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Transition from Key Stage 3 to Key Stage 4 KS3/4KS5 Transition from Key Stage 3 to Key Stage 4 John Kelleher by John Kelleher is a freelance education consultant specialising in For any school teacher, the word ‘transition’ instantly conjures up an image of 11-year-olds looking anxious music and music about their first days of secondary school. This time-honoured rite of passage is, quite correctly, assigned a technology. He provides advice, high priority by schools so as to ensure that the move from Key Stage 2 to Key Stage 3 is as smooth as possible, training and and that natural anxieties are at least mixed in with a healthy dose of excitement about new challenges. resources for music teachers. There is, however, another transition that has a significant impact on our pupils: the move from Key Stage Before moving into consultancy work, 3 to Key Stage 4. With the vast majority of pupils staying in the same school, it’s easy for us to overlook the John was part of the difficulties that teenagers face during these tumultuous few months. At the very least, it’s tempting to see it as a senior leadership problem for the head of year and his/her team of form tutors who invariably deal with the fallout of young people team and director of music at a London suddenly having to cope with a set of examinations that have the potential to determine the path they take for secondary school. the rest of their lives. While the humble music teacher cannot resolve all the issues, there’s a lot we can do to minimise the stress caused by KS3-4 transition in our subject area, and even to make our music departments feel like a ‘safe zone’ during the process. Taking the time to make music KS3-4 transition a less stressful experience for our pupils benefits the music department as well as the pupils. Good transition can boost the number of pupils who take your subject at both KS4 and KS5, and can make your classroom environment a much more pleasant place. This resource seeks to explore the ways in which you can best prepare your pupils for the transition, so that you can then guide them through the process in a way that is both beneficial to their well-being and entirely musical in its nature. COMPARING KEY STAGE 3 WITH KEY STAGE 4 To plan and deliver an effective KS3-4 transition, it’s vital to consider the different roles that your KS3 plays in the life of the school, and how they balance with the experience that pupils need if they are to succeed at the end of Year 11. This balancing act involves a paradoxical mix of needing to design a Scheme of Work that serves the needs of those who do and don’t take music as an exam subject, while also ensuring that you provide an experience that makes pupils want to choose your subject. What follows may seem like a contradictory account of the role of each key stage, but it is important for us to consider many different perspectives if we are to create an effective transition alongside Schemes of Work that provide value at every level of study. What is the purpose of your Key Stage 3? I have lost count of the number of meetings I’ve attended where someone has declared that a good KS3 is one that prepares pupils for KS4. I can see the reasoning behind such a statement and I would certainly support it for English and mathematics: these are subjects where pupils simply have no choice but to study the subject throughout their entire secondary-school career. When dealing with an options subject, however, the claim seems less convincing. This is especially the case when teaching a subject with relatively low take-up numbers. With GCSE music being taken by just 7% of all pupils, is it appropriate for your KS3 SoW to focus on preparation for KS4? Should 93% of learners be studying a subject designed to prepare them for a course that they will never take? Considering this statistic, at least two questions present themselves: Does my KS3 make pupils want to study the subject further? Have I designed a KS3 that has value beyond preparation for KS4? Whenever I consider these questions, I always find myself at the counterintuitive conclusion that designing a KS3 that proves valuable to the 93% will probably increase the number of pupils who choose to study music at KS4. Designing your KS3 SoW in such a way that pupils see a wider value to the subject may well get learners 1 Music Teacher June 2015 so hooked on your lessons that they defy the odds and grant you more than one class of music students at KS4. Taking such a perspective actually amplifies the need for a KS3-4 transition since you have jettisoned the idea of a KS3 designed purely around GCSE preparation. How do you deliver Key Stage 4? The next natural step is to reflect on the way you deliver your KS4 SoW. If the first three years in your music lessons have centred around practical music making with an emphasis on aural learning, then pupils are quite entitled to feel surprised and even misled if their experiences of GCSE music involve sitting around a table and analysing printed music. KS3 may not be preparation for KS4, but it is the only experience of classroom music Previous resources from Music making that pupils have to make their options choices. Teacher magazine have explored Ask yourself what teaching strategies you use at each key stage and what proportion of time is spent on each. how classroom workshopping With the inclusion of written examinations in both GCSE and BTEC Music, it’s more than likely you will have can be used to more ‘direct instruction’ at KS4, but be brutally honest with yourself about whether or not this is a necessity or explore Edexcel is simply a teaching preference (rather than a learning preference). Even with the set works in Edexcel’s GCSE set works such course, the exam board still highlights that the primary method of learning is expected to be auditory rather as ‘Something’s Coming’ (January than analysis of printed score. Does your teaching of the listening and appraising paper need to make more 2014) and ‘And the use of practical activities such as classroom workshopping? Glory of the Lord’ (June 2014). Practical work at KS4 is likely to be more familiar to pupils at the start of the course and can have a very positive impact on their familiarity with the pieces studied. There’s also the added bonus of this giving pupils wider experience of performing, leading to improved marks in the performing unit. SELLING YOUR SUBJECT ‘Selling your subject’ seems to be a popular phrase when it comes to the annual ritual of options evening. The idea is presumably that the combination of a pamphlet, a nice display and a chat in a crowded room will suddenly prompt pupils to change their opinion of all subjects and set them on a previously unconsidered career path. While there’s a clear benefit to options evening (communicating with parents about the genuine details of the course rather than second-hand information from their children or distant memories of their own time at school), selling the subject has a lot more to do with the work you complete each day. The presence of music throughout the school and the way in which current KS4 (and above) music students behave will have a much stronger impact. Not only does this help with recruitment, but it also helps the experience of moving from KS3 to KS4 less daunting and more exciting. Giving music students an identity One of the first things to look at is the way in which music students view themselves. You want to tread a fine line between two extremes: a sense of being special because you study music versus a clique culture that outsiders won’t want to become a part of. The right amount of feeling special will give you pupils who keenly advertise the benefits of studying music to their peers and younger year groups. They will give freely of their time to help at break, lunch and after school. They will wear their musicianship with pride. Too much of feeling special and you run the risk of creating the impression that only a certain type of person is capable of being a musician. These pupils will patronise their peers for not having had the same opportunities. They will pass judgement on the ability of others to study music without fully understanding the learning Music Teacher June 2015 2 process. At worst, they will nurture an atmosphere that causes interested youngsters to turn their backs on a subject that they may well have loved. Find a balance of responsibilities and privileges that makes your pupils feel special but keeps their feet on the ground. Not only will this ensure that you attract more pupils to your subject but it will also make sure that your Year 11s are on hand to ease the transition for the Year 10s. Make your KS4 musicians visible and involve KS3 In previous Music Teacher resources, we’ve discussed the academic benefits of routine performances throughout the school. Not only do they improve the quality of performances and pupils’ final grades, but they also put music at the heart of the school. Ensure that your KS4 music students are regularly involved in assembly performances, pop-up music events and a variety of other high-profile activities.
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