TRADITIONAL MUSIC FORUM of SCOTLAND
Scottish Traditional Music and
the Primary School Classroom
Pamela Flanagan
October 2007
Table of Contents
Page
Executive Summary
2
Background to the report
4
-Methodology
5
-Organisation of the report
6
Acknowledgements
7
Section I: Results of the Survey - The National Viewpoint
8
Section II: Results of the Survey - The Regional Viewpoint
14
Section III: Current Traditional Music Resources
-a representative selection
44
Section IV: Initiatives in Scottish Traditional Music Education
- a representative selection
62
Section V: Training
68
Section VI: Ireland – a brief comparison
80
Section VII: Summary, Conclusions and Recommendations
89
Appendix I – Further Acknowledgements
95
Appendix II – Bibliography, resources and web-sites
98
Appendix III – Teacher Survey Questionnaire
110
1
Executive Summary
The present situation in Scotland:
A. There are currently many resources and initiatives which either have or could have a
direct relevance to teaching Scottish Traditional Music in the primary school classroom,
but many teachers are not necessarily aware of these; neither are they aware of the
potential for Scottish music as a learning point for cross-curricular work.
B. There are also many new initiatives currently underway, indicating that traditional music
in Scotland is in an evolving and forward-moving state.
C. Much of the delivery of the expressive arts commitment to Scottish Traditional Music is
delegated to external providers.
D. Although this has been very welcome, sometimes there are or can be problems with
continuity of provision and long-term sustainability.
E. In addition, the teachers are often not party to the tuition in Scottish Traditional Music
received by their pupils, and therefore are not experiencing traditional music being taught
first-hand or getting involved themselves.
F. A further problem is the perception amongst primary school teachers of a crowded school
curriculum, and that Scottish Traditional Music is yet another thing that “has to be fitted
in”.
G. Lack of confidence prevents many primary school teachers from engaging fully with this
artform – music in general is often seen as something that is “elite” and for “specialists”.
In relation to Scottish Traditional Music in particular this is a barrier to embedding it in
the school curriculum.
H. The situation regarding the provision of tuition in Scottish Traditional Music in the
primary sector across Scotland is very diverse and dependent on many factors, including
local authority policy, funding, and issues of rurality.
Recommendations as to what is required:
1) The production of a comprehensive central database of teaching resources, materials,
discographies, bibliographies and online resources which is accessible by all and
publicised to all.
2) This should be continually reviewed and updated given finding (B) above, and include,
for example, all websites relevant to teaching.
3) The Traditional Music Forum of Scotland should continue its role of encouraging
traditional music education across the board; in addition the Forum could have a role in
2
lobbying the Education Department of the Scottish Government concerning the need for
continuity re (C) above.
4) The TMF should advocate Continuing Professional Development for primary school
classroom teachers who wish it (particularly those who are non-specialists in traditional
music), possibly with accreditation together with training for specialist tutors (whose
background is outwith the formal education sector). The TMF should also work with the
relevant bodies on the creation of suitable courses and events.
5) It may be that new resources created on behalf of the TMF are required for CPD for
primary school teachers or specialist tutors, and/or teaching resources for young pupils
but careful consideration of materials should be given before any work goes ahead – this
may well depend on the assembling of the database as outlined in proposal 1 above.
6) If the TMF decides to create new resources for use in the primary school classroom, it
should give consideration to working in collaboration with other Scottish Traditional Arts
organisations in the production of materials which would address cross-curricular issues,
and aid acceptance of the artform by teachers and hence its inclusion within the school
curriculum.
7) The TMF should work to counteract the myth that music is only for the “talented” or the
“expert”.
This should come through in any literature, training programmes and/or
workshops that might be provided by the Forum.
8) Online learning re CPD, or class tuition for primary school students in remote areas
where tuition in Scottish Traditional Music is not easily accessible, may well be the way
ahead in allowing the TMF to reach the widest audience possible at the lowest cost. The
Forum should consider working with relevant organisations to access and harness
technology in the provision of traditional music education for teachers (both specialist
and non-specialist) and pupils.
3
Background to the report
This report is the result of a brief from the Traditional Music Forum of Scotland.
The
Traditional Music Forum is a network, supported by the Scottish Arts Council, of activist
individuals and representatives of key organizations working in traditional music in Scotland
today. The Forum aims to advocate a place for traditional music at the heart of Scottish life,
particularly in schools and it is a key resource for information and advice on traditional music for
the Scottish Arts Council, and other public bodies. It is currently looking at ways to facilitate and
support teachers in the provision of Scottish Traditional Music classes in schools, and the need
for this report was identified through discussion within the Forum and with the Education
Minister and Learning and Teaching Scotland.
One of the Traditional Music Forum’s strategies for raising awareness among teachers of
Scotland’s Traditional Music, and what it can offer in terms of individual and social
development, is to make available classroom materials that are attractive, informative,
contemporary, easy to use and of use when exploring other areas of the curriculum. Hence the
brief from the Traditional Music Forum was as follows:
Within a six-month period to:
a) carry out research into teachers’ needs and wants in this area
b) research how traditional music is covered in teacher training
c) collate and review, in terms of teachers’ needs and wants, existing traditional
music resources for school from early years to secondary
d) review the use of general music education programmes such as Kodaly, Orff and
Dalcroze, and the ABC music programme and how these might complement
traditional music teaching and learning
e) make recommendations on the form and content of any new and complementary
materials identified by the research as being required
f) make links with the Curriculum for Excellence review team and Learning and
Teaching Scotland in order to take into account how any proposed materials
would meet the ‘values, purposes and principles’ of the new curriculum
g) prepare a specification and costings for the production of materials
h) report in writing to the Traditional Music Forum
The report was funded wholly by the Scottish Arts Council, and their support is herewith
gratefully acknowledged.
4
Methodology
The research began in March 2007 and concluded in September 2007.
The researcher
commenced her work by consulting the Curriculum Review team. As a result of discussions
with the CRT and with the TMF the decision was made to focus on the primary school sector.
Consequently, the researcher undertook the following actions:

Over 2000 primary schools were surveyed across Scotland by means of a postal
questionnaire.

Based on the results, the researcher contacted teachers around Scotland who had
indicated that they would be happy for further contact with the Forum. This took place
through telephone interviews or emails.

In addition, the researcher spoke with a range of those responsible for the co-ordination
and facilitation of traditional music activities, e.g. Cultural Co-ordinators, Creative Links
officers, Youth Music Initiative Officers, Instrumental Service Managers, those
responsible for the development of Gaelic language, those involved in traditional dance
tuition, those involved in specialist traditional music training and educationalists at
primary, secondary and tertiary levels. Online and published literature produced by local
councils and other organisations was also consulted.

Significant organisations such as Learning and Teaching Scotland, BBC Scotland,
Scottish Arts Council (YMI Officer) and Fèisean nan Gàidheal were also contacted.

Since the Irish model of traditional music was viewed as being potentially important, the
researcher spoke to the Arts Councils of both Northern and Southern Ireland, county
council officers, and a number of educationalists involved in Irish Traditional Music.

