; social, moral, spiritual,
What do you publish about your curriculum you would like to teach because of school
What does ‘tracking’ mean in your context? and cultural (SMSC); test scores).
in the school prospectus? circumstances or expectations? (eg have to
write learning outcomes on board/in books (How) do these relate to predefined targets
Do you know if any of the topics you teach set by you, the school, or statistical packages?
at start of lesson; have to write down targets
are also covered anywhere else in the
every lesson at end; have to give pupils eg What happens if these don’t tally?
KS3 curriculum? (eg blues-geography;
tick time [ticking off learning outcomes Are you ‘allowed’ to report on actual
sound-science)
and/or targets], or DIRT [Dedicated attainment? (ie can a grade be lower than
Do you know if any of the skills you teach Improvement Reflection Time] time at its predecessor?)
are also covered anywhere else in the KS3 a fixed point (or points) during lesson;
curriculum? (eg group-work and social; Does your school use ‘free text’ or report-
exams in the hall next door; having to take a
analytical; listening; cooperative; literacy; bank statements for reporting?
register within first 5 minutes).
numeracy; oracy; creating skills). Is there a role for formative feedback in your
Are your pedagogies inclusive, do they
Does your curriculum support, challenge, school’s reporting system? If so, what is it?
provide a realistic and suitable level of
and encourage pupils to bring in their challenge for all pupils? (How do you
musical skills and enthusiasm from beyond differentiate your pedagogies for eg pupils
the classroom? If so, how, and when? with Special Educational Needs and
Disability (SEND), Gifted & Talented (G&T)
pupils, pupils with greater levels of musical
experience (eg ABRSM or Trinity College
grades, or those who play (instruments?).
Do your pedagogies support, challenge, and
encourage pupils to bring in their musical
skills and enthusiasm from beyond the
classroom? If so, how, and when? (Big Q6).
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KS3 assessment
Section 4: ISM
KS3 assessment
Section 5:
Planning for Musical Learning Framework for curriculum, assessment, and progression
What does planning entail? About the framework
Musical learning for KS3 entails a programme of study which takes This assessment and progression framework is in two parts. Part A
place over a long period of time, normally over three years, but in is a planning framework designed to help you think through your
some schools over two. Planning for musical learning should begin curriculum, learning, assessment, and pedagogy. It is designed to help
with an understanding of where the pupils are in their learning you plan and assess musical learning in your classroom. It can
journeys at the start of KS3. Some teachers begin KS3 with a unit be used in a number of ways: for individual lessons, for medium-
which elicits this information for them through a range of practical term planning, and for long-term planning. This has been done
music making activities. Following this, many teachers plan a ‘grand purposefully in order to ensure that you consider how and why your
overview’ of their developmental learning curriculum. This is what is curriculum is relevant and developmental. Part B consists of a series
normally referred to as long-term planning. Medium-term planning of exemplar assessment criteria statements. These statements have
takes the form of units of work, and short-term planning individual been designed to be applicable at a range of stages of developmental
lessons within this. Good planning for musical learning enables pupils musical learning throughout KS3. Some are clearly intended to be
to utilise and develop their musical experiences from both within and, challenging to pupils at different points during their musical journey.
importantly, beyond the classroom. These statements are meant to be examples only, but they are
intended to help you differentiate learning for pupils with a range of
A Planning and Assessment Spiral differing musical experiences.
Musical learning at KS3 is often built around back and forth, up and down, in three
six main strands, which are interrelated and dimensions, and over time. Often as learners How do you use it? material (e.g. activities or repertoire) will
overlapping. These are: encounter a new situation their apparent The boxes on the left-hand side of part A be used.
• singing attainment can be perceived as dipping, of the framework, singing, playing (etc.), The model is flexible, and the last box in
but by invoking the notion of a spiral this are the curricular components of musical the columns can be used for you to add
• composing learning. They are presented individually any other aspects which are appropriate
does not mean that their actual attainment
• improvising has worsened, merely that in the specific here in order to help you ensure that they for your context. The assessment criteria
• playing instance in question the pupils have shifted are both included in your planning, and boxes you develop for your own context
• critical engagement, location on the spiral. assessed. However, it is vital to note that should link back to the skills, knowledge,
Figure 1: A Planning and Assessment Spiral musical learning happens in a holistic and understanding you have defined in the
• social, moral, spiritual, and cultural fashion, and that units of work and their earlier stages of the framework.
