Kevin Grist | Musical Transitions Between Informal and Formal

Musical transitions from informal to formal: effective teaching resources | Kevin Grist |

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Musical transitions from informal to formal: effective teaching resources Kevin Grist (May 2012) Introduction In May 2012, the Arts Council announced funding for 122 music education hubs across England, the result of a vision laid out in A National Plan for Music Education (Department for Education, 2012). The hubs are intended to fundamentally change the way music education in England is delivered to 5-18 year-olds both in and out of school, by creating a more joined up approach on a local level. This means schools, music organisations, the voluntary sector and higher and further education providers will come together to deliver shared aims for young people; an opportunity to sing and learn a musical instrument, to progress to the next level, and play with other children as part of an ensemble or choir (Arts Council England, 2012). I write this study as a music teacher, with eight years of experience working with young people in and out of schools in Brighton & Hove. This has ranged from delivering music education inside primary and secondary schools, with FE colleges and in youth clubs, at performance venues and even in the street (outreach projects). Drawing from my experiences, the work that music education hubs are attempting to deliver will cover a diverse and often complex range of young people’s needs – those who are gifted and talented, in challenging circumstances, approaching school transitions and identifying progression pathways to name a few. A challenge for hubs will be how formal and informal teachers come together from differing ideologies and approaches to music education. The notes from a networking event held prior to the formation of the Berkshire Music Education Hub, for example, cited informal versus formal and accredited versus non-accredited as key future discussion points (MusicLeader, 2012). This study of my own practice, therefore, intends to explore the very notion of what informal and formal music education is and what effective teaching


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resources could be deployed to help young people’s transition between the two1. In light of A National Plan for Music Education (Department for Education, 2012), it is likely that a learners’ journey between informal and formal music education will occur more fluidly and instantaneously than ever before. 1 – 35 music practitioners surveyed in April 2012 were asked to rank the importance of the following question on a scale

of 1-5 (5 being most important): “How important is it to have teaching resources that help the transition from informal to

formal music education?” 65.7% ranked the importance at 4 or above.

Formal, non-formal and informal? The definition of formal and informal learning varies in parts of the world but there have been attempts to clarify the terms at an international level so that academics can at least speak the same language (Werquin, 2010). For the purpose of this study, I will use Patrick Werquin’s definitions as laid out in his recent work for the Organisation for Economic and Co-operation Development titled Recognising non-formal and informal learning: Outcomes, policies and practices. Here, three domains of learning have been identified; formal, non-formal and informal: • Formal learning is identified as intentional and occurs in an organised and

structured environment with clear learning objectives, typically leading to accreditation. In music education, this would typically be the state-run system including schools and universities working towards theory-based GCSE/A-Level/BA in Music, ABRSM Grades and some practical-based qualifications such as the Rockschool Award.

• Non-formal learning is also identified as being intentional, but is embedded in activities not necessarily designated as learning or accreditation. In music education, this could be learning something about you such as teamwork or management skills in a recording studio or music ensemble. This is typically seen in vocational and adult learning working towards continued professional development, apprenticeships and engagement programmes.


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• Informal learning is identified as unintentional learning taken from daily experiences in work, home or leisure, with no structured objectives. In music education, this would likely be seen in home-based ‘bedroom producers,’ community choirs, youth centres, recording studios and music venues.

In April 2012, I conducted a survey amongst music practitioners. One set of questions asked them to submit words and phrases they would associate with the terms ‘formal music education’ and ‘informal music education.’ Non-formal learning was left out of the survey, as I wanted maximum clarity on the two opposing concepts. The results, (shown in figures 1 and 2) provide consistency in the way each concept is perceived by music practitioners, and the effects it has on their learners.