The researcher also undertook a review of a representative sample of traditional music
resources that are currently available.
As the research progressed, however, it became clear that more issues than initially anticipated in
the original brief were emerging, particularly in the responses to the survey that were received.
Time constraints prevented a fuller consideration of some of these, while others were outside the
parameters of this brief and therefore can only be referred to in shortened form. However, as a
result of the survey, a shift in focus has occurred which has had an effect on the original brief,
and so this survey will be considered first in the report which is to follow.
5
Organisation of Report
Section I reviews the response to the survey from the national perspective;
Section II considers the regional response to the survey;
Section III looks at the current situation with regard to the types of educational resources
available;
Section IV considers a representative selection of initiatives in Scottish Traditional Music
education available to primary age children;
Section V considers the current situation regarding the training of teachers in traditional music in
Scotland;
Section VI gives a brief comparative overview of traditional music education in Ireland;
Section VII outlines the conclusions drawn from the survey and the accompanying research, and
presents recommendations for future actions.
Appendices contain further acknowledgements of all those individuals and/or organisations who
have contributed to the production of this report, a full bibliography (online and published
resources),
and
the
questionnaire
used
6
to
survey
the
teachers.
Acknowledgements
I would like to acknowledge the help of all those listed in Appendix I as well as the primary
school teachers who kindly filled out the questionnaire and returned it to me. Without their
assistance, the report would not have been possible. I am grateful to all members of the
Traditional Music Forum for their guidance, especially David Francis, Katherine Campbell and
Anne Neilson, who were part of a small steering committee for this project. Finally I wish to
acknowledge the help and support of my mother Patricia, my sister Ciara, and my friend Mary.
The financial assistance of the Scottish Arts Council in the production of this report is
gratefully acknowledged.
7
SECTION I: RESULTS OF THE SURVEY - THE NATIONAL VIEWPOINT
Introduction
Of 2118 primary schools surveyed across Scotland, 408 (19.26%) responded to the
questionnaire.1 One or two points need to be borne in mind when considering the outcomes as
stated below, namely:
a) A fifth of respondents stated that their school did not feature Scottish Traditional Music
in its curriculum, yet went on to complete the questionnaire, demonstrating in the process
that such musical activity did indeed take place within the school.
b) Many respondents answered in more than one category when it came to questions on
class format, teacher status etc.
c) A fifth of those who responded contributed further comments and suggestions.
d) Anonymous and unplaced replies accounted for just under 18% of the responses; the
distinction between the two is made because the latter category of respondent did supply
names and personal addresses but did not identify their school.
e) Many respondents seemed to be unaware of traditional music initiatives underway in
their own region.
What follows is a summary of the outcomes of the survey in which the main issues nationally are
identified. This is succeeded by a brief analysis of the statistics and commentary on the survey
response.
Outcomes of the survey: the current situation

Almost 79.16% of those who responded said that their school featured Scottish traditional
music in its Expressive Arts commitment; 20.83% stated that their school did not.

Over half of those who responded (55.63%) relied on occasional workshops for delivery
of the school’s commitment; this when combined with the percentage of those employing
other activities (eg school excursions to concerts, festivals etc.) meant that 87.24% rely
on delivery by external providers either entirely or in part.2
1
See Appendix III
One-to-one tuition did not feature highly in the responses to this question; however, it should also be noted that
many respondents answered more than one category in this question.
2
8

Widely varying time allocations were devoted to the subject according to those who
responded, ranging from occasional to seasonal to regular classes per week. Some,
however, were unable to state precisely how much time was allocated.

Most classes/workshops/activities took place within school hours (78.92% of responses);
external or after school activities accounted for 9.55%.3

The external element attached to the delivery of classes also manifested itself in the
identification of responsibility – 64.70% of respondents delegated responsibility to
someone else, while only 25% took direct responsibility. There were very few cases,
where the whole school staff were involved in teaching traditional music.4

The external element continued in the identification of the status of those who delivered
tuition: 39.21% were identified as peripatetic, another 12.99% were stated to be “other”,
9.3% and 9.8% were identified as full-time and part-time respectively.5

13% stated that some form of teaching method (e.g. Kodaly) was used, though many
were unable to identify precisely what this was; 87% indicated that no particular teaching
method was employed.

12.99% of schools use specific teaching materials; 87.25% of schools do not.

Over half of those who responded (56.37%) had received no musical training whatsoever;
the remainder indicated some sort of musical training or experience, though very few of
these had pursued musical studies at tertiary-education level.
Outcomes of the survey: points for noting by the Traditional Music Forum

83% of respondents would welcome further assistance in terms of extra resources and/or
teaching materials.

Fractionally less than that (81.86%) would also welcome a central database.

Almost two thirds of respondents (65.93%) would welcome Continuing Professional
Development in this area.

