australiaa n societ s y fo r mumsic education e Musical Futures in Victoria i ncorporated Neryl Jeanneret The University of Melbourne Abstract Musical Futures is a music learning program that was established in the United Kingdom in 2003. It aims to make secondary classroom music more relevant to young people through engaging them in the informal learning practices of real world musicians, recognising that the way in which popular musicians learn is quite different from the pedagogy of the traditional music classroom. This article reports on research that investigated the impact of the Musical Futures approach on music teachers and students in ten pilot government schools in Victoria, Australia (including a primary school). The research replicated aspects of the Hallam, Creech and McQueen (2010) UK research and data was collected through a survey of the teachers and two case study schools where the teachers and students were interviewed. After only two terms of implementation, the impact of the program on both the teachers and the students has been quite profound. Key words: musical futures, music education, primary, secondary, informal learning, engagement, social learning, Australian Journal of Music Education 2010:2, 148-64 Background young people through engaging them in the practices of real world musicians, recognising that Numerous academics, reports and teachers the way in which popular musicians learn is quite have noted that music in secondary schools as different from the pedagogy of the traditional a school subject is frequently not a popular and music classroom. Research from the Institute of stimulating element of the curriculum: in fact, it Education, University of London (Hallam, Creech seems to be of little interest or relevance to many & McQueen, 2010) has reported favourably on students (for example, Ross, 1995; Plummeridge, the impact of the program in UK schools. With the 1997; Green, 2002; National Review of School support from the Paul Hamlyn Foundation (which Music Education, 2005; Hutchinson, 2007; St has funded the Musical Futures Project in the George, 2010). On the other hand, numerous UK) and the NAMM (National Association of Music teenagers have their own bands; invest in mp3 Merchants) Foundation (USA), the Australian players and their current chart favourites; and Music Association (AMA), in collaboration they go to local gigs like The Big Day Out, as well with the Soundhouse and the Department of as dances and parties where music features. There Education and Early Childhood Development seems to be no problem with involvement in (DEECD), has piloted the program in 10 Victorian music outside of school but there has long been government schools in 2010. The teachers a disconnect between school music and what involved completed an intensive two day happens outside the formal school environment. workshop with David Price from Musical Futures Musical Futures is a music learning program in the United Kingdom prior to implementing based in the research of Lucy Green (2005, 2006, the program. This article reports on research 2008a, 2008b) and others that was established that investigated the impact of Musical Futures in the United Kingdom in 2003. It aims to make approach on the music teachers and students in secondary classroom music more relevant to these ten schools. 148 2010, No. 2 Musical Futures in Victoria Method Futures for two terms at the time of the data collection and over 1,000 students, mostly middle The research aimed to investigate two questions: school, had been involved in the program. The • Has Musical Futures had an impact on teachers’ investment in the equipment varied from nil confidence, pedagogy and professional to $15,000 depending on what already existed satisfaction? and in the school. Table 1 provides a summary of • What impact has the Musical Futures approach had on students? information about the schools involved. The questionnaire asked teachers how The research methodology replicated aspects of well Musical Futures worked within the state the Hallam, Creech and McQueen (2010) research mandated curriculum and pedagogical direction. with teacher questionnaires for each of the ten They were very positive about how well Musical pilot schools. The questionnaires were adapted Futures integrated with the Victorian Essential slightly for the Victorian context with items Learning Skills (VELS), mainly commenting that relating to the following areas: creating, making, exploring and responding were • background information about the teachers; facilitated easily by the approach. Two teachers • how Musical Futures has been implemented; noted that personal learning and communication • the impact on teaching; were also supported. Five teachers chose to • the impact on students; make comments about connections between • the integration of Musical Futures with the Musical Futures and the recently implemented VELS and the e5 instructional model; e5 