Figure 1: Most commonly used word and phrases used to describe "Formal Music Education" taken from a poll of 35 music practitioners in April-May 2012 (SurveyMonkey/Wordle)


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Figure 2: Most commonly used word and phrases used to describe "Informal Music Education" taken from a poll of 35 music practitioners in April-May 2012 (SurveyMonkey/Wordle)

For formal music education, the survey provided words such as “structured, teacher-led, qualifications, curriculum, school and exam” as common ways to describe the learning experience. There were some negative perceptions of formal music education provided – “boring, discriminatory, exclusive, closed-access and less creativity.” Taking into account that 54% of those surveyed considered themselves as working in both formal and informal education, it would suggest that there are some strong ideologies against elements of formal music education (particularly around issues of access and equality). For informal music education, the survey provided words such as “fun, student-led, out of school, experimental, self-learning and engaging” as common ways to describe the learning experience. Likewise, there were some negative perceptions of informal music education provided - “anarchic group, less-structure, frustration and no accreditation” Again, taking into account that around half of those surveyed considered themselves as working in both formal and informal education, it would suggest that there are some strong ideologies


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against elements of informal music education (particularly around issues of professionalism and validation). Learning continuum The difficulty with the model of domains is that many organisations offer music education that cuts across all of them. For example, a university that offers a formal BA in Music may also deliver non-formal day programmes in Music History or provide informal Music Technology e-learning resources online. Because of this, there are a number of models that position formal and informal learning on a learning continuum, with the suggestion that people move between their polar extremes (Reinhard, 2010). The most basic is the simple line: Formal learning Non-formal learning Informal learning Figure 3: Continuum model – (Reinhard, 2010)

Using this simple linear continuum model, I have mapped to it some common ways in which young people learn music and cited properties of formal and informal learning as set out by Werquin, 2010 (figure 4): Learning is deliberate Learning is strongly structured by discipline or field Learning is strongly structured in curricular terms

Formal learning Intentional Structured Controlled

Non-formal learning Intentional Structured

Informal learning Non-intentional

Learning is non-intentional Learning is not structured by discipline of field Learning as such is not planned and has no formal designation

Awarding Body

University

College

Secondary School

Primary School

Music Service/Strategic Organisation

Private Training Provider


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State regulation Providers are public or state-accredited Quality assurance mechanisms

Vocational / CPD Open market Private providers & volunteer organisations with no restricted market entry No quality assurance mechanisms

Music Venue

Youth Service/YOS

Community Arts Project

Band/Ensemble

At Home/Studio

Audience

Figure 4: Common ways in which young people learn music (mapped to continuum model)

The diagram, for example demonstrates how music (in the informal domain) is learnt through listening (audience), making music in the home and developing in groups. The transition into non-formal music making via a community project or youth centre is shown as the next transition before more formalised school and college. But like the three domains themselves, this diagram is limited and does not show the full breadth of how each may span wider across the continuum (Reinhard, 2010). Rather, it implies what domain/s most likely cover each of the ways a young person can learn music. The width of each on the continuum is an estimate based on my own understanding of music education, and there is room here to develop a more reliable way of measuring it. However, this diagram is helpful in identifying common transition points across music education and to scope areas of similarity when developing teaching resources. Transition points might include primary to secondary school, year 9 choosing formal GCSE options and post-16 accessing formal music education for the first time. Also, there are a number of other models including the Learning Mixer (Cross, 2007), which could be useful alternatives to this standard continuum, as discussed by Reinhard, 2010 at www.infed.org. Using the same model as figure 4, I created a second diagram (figure 5) mapping common ways in which music learning is assessed and added an assessment continuum based on Hills, 1992:


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Learning is deliberate Learning is strongly structured by discipline or field Learning is strongly structured in curricular terms State regulation Providers are public or state-accredited Quality assurance mechanisms

Formal learning Non-formal learning Informal learning Learning is non-intentional Learning is not structured by discipline of field Learning as such is not planned and has no formal designation Open market Private providers & volunteer organisations with no restricted market entry No quality assurance mechanisms

Summative assessment

Formative assessment

Self

assessment

Instrument or Exam

tests with a grade. Pass or fail, little or no

feedback.