Just over a third of those who responded (35.53%) would be happy for further contact to
be made with the Traditional Music Forum following this survey.
Analysis
Perhaps one of the main issues that is apparent from looking at the above statistics is the
perception amongst many respondents that Scottish Traditional Music is at times external (or an
3
Again, it should be noted that many answered in both categories contained in this question, or did not respond.
This question also resulted in answers in both categories from some of the respondents.
5
Again, many answered in more than one category in this question or did not respond.
4
9
add-on) to the curriculum. Many are happy to leave the teaching of it to others; indeed many are
convinced that the only way it can be taught is through the importation of specialists as some of
the following comments demonstrate:
Music Tuition is a specialist area and should be delivered by those who are
competent and confident in their field so that they can inspire and generate a genuine
interest. This is not an area I would feel competent to deliver even with support.
(Angus teacher)
Proper trained musicians need to deliver the music to gain the best from our pupils.
(Highlands and Islands teacher)
Music is best delivered through visiting specialists. Head teachers do not always have the
freedom to employ these talented people, however, no matter how much their pupils need
them! (Unplaced respondent)
Among some of the respondents there would appear to be a lack of confidence in approaching
the subject:
Would love to have traditional music in school, but nobody trained or talented enough to
do so.
(Anonymous teacher)
As we have no music teacher and have not had one for several years, nor have we any
staff member who is particularly ‘musical’ this area of the ‘curric’ can be difficult to
address. (Anonymous teacher)
Even-one off ‘visits’ from Scottish Traditional Musicians are of much more value than
watered down versions over several weeks by musical virgins!
(Falkirk teacher)
I use Borders6 music programme but feel I am not competent enough to do this more
effectively i.e. teach Scottish Traditional Music so no particular method. (Edinburgh
teacher)
The sense of a subject which is “separate” was further emphasised in many of the responses to
the question concerning the time allocated to it; many respondents indicated that Scottish
Traditional Music was frequently only highlighted for special occasions such as Burns Night or
St. Andrew’s Day, rather than woven into the fabric of the school’s day-to-day curriculum.7 As
can be seen from the statistics above, many had received no musical training whatsoever, so the
In the course of the survey it was not always clear if respondents were referring to the Scottish Borders Council’s
Music for Early Years: Nursery – P3 (2000) which uses traditional songs as part of its programme, or whether, as
subsequent investigation revealed in some areas, this was more likely to be Dumfries and Galloway’s Sangs, Reels
and High Jinks (1998), as, at the time of writing, Scottish Borders has yet to publish its new materials covering the
whole of the Primary sector.
7
However, in this context some respondents also cited Scottish Country Dancing as helping to fulfil the school’s
commitment to Scottish Traditional Music.
6
10
apparent lack of confidence in approaching the teaching of the subject is understandable. This
was also reflected in the response to the provision of CPD in this area. While two-thirds of
respondents were receptive to the idea, others were wary:
Teachers overloaded at moment with other priorities. (Highlands and Islands teacher)
With so much training across new initiatives it would not be high priority at present.
(Aberdeenshire teacher)
… In reality I cannot see many people having the luxury of devoting time to this at the
moment. (Highlands and Islands teacher)
It would be up to individual teachers to volunteer for such CPD and would depend on
their own interests/talent. (Anonymous teacher)
As can be seen from these selected comments, some of these highlighted another recurring
theme, namely that of a crowded schedule both in terms of their own commitments, and the
pressure to cover the curriculum. The problem was highlighted by a Dumfries and Galloway
teacher:
In a very busy school curriculum, music is only a part of the week, therefore
Scottish Traditional Music would only be a very small part of the music timetable.
Generally, however, most were keen to undertake CPD, one teacher stating that it would be
welcome “if high quality [and] linked to accreditation”. 8
Accessibility for pupils and the need to make Scottish Traditional Music relevant to the 21st
century was also highlighted. One Highlands and Islands teacher commented:
(a) make it easy to succeed, and (b) make it cool to be trad.
Another teacher from South Ayrshire observed that “I think it’s important to find an exciting
approach in this age of computer games”. Funding, however, was a major concern for a lot of
respondents:
Would love to have more traditional music in our school, but we cannot buy in
expensive workshops etc. (Aberdeenshire teacher)
8
See Section V of this report regarding training.
11
Please recognise issues raised by rurality…would love to take pupils to Celtic
Connections workshops but distance and costs prohibitive. (Argyll and Bute teacher)
Although I know there are people out there, the cost is beyond the reach of my small
budget. (Dundee teacher)
Funding from the Scottish Executive is needed for this area of the curriculum. More
trained teachers [are] needed. (Anonymous teacher)
Some may be puzzled when reading the above comments, given that there are now many funded
initiatives underway around the country. However, the short term nature of some of these
initiatives surfaced as a concern:
We had a music teacher (peripatetic) who taught Gaelic songs and language. This was
funded for 3 years, then taken away. Please, in future, let these initiatives be permanent.
(Argyll and Bute teacher)
Having visits from young musicians is terrific, but we really need someone who can come
in for a block of time to work with pupils. (Dundee teacher)
The Fèisean movement gives a good taster but I think that more structured input is
required so that pupils can develop reading of music skills and learn an instrument more
fully, not just tasting, also using computer-aided technology to allow disabled children to
take a more active role. (Highlands and Islands teacher)
Scottish Traditional Music is promoted by the Orkney Traditional Music Project, which
has great difficulty in maintaining funding for its tutors. I would like consideration to be
given to sustaining established projects such as this, as well as in schools.
(Orkney teacher)
The apparent lack of formal teaching methods in use as highlighted in the survey should not
necessarily be of major concern, since what is largely an oral/aural tradition has communicated
Scottish Traditional Music for centuries and has helped to ensure its survival. Of the few that
were cited, the Kodaly method seemed to be the most prevalent, with only a couple of references
to other methods such as ABC, Orff and Suzuki. However, the lack of awareness of Scottish
Traditional Music materials available (despite numerous bibliographies and resources lists
having been published in paper and electronic form, not to mention numerous organisations
offering resources available through the internet) was surprising, and the need to draw together
all of the above into a central database which could be easily accessed is signified by the
response to that particular question in the survey. Many respondents seemed to be unaware of
what initiatives were underway in their own region, a theme to which the current writer will
return later in this report.
12
Survey Response
Some regions responded better than others to the survey: in general terms, the east coast’s
somewhat poor response level was in marked contrast to that received from other regions such as
Argyll and Bute and Highlands and Islands. The vast majority, however, were enthusiastic and
supportive of the subject and the survey, as some of the following comments show:
We usually have input from Traditional Scottish Music players on an annual basis, which
is organised by the CREATE team and the children absolutely adore these sessions.
(Anonymous teacher)
Delighted that you are considering supporting this part of our work.
(East Dunbartonshire teacher)
I cannot stress highly enough the importance of the breadth of the Scottish resource;
there are such varied traditions throughout Scotland and the value to Scottish bairns of
becoming confident in their local voice (vocal/instrumental/cultural) and knowledgeable
about Scotland as a whole is great. (Shetland teacher)
I do some Scottish music with all my players at both primary and secondary level. They
LOVE it! (Midlothian teacher)
I think Scottish Trad. Music is very important and should be taught to all children. Good
luck with your quest. (North Lanarkshire teacher)
I feel that the music is one of the most important parts of our curriculum…As a village
which is very focussed on its school I think the whole community will respond very
enthusiastically to any work that is done to introduce their children to traditional music.
(Fife teacher)
I find the children thoroughly enjoy traditional music. (Aberdeenshire teacher)
Children love Scottish Music; also everyone smiles at Ceilidh dancing.
(Fife teacher)
On average, a third of those who responded in each region were happy for further contact to be
