The issue of assessment in classroom music education is somewhat problematic internationally (inter alia Brophy, 2019; Elliott et al., 2019). In England, where there is both a government-legislated National Curriculum and government schools inspectorate (Ofsted) there are numerous problems regarding the assessment of musical learning in both primary and secondary schools. This presentation outlines a major national initiative designed to help classroom teachers with this aspect of their professional practice. Not only is this work fully-research informed, it also presents the research context in a publication designed to be used alongside freely-available assessment materials supported and published by a major music organisation, to support teachers’ thinking and practice in relation to curriculum, pedagogies and inherently musical assessment.

This presentation shows the research thinking behind the publication of these materials, and explains why, against England’s neoliberal policy backdrop, such work is both important, and needed for teachers to endeavour to break free from restrictive contexts in which many of them are working. The classroom context in England is one where teachers, although confined by the strictures of the National Curriculum, also have some freedoms to create their own programmes of study. However, whole-school assessment policies can cause problems for teachers, as there can be requirements for quantitative assessments to be produced for analysis by school leadership teams. This means that assessment can lead curriculum, as teachers are doing things in order to be able to assess them for systemic purposes, rather than allowing assessment to arise from what learners are doing musically in the classroom.

This presentation is not just about a local phenomenon though, it forges links which will be relevant to the international community. It explains the nature of musical learning as it takes place in classrooms, and how assessment procedures can and should arise from this work.

The National Curriculum for Music in England (NCM) first became statutory in 1989 (Department for Education, 2013). The inclusion of performing, composition, listening and appraisal learning outcomes facilitated the framework to embed these activities in school curriculums (Cox, 2002; Dalladay, 2015; Gall, 2017). The intention being that students would engage directly in music creating to construct their knowledge and skills (Philpott & Spruce, 2001; Swanwick, 1999; Swanwick & Taylor, 1982). The NCM was designed to empower the curriculum to be constructed to reflect the cultural diversity and genre inclusivity of the teacher and students (Dalladay, 2015). The research of Green (2002) and impact of the subsequent ‘Musical Futures’ (D’Amore, 2003) strategy had an impact on curriculums across England, with the use of new instruments and technologies having a positive impact on the accessibility of student centred music making. However, statics suggest that students accessing music aged 11-14 is in decline (though it is statutory) (Bath et al., 2020; Daubney & Mackrill, 2018) and with those accessing music qualifications declining .

This practice paper seeks to explore the current situation. It is a pertinent time to ascertain the diversity of genres and cultures represented in the curriculum, how emerging technologies are being exploited to democratise student led music making and how the individual curriculums of schools have adapted to contemporary trends and societal changes. This research will explore how teachers choose the musical knowledge and skills and pedagogic approaches in the design of their curriculums, and complete the circle by asking students what they have learned, reflecting on their self-efficacy in the success of the curriculums they experience. The correlation of the research findings are intended to identify trends and inform future directions for music educators solutions in response to the challenges music education faced in the early 2000s.