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Memory in music is a crucial ingredient but, in a one-off session, how can you observe it?

The main way used in these examples is through using call-and-response songs and games where there is one part where the call and the response differ (e.g. in Holeo and Don't Clap This One Back). Try to immediately note who grasps these cues after they are taught and then return to them at the end to see who can remember them. If working over two sessions, then repeat the games/songs the following day/week and see who has musical recall.

Observing those leading can be done in a number of ways. Noting those who volunteer to start a piece/process is, perhaps obvious, but it’s important, as it denotes a confidence and, usually, an understanding. However, it’s also important to observe those who lead more subtly, from within the group. This can be seen in those who keep their own part going while assisting others (sub-leading if you like) and those who lead changes within a piece once it has begun.

Asking the group to suggest ideas and then observing who responds is one way to notice those who are self-confident and happy to offer creative responses in front of the group.
However not all of these responses will be confident or immediately evident, so an inclination to explore might be better observed by noting
 

Individuals can commit to a process in a number of subtle and more obvious ways. Body language and eye-contact are two of the more obvious ones, but some of the more subtle ones can also usefully be observed.

Is the young person smiling as they are engaging with the process? Remember that if they’re not smiling this doesn’t mean that they’re not enjoying themselves, and likewise if they are smiling and laughing this might also be with nervousness or a disruptive playfulness. As a music leader your instinct is to respond positively to an individual who is smiling when you lead them because they’re showing an empathy and a positive engagement with the process - just try not to discount other, less obvious, signs of enjoyment within a group.

Rhythmix is sending out the final MLSE E-bulletin today and we'd love to hear about any fond memories!

Below is a list (by no means definitive) of some of the Early Years resources available. Clicking on a title will take you to the item's listing on Amazon or an alternative.

Earlier this week a team of Wired4Music members attended the Music Learning Live conference at the Institute of Education in London. Described as the highlight of the two-day conference, six members gave an engaging and honest insight into youth perspectives on music education.

With the South West being such a large region, bringing talented young musicians together for any sort of ensemble work is a challenge, so SWMS places great importance on the termly residentials, which provide group experiences students don’t get elsewhere.

New research on the music education workforce amplifies calls to bridge the gap between the supply and demand of skills.

Lisa Tregale reflects on the work and educational model of South West Music School

Supporting young people to develop greater self-confidence and self-esteem means providing a non-competitive environment where young people can feel comfortable about themselves, express themselves and know they are accepted for who they are. This environment, along with the support to make informed choices, can make all the difference to a young person’s sense of self and agency.