made with the Forum; from these the current writer contacted a select number in a series of
follow-up conversations by telephone and by e-mail either to clarify or expand upon points made
in their response.
13
SECTION II: RESULTS OF THE SURVEY - THE REGIONAL VIEWPOINT
The Northern Islands
Orkney
Shetland
Number of schools surveyed: 17
Number of schools surveyed: 25
Number of identified responses: 4
Number of identified responses: 13
Percentage of responses: 23.52%
Percentage of responses: 52%
All of those who responded indicated the inclusion of Scottish Traditional Music in the school
curriculum, with (within those responses) one-to-one tuition being the predominant mode of
delivery for the Shetland Isles as opposed to weekly classes in Orkney; both modes were
however combined with other formats, particularly occasional workshops. All classes took place
within school hours, though many of the Shetland schools also offered after school activities.
Peripatetic teaching predominated, with delegation of delivery to “other” teachers more
prevalent in Shetland responses than in those received from Orkney. Time allocations varied
from precise (“1 hour per week for a 10-12 week term”) to (as one respondent put it) “flexible”.
However, three further comments from both communities are worth noting, indicating perhaps a
more integrated approach to the subject:
Varies! But it is always included so as to give it its proper place among learning and
hearing music from as many sources as possible – also important for cultural reference.
There is no specific time. It is part of [the] music curriculum and happens when needed.
Traditional music is also used as part of dance tuition, for example, or a study of
Scotland’s culture.
Given the remoteness of the communities involved one might have expected the use of
technology to feature strongly; however this only surfaced in one response from Orkney where
the use of computers, and online materials were indicated. Of all respondents only one teacher
indicated the use of her own teaching method (Shetland), while three more indicated that
teaching materials were employed, one making use of the vast quantity of material amassed over
many years, another citing a “Shetland specific book – Da Sangs o Scotland”, and one observing
that “singing is very good because it raises language and cultural issues and is easily learnt”. All
bar one of the respondents welcomed further assistance, one Orkney teacher observing that
“resources which can be used by non-specialist teachers would also be welcome”. Again almost
14
all of the respondents supported the idea of a central database, while one felt that a local base for
Orkney music would be more useful. By contrast the view from one Shetland teacher was
slightly broader in scope:
Yes – especially if it was material sourced from parts of Scotland’s traditions in
Highlands, Lowlands, East Coast, Islands (Western and Northern) and urban.
Only three Shetland respondents indicated that they had received some form of musical training
– one making reference to the “certificate in Trad. Music from a distance learning course in St.
Andrew’s in the late 90s”.9 By contrast, though the response rate to the questionnaire was lower,
all four of the Orkney respondents indicated some form of musical experience either for
themselves or other teachers involved (in the case of three of these this took the form of
specialist music degrees). 14 respondents from both island communities welcomed CPD with
one Orcadian observing that “this would be good if it was locally done and particularly featured
Orkney music”.
The Western Isles; Highlands and Islands
The Western Isles
Highlands and Islands
Number of schools surveyed: 40
Number of schools surveyed: 191
Number of identified responses: 7
Number of identified responses: 51
Percentage of responses: 17.5%
Percentage of responses: 26.70%
With a response rate just under that of the national average, weekly classes in Scottish
Traditional Music featured in six of the seven responses received from the Western Isles as the
predominant mode of delivery, though frequently in tandem with other formats. With the highest
number of schools surveyed regionally, and the greatest number of identified responses in the
survey, all 51 respondents from the Highlands and Islands indicated that Scottish Traditional
Music featured in the school curriculum. All formats of delivery were employed though here
occasional workshops predominated (featuring in 40 of the responses received), largely
supplementing other classes.
9
This now has ceased; formerly St. Andrews offered a one-year distance learning course in traditional music (fiddle
and voice) which was aimed, amongst others, at school teachers and which also was intended to assist classical
musicians in their interpretation of Scottish song (see Francis [1999] Traditional Music in Scotland – Education,
Information, Advocacy, p.76). Today the St. Andrews Music Centre offers a module in Scottish Music as part of its
MA, which, depending on the previous study of the individual student, concentrates on either composition and
arrangement, or the history of (and issues in) Scottish Music.
15
With such a large response (in particular from the Highland region), there was an equally wide
variety of time allocations indicated by respondents from both areas, ranging from the imprecise
(such as “not enough” and “varies”) to the specific (“½ hour per week – Gaelic singing, Social
Dance on occasion {Ceilidh Dancing}”; “…12 hours per year for P5/6 – using whistle, voice,
percussion”). The vast majority indicated that classes/activities took place mainly within school
hours with only a few schools offering after school classes in either region. Again responsibility
for delivery was largely delegated to other teachers, with very few respondents taking either
direct or shared responsibility, while the status of the teachers involved was overwhelmingly
identified as peripatetic or other. Few identified a particular teaching method (none at all in the
Western Isles, where one respondent stating that it “varies according to need”) and few specified
teaching materials. Those that did identified such resources as the Borders music pack,10 LTS
Scottish Trad. Music Package, Ceol nam Fèis books, Fèisean nan Gàidheal/YMI folders for
whistle and voice, Seinn Seo, A and C Black Music Books and CDs, Kodaly National Youth
Choir Singing Games and Rhymes etc. The majority of respondents in both regions welcomed
further assistance:
At the moment everything is very fragmented – it would be good to put it all together.
Finding resources can be difficult. “Singing Kettle” songs used to develop a fun school
choir – would like to develop this further.
Yes, but the problem is not the resources but finding the time in the curriculum.
Yes – looking forward to new Kodaly (in Gaelic) pack coming out from Lewis.
Yes – anything which supports work done by visiting tutors.
I would like more resources that link music with Scottish culture and history, and other
curricular areas.
Yes – easy arrangements (rather than always having to do this) for common tunes taught
for whistle.
Of those not in favour, some qualified their responses as follows:
Extra specialist teaching would be preferred.
No – have lots in school.
No – we’re very well served by present structure.
10
See footnote on page 10.
16
The vast majority also supported the idea of a central database, though some were undecided,
and those against were quite definite in their views as is evident from some of the remarks
below:
It needs to be pulled together without being prescriptive.
Yes – downloadable sheet music and voice files – particularly Gaelic.
Class teacher with expertise in trad. music would benefit from resource materials.
Yes – need someone with musical knowledge.
Don’t know – might not be very practical.
Probably, but we are geographically isolated, so might not make use of it.
No – it needs to be taught by a specialist musician as I am not able to read music.
No – teachers bring their own styles and repertoire to classes.
[Have] no skills to deliver this part of the curriculum.
Few gave details of any musical training that they had received; in the Western Isles this
included two at degree level and one at primary diploma level, while in the Highlands and
Islands just over half of the respondents indicated some form of musical experience and here
Kodaly training loomed large – a representative selection of remarks follows:
Personally very little – learning to piano/theory grade 5 – but other members of staff are
members of traditional music groups.
No staff have specific training, however, some staff have a personal involvement in
traditional music. Kodaly did one whole school workshop which staff found very good.
Classical music degree – no training in Trad. other than tin whistle.
Kodaly seminars, piano up to 12 years. Gaelic singing at Mods, ceilidhs.
Gaelic singing, whistle tuition, group work, song, whistles, instruments.
Orff, Kodaly, Primary Teaching.
I am a fiddle player, singer and dancer who studied traditional music before doing
Primary Teaching. I was classically trained also. Music specialist during teacher
training.
Studied music as part of my primary ed. qualification. Have taught trad. music privately
for 20 years. Kodaly inservice training.
17
Just over half the respondents in both regions welcomed CPD, though - as will be seen from the
comments below - one or two had reservations:
I would like something more substantial like a correspondence course or sessions to
improve playing and support.