Planned observations with set criteria from

self and teacher

Observations of other music as an audience member/consumer – listening, watching

Not normally written

Internet searches on inspiring artists and

techniques

Academic style writing for essays and

rationale.

Modular work samples of music in response to

set projects/goals

Some contextual and theory research

Clear presentation of

information

Sense of learning outcomes

Self-evaluation of own music

Discussion, audiovisual record, reviewing/diary, record or tickets sales

Deeper analysis drawing on existing body of knowledge

Written feedback given

against set learning criteria

Structured feedback from peers and tutor.

Opportunity to refine and resubmit work

Formal focus on

developing language, literacy and numeracy

Feedback of own music from others

Discussion, peer

mentoring

Setting personal projects/goals that are not necessarily timely

Public comments via

social media

Figure 5: Common ways in which music learning is assessed (mapped to continuum model)

The idea of this diagram is to understand ways in which music learners gain a sense of achievement through various types of assessment. It is useful for this study as it provides a basis for creating teaching resources that not only address


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transition but also recognise achievement. Rogers, 2003 believed that learners were more conscious of learning in a formal

academic environment, and less so in an informal ‘authentic’ environment such

as the workplace (situational learning). He argued that learning lost its context

the more formal it was (Rogers 2003 and Smith 2009). As figure 5 shows, music

achievement is completely ‘real-world’ in the informal domain with assessment in

the form of, for example, attending gigs, listening to music, getting feedback from

band mates and social media. As you move to the formal domain, the sense of

achievement in music is largely related to the academic process itself (not real-

world). Wenger, 2007 describes situational learning within a social situation as

“communities of practice” and is linked with the ideas of vocational learning;

apprenticeships, internships, professional networking and on-the-job training. It is

perhaps surprising, then, that mainstream education in the UK still relies heavily

on formal learning (out of context to the real-world), although there is an

increasing value and importance being put on vocational learning (Wolf 2011).

For future study, what would the continuum show us if we mapped other areas of music education such as musical genres, socio-economic groups and gender? Existing music education models that help transition One of a music education hub’s key aims – to progress to the next level – implies that the music education sector sets out clear progression pathways for young people. There are some existing music education models that help such transition. In secondary schools, some institutions have adopted Musical Futures, a Paul Hamlyn funded initiative that brings “non-formal teaching and informal learning approaches in the more formal context of the school (Price, 2006).” It draws on the idea that young musicians learn initially from aural skills (listening) and use these to learn develop and copy instrumental and vocal parts of a song. It doesn’t discourage using notation, but isn’t explicit in its use either. Musical Futures’ success in schools appears to be because of its simple learner-centred


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model, that encourages fun, engagement and acknowledgement of informal learning. Price, 2006 highlights the different modes of learning in music (and different use of language): Formal Non-formal & Informal Lesson Projects Music teacher/conductor Music leader/coach Learning through notation/instruction Learning by aural means (playing by

ear, copying and trial-and-error) Learning is sequential Learning is often haphazard Donor-recipient model of teaching Learning activities are separately specialised

Teacher is co-learner Teaching is distributed Activities are integrated

Technique is pre-requisite to repertoire Technique s acquired through repertoire

There are a number of other music education models and projects, which aim to help transition into formal education, including In Harmony Sistema, Sing Up, Music and Dance Scheme and qualifications Rock & Pop, Rockschool and Arts Award. There is no reason to assume that transition cannot be also from formal to informal education, and this is another area for future study. Potential barriers to transition from informal to formal From the same survey conducted in April 2012, I asked participants to identify barriers to formal music learning for young people, based on their own practice. There was a set list of barriers based on my own experience and the option to add others. Because of this, the identification of all potential barriers is limited and needs further work. The results are presented in a bar chart (figure 6):


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Figure 6: Most common barriers for young people accessing formal music education taken from a poll of 35 music practitioners in April-May 2012 (SurveyMonkey/Wordle)