instructional model which contains a variety • difficulties and constraints relating to the use of levels of teacher classroom practice related of Musical Futures; to engaging, exploring, explaining, elaborating, • the level of support from senior management and evaluating (DEECD, 2009). They noted that teams; student involvement in engaging and exploring • the impact on take-up of elective music; and was particularly pertinent. • the impact on take-up of extra-curricular There were few difficulties encountered by instrumental and vocal activities. the teachers in implementing the program and where problems arose, they were different in Two schools were selected as case study schools each school. While one teacher found reluctance in consultation with the Soundhouse. Two in the instrumental staff to become involved, members of the research team visited these another teacher found the program ran smoothly schools to undertake recorded interviews with thanks to the support from the instrumental staff. the music teachers, a focus group interview Another teacher noted that he would be looking with students, and two class observations. The for ways to offset the costs in the future. There case study schools were also measured against were only minimal adjustments and adaptations an adaptation of the National Review of School to the program model that appear to be minor Music Education’s success factors for school music tailoring to the individual needs of classes and programs used to examine best practice music students. education in Victorian primary schools in 2009 (Jeanneret, 2009). Impact on teachers’ confidence, Findings from the survey pedagogy and professional satisfaction Ten teachers from seven of the schools completed the questionnaires representing a selection of The teachers reported that since implementing metropolitan and provincial schools. The majority Musical Futures, they felt more confident about of the schools had been implementing Musical facilitating student learning in a range of musical Australian Journal of Music Education 149 Jeanneret Table 1: School information Musical Futures Region School School Population Location Survey Returned Started Duration Years involved Students Involved % of school population Equipment Investment Northern A 597 metropolitan Yes 2010 2 terms 7-12 260 43.55 $2,243 Metropolitan B 1713 metropolitan Yes 2010 1 term 8/9 175 10.21 $14,972 C 711 metropolitan Yes 2010 2 terms 8 75 10.55 $5,689 Southern D 910 metropolitan Yes 2010 2 terms 8/9 180 19.78 $15,441 Metropolitan Western E 1577 metropolitan Yes 2009 2 terms 7/8 250 15.85 0 Metropolitan F 266 metropolitan No 2010 2 terms - - - $899 Gippsland G 316 provincial Yes 2010 2 terms 5/6 102 32.28 $12,651 Loddon H 567 provincial No 2010 2 terms - - - $5,080 Mallee I 597 provincial Yes 2010 2 terms 9/10 45 7.54 $5,633 J 890 provincial No 2010 2 terms - - - $14,051 Total number of students: 1087 Table 2: Impact of implementing Musical Futures on teachers MY TEACHING Since implementing Musical Futures: Strongly Agree Don’t Disagree Strongly n Agree Know Disagree I am a more effective teacher. 60.0% (6) 30.0% (3) 0 10.0% (1) 0 10 I am more confident about teaching music. 60.0% (6) 30.0% (3) 0 10.0% (1) 010 I enjoy teaching music more than previously. 70.0% (7) 30.0% (3) 0 0 0 10 I am more confident about facilitating 40.0% (4) 20.0% (2) 30.0% (3) 10.0% (1) 0 10 singing. I am more confident about teaching 44.4% (4) 33.3% (3) 11.1% (1) 11.1% (1) 0 9 instrumental skills. I have become more aware of the music that 56.6% (5) 44.4% (4) 0 0 0 9 students engage in outside of school. I am more confident about facilitating 20.0% (2) 60.0% (6) 10.0% (1) 10.0% (1) 0 10 student learning in a range of musical genres. I have adapted Musical Futures to fit with my 40.0% (4) 60.0% (6) 0 0 0 10 personal approach to teaching and learning. I have adapted Musical Futures to meet the 50.0% (5) 50.0% (5) 0 0 0 10 individual needs of my students. 150 2010, No. 2 Musical Futures in Victoria genres, teaching instrumental skills and teaching towards music, self-esteem in relation to music, music in general (Table 2). The least change in love of music, group work, on-task behaviour, confidence was reported in relation to facilitating and general behaviour in class. Students created singing that mirrors the UK findings. Nine of the better musical performances than previously, had ten respondents felt they had become more developed a greater range of musical skills, were effective teachers and were enjoying teaching able to demonstrate higher levels of attainment more as a result of implementing Music Futures. It than previously, had enhanced listening skills, was agreed unanimously that they had been able instrumental skills and strategies for composition, to fit Musical Futures with their own approach as well as developing a better understanding to teaching and learning as well as being able of a range of musical genres.