Time is a big problem with so many areas to be developed.
Yes – if we lose specialist music teacher, class teachers [are] not confident/competent to
teach music.
Yes – we are very remote and travel is difficult and expensive.
Yes, if it is to give considerable weight to Gaelic traditional music.
It would be good to have if available, but I would not be taking it up for next session.
Yes – we have such a rich tradition of music, but access is not available to all pupils.
However many respondents were against the idea, one or two with some trenchant views:
It’s a good idea, but not personally as I play the piano and guitar and sing so it’s not a
priority for CPD.
No – we no longer have a visiting specialist for music.
The majority of further comments came from the Highlands and Islands, some of which are
included below:
[We need]Nationwide commitment to having trained music specialist in schools.
Funding to bring in more tutors would be great as we have no musical experts on staff.
Importance of early introduction (in this area most input aimed at P5/6).
12 hours per school year of Trad. Music doesn’t teach the children much – it’s little more
than ‘taster’ sessions. What happens to classes other than P5/6?
I would prefer to have enhanced specialist music provision which covers this.
Remote rural schools…receive very little in the way of support due to geographic
constraints. It would be good to know that your Forum does not find time or distance a
reason not to help schools which really need support. This area is rich in music culture
but no-one appears interested to take this forward.
18
The West Coast and near neighbours
I
Argyll and Bute
Inverclyde
Number of schools surveyed: 76
Number of schools surveyed: 26
Number of identified responses: 25
Number of identified responses: 6
Percentage of responses: 32.89%
Percentage of responses: 23.07%
Both regions produced a response rate higher than the national average and the picture which
emerges is slightly more positive than the regions so far considered, an impression reinforced by
reports of other activities discussed later in this report. All bar one of the respondents stated that
their school featured Scottish Traditional Music; the one respondent who replied in the negative
qualified their response by stating that while their school had no firm commitment at present,
they were nevertheless “keen to explore possible support in this area”.
Concerning the format, occasional workshops featured in all but four of the responses. Few
relied on them as the sole means of teaching but used them in combination with other formats.
Given the high response rate, the answers regarding time allocation were perhaps not quite as
strong as might have been expected – answers ranged from a rather vague “very little” to
“difficult to determine” to a more precise “ 4 hours per week.” Many, however, did not respond.
Classes took place within school (within Argyll and Bute four schools also offered after school
tuition). Concerning responsibility, this again rested on the shoulders of “another teacher” rather
than the respondents, though a minority in both regions shared responsibility with the other
teacher.
Of the categories of teacher employed, peripatetic was once again the most prevalent (15) and
frequently used within this grouping in tandem with full-time or part-time teachers. Only one
school in Argyll stated that a teaching method was used (entitled Borders Music Pack);11 the
remainder stated that no particular method was employed, while five did not reply. Of those
who said no, one rather confusingly said “no [but] do include Kodaly”. Only two respondents
(based in Argyll and Bute) cited specific teaching materials in the subsequent question, while
one further respondent stated that the materials used were “many and varied”; 28 did not
11
See footnote on p. 10.
19
respond. 30, however, welcomed further assistance while 28 supported the idea of a central
database.
A third of the respondents in Argyll and Bute indicated that they had some musical experience
(though one or two were not entirely sure as to whether this had been appropriate for traditional
music); proportionately more in Inverclyde gave details of skills ranging from basic to diploma
and degree level. Reactions to the question on CPD were a little mixed in both regions. Most
welcomed the idea, though one or two qualified their answers with remarks such as “yes, not
personally, but for interested teachers” or “yes - for music teacher”, reinforcing the tendency to
delegate responsibility. Some had reservations:
No musical staff at present. Unsure of what uptake would be.
This is not a priority for us at this time.
I think time constraints with collegiate time and CPD would restrict this at the moment.
Maybe in a few years.
The majority of further comments came from teachers in the Argyll and Bute region, some of
which indicated a desire for permanency to be attached to traditional music initiatives, while
others re-iterated the recurring theme of the importance of funding (some of these have already
been cited in the national summary). Other remarks include the following:
Appreciate more workshops etc.
Increasing interest by students in whistle, fiddle, accordion and bodhran. Any help in the
form of workshops/tutors/materials/resources for any trad. instruments would be very
welcome.
More traditional music as a follow on at High School. Visiting tutors/musicians for the
children to experience. Chanter tutoring for pupils on a regular basis.
_____ Primary received a visit from traditional musicians organised by Culture Coordinator. Well received by staff and pupils. Would like to know what support could be
given should pupils like to learn an instrument or staff be involved in training.
Gaelic would be helpful in the context of STM.
In line with the national average, approximately a third of respondents asked for further contact
with the Forum; however, of the remainder who made no response or said no, one added “no
20
thanks (not knowledgeable enough)”, again perhaps reflecting the lack of confidence in
approaching traditional music apparent in the nationwide results.
The West Coast and near neighbours
II
The Ayrshire region
North Ayrshire
South Ayrshire
Number of schools surveyed: 53
Number of schools surveyed: 45
Number of identified responses: 14
Number of identified responses: 5
Percentage of responses: 26.41%
Percentage of responses: 11.11%
East Ayrshire
Number of schools surveyed: 46
Number of identified responses: 10
Percentage of responses: 21.73%
Two of the three regions under consideration returned replies at well over the national average
response rate. The majority of respondents (21) indicated a commitment to Scottish Traditional
Music, though two qualified their response with “Yes – providing authority input allows” and
“Yes – limited”. Those who answered no to this question nonetheless went on to complete other
questions in the survey, one qualifying this initial negative response by stating “but we would
welcome an opportunity to do so”.
Once again occasional workshops were nominated as the preferred format, though their use in
supplementing other classes tended to be more prevalent in the responses received from North
Ayrshire. The replies concerning time allocation in this region were probably the least precise of
the three regions - “varies”, “one or two sessions a year”, “block of a few weeks within music
timetable” – while East and South Ayrshire responses offered more specific time frames –
“usually a 6 week block of 50 minute lessons”, “1/2 [hour] per week for 6 weeks”, “6 hours in
year”. 21 respondents stated that classes took place within school hours; in addition, three
schools offered classes within and outwith school hours (one of these being classes in Scottish
Country Dancing). The delegation of responsibility to other teachers was less prevalent in these
21
regions than in others considered so far; the number of teachers identified as peripatetic was also
slightly less, though it must be noted that a high proportion (two-thirds in North Ayrshire, onethird in South Ayrshire and over half in East Ayrshire) did not answer this question. No teaching
method was identified by any of the respondents, and only one school (in North Aryshire)
nominated teaching materials (Scottish Country Dance Music – the second school to mention
dance in this region’s responses). All respondents, bar one, welcomed further assistance and a
central database, some quite enthusiastically, and some with caveats:
Yes – having CDs with music and children’s voices singing the songs would be
useful.
Yes – most definitely! At present we rely on commercial CDs which may have a
particular song we want to teach.
I would like something which exposes children to traditional and modern Scottish music.
Perhaps a block of lessons for each stage – P1-P3, P4-P5, P6-P7.
CDs of Scottish Songs and Music suitable for children’s voice – this would allow the nonspecialist to work with the class.
[There is a] great need for child friendly music that we can sing along with – especially
Burns.
We would love to develop this but have no staff with musical strength.
One respondent felt that, for further assistance to be successful, it would require “authority
input”.
Very few indicated that they had received musical training; of those who did, the majority
appeared to suggest that their musical training had been more informal than formal as indicated
by such comments as “enjoy listening to Scottish Traditional Music”, “in choir for many years as
a child; a general interest” and “experience over 40 years”. Just over half of the respondents (17)