There is clear indication that particular barriers are considered more common than others; incorrect teaching style, low confidence of the learner, intergenerational low aspirations of the learner, to name the top three. It suggests that there is commonality in issues around access to formal music education – something that music education hubs could potentially address. This list informed another phase of my research; to observe non-formal music education sessions at two different transition points on the learning continuum (figure 4). I chose to observe a music session at Steyning Grammar School, East Sussex (year 9 choosing their GCSE options) and one at the Crew Club youth centre, Brighton (includes 16-19 year-olds working to progress to formal music education). The criteria for the observation was constructed using:

1. The top 10 barriers to learning (as identified in the survey and figure 6) – I would comment on how the session addressed the barriers, if at all

2. The two most important non-musical learning outcomes for an informal


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session (as identified in the survey)2 – I would comment on how the session met these outcomes, if at all

2 – 35 music practitioners surveyed in April 2012 were asked to identify: “Which one of the following outcomes is most

important to achieve during an informal music session?” The choices were: to develop literacy and numeracy, to improve

social and emotional wellbeing, to encourage creativity, to introduce diversity and to make use of inclusive technology. 2/3

chose ‘to encourage creativity’ and 1/3 chose ‘to improve social and emotional wellbeing.’ The other outcomes were not

chosen. The outcome of ‘making music’ was deliberately omitted as an option, so to draw focus on the potentially wider

benefits music education.

Figure 7 shows how the observation sheet was constructed. I wanted to find out how existing practice has been working to aid transition from informal to formal by tackling common barriers and meeting common outcomes. Using results from this, and the earlier research into how music learners achieve (mapped on the learning continuum), I hoped to be informed enough to identify effective teaching resources later in the study.

Observation Sheet: Musical transitions from informal to formal: effective teaching resources Session date: Time: Venue: Description of session: Top 10 barriers to formal music education

How did the session address these barriers, if at all?

The teaching style is not right

Having low confidence

Having intergenerational low aspirations

The course fees are too high

Having no desire to gain accreditation

Having no previous qualifications or experience

The equipment is not adequate or inclusive

Not knowing anyone else at the venue

The class size is too big

Having a learning disability

Aside from making music, how did the session meet the following outcomes? To improve social and emotional wellbeing

To encourage creativity

Any other comments:

Figure 7: Observation sheet criteria based on survey results


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The observation at Steyning Grammar School was with year 9 students working towards a Rockschool Practitioner qualification, delivered using the informal, learner-centred ‘Musical Futures’ model. This was at a time when many were considering their GCSE Music options and making the transition from non-formal to more formal approaches to music education. The one-hour session involved a brief group recap with one teacher, before students (about 20 of them) went into pre-formed groups and made music in separate spaces. This ranged from live rock/pop/soul to computer-based electronic and classical. The students chose the repertoire of music and were encouraged to listen to the pieces and replicate using aural skills. The music teacher supported this as he visited each group to provide feedback. The session addressed many of the barriers to formal learning as identified in the survey. The teacher had adopted a dual teaching style between formal and non-formal depending on the learner and their needs. So, for example, he would use formal teaching methods at the group recap to check learning and ask students to explain what the session’s aims were. Once in their groups, he would take a more one-to-one mentor role, providing an informal and often ‘chatty’ approach to questioning and giving feedback to individuals. Low confidence in some students was addressed indirectly by working in smaller groups and having peer support. These friendship circles are similar to communities of practice mentioned earlier (Wenger, 2007) and provide a real opportunity to develop wider outcomes for improving social and emotional wellbeing (one of the key outcomes identified in the survey). Students kept recordings of their work and a weekly rehearsal diary, which allowed them to informally reflect and to recognise and track their progress and achievements. Some of the work was uploaded to NUMU, a national website for schools and youth centres to share young people’s music and create evidence portfolios. Again, this reinforced a sense of achievement as students can get peer comments from across the UK and is inclusive in the way that young people have access to it. In terms of attitudes towards accreditation, 3 out of the 5 students I spoke to thought it was important to have music qualifications and grades to progress further. It is difficult to establish where those attitudes of aspiration come from, but all understood that GCSE Music potentially means less practical