(SMSC) assessment should not be atomistically
Singing, composing, improvising, and separated. Teachers should be mindful
playing should be self-explanatory. Composing of this through all planning, delivery,
ent
The notion of critical engagement as we are Critical e
ngagem and assessment. However, by showing
using it encompasses listening, appraising, SMSC
them in this fashion, teachers can use the
evaluating, describing, identifying, aural framework to check and assess over time, as
Increasing Challenge
Composing
perception and many other aspects of Playin
g some units of work will focus on different
musical learning. Whilst in this framework sing
Singing Improvi
SMSC aspects of musical learning, but they should
critical engagement is assessed separately, all be present (albeit to a greater or lesser
in practice it can be seen to permeate extent) throughout the music curriculum.
Composing
throughout all aspects of musicking. In a ent The framework also artificially separates
ngagem
similar vein, SMSC can also be considered Critical e
SMSC skills, knowledge, and understanding.
as running throughout musical learning like Again, this is intended to be of use to you
an idée fixe. during the thinking processes which occur
g
Playin
The idea of a spiral curriculum is well Singing Improvi
sing throughout planning for learning, teaching,
established both generally, and in music and assessment. At all stages during the
education in particular (Bruner, 1960; planning and teaching processes, you need
Bruner, 1975; Thomas, 1970; Swanwick to be aware of the differentiated skills,
The six strands shown in the spiral form knowledge, and understanding you are
& Tillman, 1986; Charanga, 2015). We
the basis of the assessment and progression seeking to develop, so the framework asks
are presenting the six strands of musical
framework, showing the ways that pupils you to delineate these separately. What this
learning at KS3 in the form of a spiral. This
are being musical. means is that planning for learning must
is important, as the notion of progression
using a spiral means that pupils can go precede deciding upon which curricula
6 7
ISM
KS3 assessment
Section 5 continued: ISM
KS3 assessment
How does what you value appear in your KS3 curriculum? How does what you value appear in your assessment?
Approaches to
Desired
Being musical What are your range developing Curricula Assessed through communicating in and
Desired skills knowledge and Assessment Criteria
through: of pedagogies for: knowledge and materials through music, evidenced through...
understanding
understanding
What stimuli will be used, and what developmental materials will your pupils explore?
What are the How will this What are the
How, when, and why are you using these in a formative developmental fashion?
What is the knowledge
playing skills Developing knowledge and assessment
How is what you value in music education embodied through the curriculum,
and understanding
Playing you playing understanding of criteria you
Why these units of work? Why in this order? Why these materials?
develop? developed? for playing?
Exploring
Notating
Developing knowledge and assessment
Why have you chosen these pedagogies?
What would
What skills How will this What are the
you put in Developing
are Developing knowledge and assessment How, when, and why do you use these
this box? (Do knowledge and
you seeking skills? understanding criteria you in a summative fashion?
you need understanding?
to develop? be developed? are using?
more boxes)
WHAT WHAT WHY HOW WHY WHAT HOW WHY WHAT WHY WHAT HOW, WHEN, WHY HOW, WHEN, WHY
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Section 6: ISM
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Section 7: ISM
KS3 assessment
Section 8:
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Section 8 continued: ISM
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Section 8 continued:
Critical
Refines own music after suitable reflection
Engagement
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Section 9: ISM
KS3 assessment
Section 10:
Critical
Able to justify choices and responses to music 3
Engagement
These scores can be shown diagrammatically using a radar-chart, simply produced using a
widely available computer spreadsheet programme. Doing so produces the result shown
in figure 2:
Singing
3
2
SMSC Composing
Playing
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KS3 assessment
Section 10 continued: ISM
KS3 assessment
Section 10 continued:
The next unit that this pupil undertakes is on music for computer games. Progression can also be shown by adding the scores of the units, to show the cumulative
Their scores for this are: total. This would give the results shown in figure 4:
Singing
Music for computer games
5
4
Singing 2
3
SMSC Composing
Composing 3 2
1
Improvising 2
0
Playing 2
Crirical Engagement Improvising
Critical Engagement 2
SMSC 2
Playing
Progression can be shown in various ways, for example by plotting the scores for the This can then be compared with earlier full range of pupils in your classes. It is
computer game unit alongside those of the film music unit, which would result in figure 3: such totals, for example figure 2, to readily important to note that these assessment
demonstrate progress over time. procedures are intended to support the
Most music departments have some evidence for musical learning, they are not
Singing
3 ownership over the content of their meant to replace it. Evidence for musical
KS3 curriculum. This is also true of the attainment and progression should itself be
construction of assessment criteria. musical, it should normally include audio/
video evidence over time.