welcomed CPD with one suggesting cluster in-service training on the islands, and another
observing that it “would be interesting to see resources used in other schools”; one or two
respondents in South and East Ayrshire, however, felt that time constraints might prohibit this.
A selection of further comments is included below:
Pupils have enjoyed working with Gaelic projects at cluster level.
Visiting musicians to the school are always appreciated by staff and pupils.
22
The H.T. and I have struggled every year to find music to teach traditional
Scottish Songs for St. Andrews Day, Burns etc.
We need support for non-specialists. It can be very difficult to find CDs with
appropriate key for children singing and also backing tracks for concerts or
competitions.
We try to promote Scots music where possible, with an annual festival of music and
poetry. We also try to listen to a variety of instruments on CD and have had performers
in the past. It can be difficult to find resources suitable for young children – we have a
bank of songs collected over the years but need more for the wee ones.
The Central Region
I
East Dunbartonshire
West Dunbartonshire
Number of schools surveyed: 36
Number of schools surveyed: 35
Number of identified responses: 5
Number of identified responses:7
Percentage of responses: 13.88%
Percentage of responses: 20%
With contrasting response rates between these two regions, nine respondents stated that their
school featured Scottish Traditional Music. Of those who answered no, one answered some of
the latter questions in the survey and so will be considered along with these later in the
discussion. Two took no further part in the survey but both made one further comment at the end,
one of which indicated that, despite their initial answer, some Scottish Traditional Music
instruction took place:
The school spends a considerable time on aspects of Scotland from P1-7 tho’ no defined
structure for Trad. Music. Time is spent on songs such as ‘3 Craws’ ‘Cannae Shove your
Granny’ etc.
and one which might be interpreted as a cry from the heart:
We would welcome having a music teacher in school.
Ten respondents cited occasional workshops or other activities as the class format. Time
allocations ranged from ½ hr assembly per week to a part of the school’s general music
programme throughout the year (there were more responses supplied to this question in West
Dunbartonshire than in East Dunbartonshire). Nine indicated that classes took place within
school hours with two respondents taking direct responsibility for class delivery, and a further
23
four delegating this to other teachers. Few identified the status of the teachers involved; those
who did (four) cited a mix of full-time, part-time and peripatetic teachers. Two indicated that a
teaching method was use (one was unspecified, one was based on Silver Burdett) and one cited
Sounds of Music and Scottish Saltire Materials as the teaching resources employed; one other
respondent cited Borders Music Pack12 later in the survey under the heading of music training
received. All ten welcomed further assistance, and nine a central database, most with enthusiasm
as the following comments show:
Yes – very keen. Increasingly finding resources are limited and becoming repetitive.
Yes please! Very welcome indeed.
We have a rake of songs but a source which included a CD to use would be
helpful.
Happy for people to come into school to share their interests and talents.
Only four indicated having received music training (three at university level, and one as a trained
singer) while two more indicated that they had received none. Of those who had not, however,
one was assiduous in ensuring that the pupils availed of every opportunity:
Music specialist advises me on how to promote all music within school. We also have
several music instructors visiting the school. They would also welcome any additional
resource.
Eight welcomed CPD, one stating that they would be “very keen. This is a much needed
initiative.”
A number made further comments, some of which are included below:
During school year we would like to develop/celebrate our Scottish Culture and music
has a large part to play in this. We are hoping to hold a Scottish Celebration in
November ’07. Any input would be very much appreciated.
It would be good to have children taught Scottish music skills either during or
after school.
We have an annual Scottish Focus including songs and poems and Burns
Federation Examinations. We are always looking.
12
See footnote on page 10.
24
The Central Region
II
East Renfrewshire
Renfrewshire
Number of schools surveyed: 24
Number of schools surveyed: 52
Number of identified responses: 2
Number of identified responses: 8
Percentage of responses: 8.33%
Percentage of responses: 15.38%
Both respondents in East Renfrewshire, in indicating classes in Scottish Traditional Music taking
place in their school, gave class formats as one-to-one tuition/weekly classes and other activities
respectively.
However, within the Renfrewshire responses, weekly classes and one-to-one
tuition were in the minority with occasional workshops and other activities either supporting
these classes, or being the predominant format. Time allocations were indicated in nine
responses overall, though not always precisely; answers ranged from “difficult to quantify but all
pupils have some experience each year” to “2-3 hours per stage per year” to “one hour choir
practice per week after school” etc. All, bar one, indicated that classes/activities took place
during school hours (and frequently limited to January/February each year), and while both
respondents in East Renfrewshire took direct responsibility (one sharing this with another
teacher who was identified as peripatetic), responsibility in Renfrewshire was mainly delegated
to other teachers (six) with only one respondent taking direct responsibility. Four respondents in
Renfrewshire identified teacher status (as two full-time and one part-time) with one further fulltime member of staff working alongside a peripatetic teacher. Only one respondent in each
region identified a teaching method and materials (Kodaly teaching material/Sounds of
Music/Burns Federation Song Book in East Renfrewshire; Kist, Music and Dance, Hairy
McLary, Burns Songs in Renfrewshire). Nine respondents supported the ideas of further
assistance and a central database, with comments such as
DVD/CD and booklets or software (Mac based) or web-based for interactive boards
would be useful.
Yes – resource would enable all teachers to feel more comfortable/confident in delivering
traditional music.
and seven indicated musical experience (in 2 responses Kodaly training was cited, while one
teacher had trained at PGDE level).
25
Seven welcomed CPD (one respondent indicated that they would be retiring shortly), and further
comments came from the Renfrewshire teachers:
A progressive programme P1-P7 would be beneficial.
We would welcome advice/support to include Scottish Traditional Music in our music
programme.
The Central Region
III
North Lanarkshire
South Lanarkshire
Number of schools surveyed: 127
Number of schools surveyed: 124
Number of identified responses: 12
Number of identified responses: 20
Percentage of responses: 9.44%
Percentage of responses: 16.12%
Seventeen of those who responded indicated that their school included Scottish Traditional
Music in the curriculum. Of those who said no, four took no further part in the survey, while the
remainder completed other questions and so are considered in the following discussion.
18 respondents across the regions indicated that occasional workshops or other activities were
employed to fulfil the school’s commitment. 14 responded to the question on time allocation,
though most without indicating precise class durations: “Approx. ¼ of music provision in the
year”, “short block of 6 hours”, “this depends on the individual teacher”, “just occasionally”,
“annually – Burns supper songs and dancing”, “difficult to quantify”, were just some of the
answers received.
18 respondents indicated that classes took place within school hours, with responsibility for these
being delegated in the main to another teacher (only four indicated shared responsibility). Very
few (seven) gave any indication of the status of the other teacher (three full-time, two part-time,
two other), and only two respondents (based in South Lanarkshire) indicated the use of any
particular teaching method (unspecified); no teaching materials were specified in either region.
24 respondents welcomed further assistance and the idea of a central database. Ten indicated
some form of musical training: three of these were Kodaly trained, one at diploma level, two
during initial teacher training, and one stated that music training had been received, though for
26
other teachers in the school not themselves. 20 welcomed CPD, one qualifying their response by
saying “Yes, if it was for beginners!!”. Other comments made by respondents included the
following:
Resources that could be fitted alongside existing ones would be most useful. Stand alone
blocks of study that could be fitted into enhance teaching and learning.
Workshops and resources would be wonderful and we would use them.
We would like Scottish music workshops or an out of hours club.
Scots Kist is great resource for Scots language. Something similar would be great for i)
dance ii) music.
A bank of materials with suggested themes/projects which … could be used to enhance
[and] would ensure they were included in this school. We have a great lack of trained
people or skilled musicians.