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activity than the Rockschool Award. This acceptance of formal education may come from external factors such as high expectations from parents and that the classroom had lots of posters and literature promoting higher level theory and contextual ideas. The observation at the Crew Club youth centre was with 13-19 year olds attending a Youth Music-funded project called ‘Brighton Music Hub,’ which I am familiar with as I helped to set it up. The programme doesn’t use a prescribed model of learning, but would be considered as using an informal to non-formal approach to music education. This was at a time when many of the participants aged 16-19 were considering progressions into level 1 and 2 college courses in Music Performance and Music Production. For many of them, the project was their first access to and experience of music education. The group size averages 20 per week and there is a core group of 13 who account for over 50% of the attendance, of which 77% have a special educational need (Youth Music, 2012). 40% come from the socially deprived Whitehawk Estate, where there are a high number of young people in challenging circumstances. The 3.5-hour evening session involved an initial 20-minute slot for socialising, then a group recap and icebreaker/warmer to welcome newcomers. Despite a core group who come every week, the other young people vary. To overcome this, the grouping of learners is decided on the night based on the need and motivation of the young people. Like Steyning Grammar School, young people are put into smaller peer groups to make music in separate rooms/spaces. There are 5 music tutors supporting the session and each is assigned a group to deliver mini workshops in singing, rapping, lyric-writing, studio recording and live band performances. The groups break, reconvene, and then work towards a final group showcase of their performance/recording in the main hall. The session addressed many barriers to formal learning as identified in the survey. The teachers consist of 3 who are qualified and 2 who are undertaking training to be community workshop leaders – they are lead by a project manager. The teachers responded to the learners needs – their choice of song, their special educational needs and wheelchair adaption. Teachers discussed any issues of concern and attempted to resolve


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them regularly throughout the session. Low confidence in the young people was addressed by peer-supported groups, no pressure to perform and teachers doubling up their roles as youth workers/mentors to support those who are vulnerable. Intergenerational low aspirations were addressed by making small, but regular steps of achievement – in the session feedback and end of evening performance. There are also 2 young people who are trainee music leaders – this means they have added responsibility to help assist in the delivery of sessions. One supports the studio recording, whilst the other helps set up and run a rock band group - the impact of this is to have peer role models. Likewise the teachers are informal and share stories of their music industry/professional background and serve as other authentic role models to aspire to. On occasions, external colleges are invited to the project to showcase their students and courses in a Q&A session - another strategy to change attitudes towards formal education. Young people can access the Rockschool Award at a subsidised cost of £10, but this is not compulsory. Like Steyning Grammar School, the Crew Club session helped improve social and emotional wellbeing through dedicated social time, social learning and peer support. Creativity was encouraged by the teachers through merging genres/styles in the workshops and creating new compositions including the use of mobile phones to record with. Identifying effective resources for transition - conclusions Taking into account the results of the survey conducted, lesson observations and the research into mapping music education over a continuum, I am better equipped to identify effective resources and strategies that could aid the transition into formal learning. Based on the idea that reducing barriers and achieving helps transition, I can summarise my findings: 1. Feedback – instant and regular through the form of small performances or

playbacks of work. Delivered by peers and teachers. Feedback is considered to have the highest effect on achievement according to research by John Hattie on effect sizes (Hattie, 2008).

2. High expectations of learners – setting goals and aims that are achievable


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but challenging including performance deadlines and recording release dates. This may encourage the idea of more formal deadlines and aspirations to achieve higher.

3. Fun and engaging music making – aural-based music making being the core of all sessions. The latest Ofsted report Music in schools: wider still, and wider (Ofsted, 2012) cited that not enough actual music making was happening in schools.