2
SMSC Composing Within each unit you may want to have
differing criteria statements to provide
1
an appropriate level of challenge for the
Film music unit
0
Music for
computer games
Playing
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KS3 assessment
Section 11: ISM
The National Curriculum
for Music
Final thoughts Martin Fautley Alison Daubney
Professor Martin Fautley is Director of Dr Alison Daubney has a portfolio career.
The curriculum, assessment, and progression framework we have Research in the School of Education at Having worked as an instrumental
outlined here is intended as guidance. To be effective it will need to be Birmingham City University. He has a and then classroom music teacher, Ally
wealth of experience in music education, became involved in teacher education
tailored to suit local circumstances in your school. Musical assessment both in terms of pedagogy, and of music and is currently working part time at the
may be different from some other subjects, and it is important that education research and evaluation projects. University of Sussex.
whole school assessment systems recognise this. We hope that For many years he was a secondary school She completed a PhD at the University of
this framework offers sufficient flexibility for each school music music teacher, subsequently undertaking Surrey, exploring how composing is taught
department to be able to use it for their own ends. We also hope that Doctoral research working in the education in Key Stage 3. Ally has worked extensively
and music faculties at the University of in the UK and abroad with University of
whole school assessment policies recognise that music is a sonic art Cambridge, investigating the teaching, Cambridge International Examinations
and that a spreadsheet, however good it may be, is no replacement for learning and assessment of classroom on overseas curriculum and assessment
the sound of music! music making. development, training and action research.
He is widely known for his work in She is on the steering group of her local
researching assessment and is the author of music education hub, SoundCity:Brighton
eight books, including Assessment in Music and Hove. She works with schools, music
Education published by Oxford University education hubs, music services and arts
Press. He has written and published organisations, implementing and advising
numerous journal articles, book chapters them on training, education, research and
References and academic research papers on a range evaluation.
of aspects of teaching and learning. Ally has published many materials for
He is Co-editor of the British Journal music educators and is passionate about
Bruner, J. (1960) The Process of Education Cambridge,
of Music Education. helping teachers embed educational theory
Harvard University Press
into applied settings.
Bruner, J. (1975) Entry into Early Language: A Spiral Curriculum Swansea,
University College of Swansea
Charanga (2015) www.charanga.com
Daubney, A. The National Curriculum for Music – An assessment London, The Incorporated
& Fautley, M. (2014) and progression framework Society of Musicians The Incorporated Society of Musicians (ISM)
Swanwick, K. (1988) Music, Mind, and Education London: Routledge The Incorporated Society of Musicians Through our membership and wider
Swanwick, K. The sequence of musical development: a study of British Journal of Music (ISM) is the UK’s professional body for networks, we support teachers, school
& Tillman, J. (1986) children’s compositions Education 3, 3, 305-9 musicians and subject association for music. leaders, higher education, Government
Thomas, R. B. (1970) MMCP Synthesis; a structure for music education Bardonia, NY, Media Materials, Set up in 1882, it serves to promote the and the whole music education community
inc. importance of music and protect the rights in delivering high quality music education
of those working within music. for all and in championing the importance
We have over 7,000 members working in and value of music education.
a variety of roles and areas of the music
profession , including music educators
working in all different settings; classroom
teachers, peripatetic instrumental and vocal
teachers, private teachers, lecturers, and
music education hub and service staff..
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