It would be good to have visiting artists/specialists to provide quality input for schools,
even at targeted stages, as opposed to whole school or both.
The Central Region
IV
Glasgow
Number of schools surveyed: 172
Number of identified responses: 15
Percentage of responses: 8.72%
With a very small response rate, given the size of the catchment area, ten respondents stated that
their school featured Scottish Traditional Music (one stated “yes – slightly”!). Of the five who
indicated no, four completed other questions in the survey (with one of these stating that his/her
school had participated in workshops conducted by Celtic Connections) and so these will be
considered in this discussion.
Six respondents indicated other activities as the mode of delivery, while six more cited
occasional workshops (one in tandem with weekly classes and other activities). Weekly classes
on their own accounted for one response. Time allocations varied considerably (two schools
made mention of visits from Celtic Connections), ranging from “Very little, maybe touched upon
27
at different times by different classes”, to “1 hour per week for choir and choral verse”. 12
indicated that classes took place within school hours with responsibility being delegated in the
main to other teachers (eight, though two of these indicated shared responsibility) while two took
direct responsibility. Very few indicated the status of the teachers involved, though three were
identified as peripatetic (one of these working alongside a full-time teacher), one as part-time,
two as other (one of these again working alongside a full-time member of staff) and one as fulltime only. No teaching method was identified (although one respondent answered both yes and
no to this question!), and two identified materials (one derived from NYCOS and one from the
BBC video ‘Tartan Jam’). Nine welcomed further assistance:
Yes – booklets with suitable music for different stages.
Yes – materials and resources would enable me to incorporate more traditional music
into our school programme.
Yes – more resources would make it more age specific.
Yes – none of our staff read music. We are not confident at all when teaching
music. We need ‘an idiots guide’.
One respondent, however, had a different point of view:
No – teachers are already coping with an overloaded curriculum and do not wish
training in another specialism.
Twelve of the respondents welcomed the idea of a central database, one observing that “simple
child-friendly songs would be helpful”.
Six respondents indicated some form of musical training having been received (but four stated
that this training was for other members of staff and not themselves); one other said that they
were self-taught. 11 welcomed CPD though one felt that “teachers already have enough to cope
with”. Five respondents went on to make further comments, including one who made a plea for
“outreach teaching or training”. Other remarks were as follows:
We had two teachers who were with us for their probationary year, and they had an
expertise in Scottish Country dancing which they put to good use with a number of
children in the school.
I think it is important to teach our children about their culture.
28
The Central Region
V
Clackmannanshire
Falkirk
Number of schools surveyed: 19
Number of schools surveyed: 48
Number of identified responses: 3
Number of identified responses: 6
Percentage of responses: 15.78%
Percentage of responses: 12.5%
Stirling
Number of schools surveyed: 42
Number of identified responses: 8
Percentage of responses: 19.04%
13 respondents across the three regions stated that Scottish Traditional Music was featured in the
school curriculum.
However, though the remainder answered no to this question, they
nonetheless answered further questions in the later half of the survey, therefore all schools will
be considered together.
Occasional workshops and other activities each appeared in 11 responses as the preferred mode
of delivery, sometimes in support of another format. Respondents in Clackmannanshire and
Stirling were less sure as to how much time was devoted to these classes/activities, though for
many in Stirling most activities seemed to take place in January each year. In Falkirk, five
indicated time allocations ranging from incorporating Scottish Traditional Music into the
existing music programme, to blocks of teaching in preparation for particular events, to “6 hours
per year per pupil”. 14 respondents indicated that these classes took place within school hours,
though one respondent’s school also offered an after school celebration concert for parents by its
P7 class. Across the regions seven teachers delegated responsibility while five were directly
involved working alongside another teacher; two of the respondents took direct responsibility for
class delivery. The status of the other teacher was identified by ten respondents as mainly
peripatetic (four), with two full-time, two part-time, and two “other”. Very few respondents
identified either a specific teaching method or materials being used; in Clackmannanshire none
were identified at all, one was indicated in Falkirk but this was unspecified, and only three
respondents from Stirling were specific in the methodology employed (all cited Kodaly).. Three
29
respondents across the regions identified teaching materials (which included Songs around
Scotland, Traditional Scottish Songs and Music, The Oxford Scottish Songbook, An Introduction
to Scottish music CD). In Clackmannanshire and Falkirk, nine welcomed the ideas of further
assistance and a central database. In Stirling, seven welcomed further assistance with comments
such as
Yes – preferably ICT – pupils to listen to examples and research.
Yes – simple pentatonic based ideas for P6/7, Level C/D.
Six supported the idea of a central database while two did not; two different points of view were
expressed:
Yes – based on pentatonic – simple melodies/accompaniments.
No – I don’t feel this is necessary for the primary music curriculum – perhaps more
appropriate for secondary.
Only five of the respondents had had formal musical training, (three of these at diploma level
and one through initial teacher training). 11 respondents welcomed CPD, one respondent was
unsure as to how this would affect them, while another stated that they were shortly to retire.
Further comments made by respondents in this grouping have been quoted elsewhere in this
report.
30
The Central Region
VI
East Lothian
Midlothian
Number of schools surveyed: 34
Number of schools surveyed: 33
Number of identified responses: 4
Number of identified responses: 1
Percentage of responses: 11.76%
Percentage of responses: 3.03
West Lothian
Edinburgh
Number of schools surveyed: 63
Number of schools surveyed: 94
Number of identified responses: 6
Number of identified responses: 15
Percentage of responses: 9.52%
Percentage of responses: 15.95%
The response rate in these regions was quite disappointing. Ten respondents in the Lothian
regions indicated that their school featured Scottish Traditional Music in its curriculum, while
the remaining respondent nevertheless completed the remainder of the survey. A high proportion
of those who responded from Edinburgh (seven) indicated that their school did not feature
Scottish Traditional Music in its curriculum. Again, all of these went on to complete further
questions in the survey and so will be considered in this section. Indeed, one respondent
qualified their response by conceding that the school did have activities such as a Scots language
and culture week, and a Burns ceilidh, while another highlighted occasional workshops by
visiting musicians, and blocks of tuition again centred around Burns night.
Two respondents from East Lothian indicated that Scottish Traditional Music was transmitted
through weekly classes - one through occasional workshops combined with other activities, and
one through other activities which they specified in the following question as being “whenever is
appropriate in the curriculum” and which included Scottish Country Dancing and Scots poetry.
The sole respondent from Midlothian indicated that Scottish Traditional Music featured in the
school curriculum through other activities such as a Scottish fortnight, with some traditional
music incorporated in class music lessons, but the time allocation was hard to define as “it’s not
a huge part of the curriculum”. Occasional workshops in combination with one-to-one tuition
(one), other activities (in one case identified as Scottish Country Dancing, and songs and poems
for St. Andrew’s concert), and weekly classes (two) accounted for the majority of responses in
31
West Lothian; one other school relied on occasional workshops alone. In Edinburgh, five of the
eight who said yes to question 1 indicated that occasional workshops were the preferred mode of
delivery, again frequently either in tandem with weekly classes (two), or with other activities
(two), while one combined these with one-to-one tuition. Occasional workshops by themselves
accounted for two responses, with weekly classes alone featuring in only one response.
Time allocations stated in the responses from the Lothian regions were small and not always
precise, though two schools in West Lothian were committed to 45 minutes weekly. Other time
allocations specified by the respondents from East Lothian included “3 weeks in January”, “40
minutes per week” and “P.6 - one hour per week, 6 weeks”. Very few in Edinburgh were able to
specify a precise time allocation – within the 6 responses received here, answers again ranged