4. Diary keeping – keeping a diary or blog supports learners in keeping track of their work and to visualise progress, boosting confidence. It is also an effective way to compile evidence towards a practical-based music qualification.

5. Using digital technology – using computers, phones or other devices to record music and videos provides another instant way of analysing and feeding back on a performance. Musical Futures, NUMU website is an effective and safe space to upload and share such work. Garageband on the iPad and Jampod devices for recording live music are amongst new effective music technology.

6. Well-resourced spaces – the learning environment should be spacious with multiple spaces with the inclusion of ample instruments, computers and adapted technology.

7. Training – many teachers in formal education may have become institutionalised and could benefit from some CPD to recognise or refresh techniques in non-formal to formal teaching styles.

8. Installing inspiring role models - from both teachers with industry experience and young trainee music leaders, to raise aspirations. Also to host Q&A sessions from external colleges and students to offer progression routes.

9. Social areas – musical learning is a largely social experience, but having extra time to socialise within the session (if it is long enough) is beneficial in developing social and emotional wellbeing, particularly of the most vulnerable learners.

10. Visual posters and literature – posters and leaflets that promote deeper and more formal thinking around music theory/contextualisation, are useful to


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introduce more formal ideas to the learning space. 11. High number of teachers – I believe a higher ratio of teachers to students

improves the quality of teaching to larger groups and helps assist with differentiation and identifying issues with vulnerable learners.

12. Singular use of language – Having a unified and singular use of language to describe informal and formal music education might be helpful in dispelling myths around quality and recognition of informal education. By referring to a community workshop leader as simply a ‘music teacher’ would also help learners associate more formal terminology with an informal environment, and help to ease the transition.

Bibliography Arts Council England, (2012). ‘We announce successful music education hub applications’ [http://www.artscouncil.org.uk/news/arts-council-news/we-announce-successful-music-education-hub-applica/. Accessed 19th May 2012] Cross, J (2007) ‘All or nothing.’ Informal Learning Blog, 9th February [http://www.informal.com/2007/02/09/all-or-nothing/. Accessed 10th May 2012] Department for Education, (2012). The Importance of Music: A National Plan for Music Education. London: Department for Education, Crown Copyright Hattie, J. (2008). Visible Learning: A Synthesis of Over 800 Meta-Analyses Relating to Achievement. Routledge Hills, T. W. (1992). Reaching potentials through appropriate assessment (Vol. 1, pp. 43-63). Washington, DC: National Association for the Education of Young Children. MusicLeader South East, (2012). Music Education Hubs: How can the formal and non-formal music education sectors work together for the best outcomes for children and young people? Berkshire: MusicLeader/Rhythmix


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Ofsted, (2012). Music in schools: wider still, and wider. London: Ofsted, Crown Copyright Price, D. (2006). Musical futures: Teachers' resource pack. [S.l.]: DfES Price, D. (2006). Musical futures: Personalising music learning. [S.l.]: DfES Reinhard (2010). 'Teaching-learning processes between informality and formalization', the encyclopaedia of informal education. [www.infed.org/informal_education/informality_and_formalization.htm. Accessed: 13th April 2012] Rogers, A. (2003) What is the difference? A new critique of adult learning and teaching: Leicester: NIACE Smith, M. K. (1999) 'Learning theory', the encyclopedia of informal education, [www.infed.org/biblio/b-learn.htm, Accessed: 4th April 2012] Wenger, E (2007) Communities of practice. A brief introduction, [http://www.ewenger.com/theory/. Accessed 4th April 2012]. Werquin, P. (2010). Recognising non-formal and informal learning: Outcomes, policies and practices. Paris: OECD. Wolf, A (2011) Review of Vocational Education – The Wolf Report, Department for Education UK: HM Government (2011) Youth Music (2012) Open Programme Interim Report: Brighton Music Hub, Brighton: Crew Club

Kevin Grist | Musical Transitions Between Informal and Formal

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