from the usual “varies” to “units of work carried out by class teachers a part of the music
programme…” to “maybe a couple of sessions – 2x 45 minutes roughly…”. Classes in all of the
regions under consideration took place within school hours, with one Edinburgh school offering
additional lunchtime classes.
Across the regions four respondents indicated responsibility as shared, and four took direct
charge. Five indicated the status of the teachers involved as being peripatetic (including one from
East Lothian) and the status of only two other teachers was cited (full-time). The remainder
delegated responsibility to other teachers, identified in the main as peripatetic and one Edinburgh
teacher also relied on a parent volunteering for the lunchtime classes. No particular teaching
method or materials were identified in either East Lothian or Midlothian, while only two West
Lothian respondents stated that a particular teaching method (unspecified) and teaching materials
were used (one of these identified as Carousel). Only three respondents in Edinburgh identified a
particular teaching method, though one of these was unsure (their comment has already appeared
elsewhere in this report).13 The two other respondents identified ABC Creative Music and
Kodaly as the teaching method employed. The same three stated that they used teaching
materials, which included ABC and Sing around Scotland, though one requested further help,
despite having amassed a large quantity of material over the years. 25 teachers from the four
authorities supported the idea of further assistance with such comments as
Yes – absolutely! I am new to teaching music and I am unsure where to access
help/materials.
Yes – I think a Gaelic Medium Units Forum would assist.
13
See footnote on page 10.
32
In our small school we cannot afford to buy instruments …all offers of materials or
resources welcome.
One teacher highlighted a more widespread problem:
Yes – we would love to include more. Finding it difficult at present – no music specialist,
so any assistance would be welcomed for class teachers.
Again, 25 stated that they would welcome a central database, one going on to say
Yes – a great idea especially when more and more class teachers are taking on specialist
roles in primaries.
Only six in the Lothian areas indicated musical experience (including a background in folk
music and church choral singing, BMus and PGCE qualifications and the RSAMD/Glasgow City
Council Certificate in Primary Music).14 Seven indicated some form of musical training ranging
from that received in childhood, to membership of a ceilidh band to training at degree level, and
initial teacher training. Ten respondents in the Lothian authorities welcomed CPD though one
qualified their remarks by saying that “it would depend on who, where, when and the cost”.
One, in saying no, stated they would “like to employ a good music specialist throughout the
school”. 12 teachers in Edinburgh supported the idea of CPD. One highlighted the need for
“classroom strategies – teaching children with special needs in an inclusive way”.
Again, further comments made have been quoted elsewhere in this report.
14
This was the award given following completion of the short course entitled Music in the Expressive Arts for
primary school teachers, which was developed and administered by the current author, Dr. Katherine Campbell of
the University of Edinburgh (Celtic and Scottish Studies), and Ms. Lesley Dunlop, Creative Links Officer for
Glasgow City Council. It included modules in Scottish Traditional Music within its programme and was in
operation at the RSAMD during 2004-2006.
33
The East Coast
I
Aberdeenshire
Aberdeen City
Number of schools surveyed: 153
Number of schools surveyed: 53
Number of identified responses: 23
Number of identified responses: 8
Percentage of responses: 15.03%
Percentage of responses: 15.09%
Moray
Number of schools surveyed: 46
Number of identified responses: 7
Percentage of responses: 15.21%
The response rate from all three regions was broadly similar. 21 Aberdeenshire teachers said
that their school featured Scottish Traditional Music as part of its expressive arts commitment
while those who answered no nonetheless completed some of the questions later in the survey.
Only three respondents from Aberdeen City indicated that their school featured Scottish
Traditional Music as part of its expressive arts commitment; a fourth, whilst stating that the
school did not include Scottish Traditional Music as “an integral part” of its curriculum, did
continue to answer some of the questions posed in the remainder of the survey and so will be
included in the current commentary. Six Moray respondents indicated that Scottish Traditional
Music featured in their school’s curriculum.
Of the 23 Aberdeenshire teachers, 11 relied on occasional workshops as the sole format for
Scottish Traditional Music, while 17 combined these workshops with other activities. Weekly
classes allied with workshops accounted for three of these combinations while other activities
such as school projects on Burns or Scotland in general, provided another three answers. One-toone teaching did not feature in any of the responses to this question. The input of external
organisations or events (eg the Scottish Traditional Boat Festival, Kodaly classes/workshops, the
Buchan Heritage A’ the gither at Aden, the Scottish Country Dance Club, Burns Competition)
featured both in the response to this question and in later responses to the survey. However, both
this external input and the occasional nature of most classes had a bearing on the answers to the
next question in that almost half of those who said yes in question 1 were unable to specify how
much time was devoted to Scottish music and either did not respond or said that they were
unsure. Even some of those who responded more positively were nonetheless vague: “cannot
34
specify as varies from term to term, depending on what’s on offer”, “it varies depending on what
is available - other things happening in school”, and “when the topics or project work is
associated with our country” were some of the comments made. Elsewhere some of the
allocations at times appeared to be quite small: “1 hour per month [from] April-June”, “once or
twice a session” etc. Of the four Aberdeen City respondents under consideration, two indicated
the preferred format for traditional music as other, which they described respectively (in the
response to the subsequent question on time allocation) as being “occasional exposure to Trad.
Music in P6 and P7” and “8 weekly classes (approx.) during 1 school term to prepare for [the]
school concert which takes place each November.” A third respondent indicated occasional
workshops (which were not described in the next question), while the fourth made no response to
either this or the subsequent question. Occasional workshops featured in three of the responses
from Moray (two of these indicated that workshops were combined with weekly classes, or other
activities), as did one-to-one tuition (two responses, one of which bolstered other activities).
One-to-one tuition by itself accounted for only one response.
Time allocations here ranged
from “varies” to “1 ½ hours per week”.
Across the regions most activities took place within school hours (26 responses) while four more
schools based in Aberdeenshire and Aberdeen City combined these with after-school classes, one
of which took the form of Scottish country dancing. No respondent who responded positively to
question 1 relinquished the teaching of Scottish Traditional Music to after school classes alone.
However, the majority of the 23 Aberdeenshire respondents stated that they were not directly
responsible for the teaching of Scottish Traditional Music, devolving this to another teacher or
visiting musicians (12). Only three took sole responsibility while another five worked with
another teacher in this area.
Three Aberdeen City teachers stated that responsibility was
devolved to another teacher (though one of these also indicated their own personal involvement)
while in Moray two respondents took direct responsibility, with the other four delegating this to
another teacher. When it came to the definition of the status of the teachers involved the
overwhelming category stated by 17 respondents from all three regions was that of peripatetic
(either in combination with “part-time” or “other” status) while the designation of “other”
teachers/tutors only appeared in six responses.
18 teachers in the three regions indicated that there was no particular teaching method involved
(this included two who had no response to the question). Of the five who said yes, none
specified what method was used. Precise details of teaching materials were supplied by only two
schools across the three regions: these included Traditional Scottish Songs and Music, Sing
35
Around Scotland, Buchan Heritage materials and Kodaly resources. 31 indicated therefore that
they would welcome further assistance with extra/new teaching materials/resources, while one
Aberdeenshire teacher remained unsure (“I’m not musical myself”) and one Moray teacher
raised the issue of cost in relation to this initiative. There was an equally enthusiastic welcome
for a central database of teaching materials (30 responses), although two of these, however,
seemed keen that this should be provided for others rather than themselves. When it came to
musical training a high proportion of Aberdeenshire respondents (12) stated that they had little or
none while the experience of those who did ranged from “only what was part of PGCE (v. little)”
to “am a traditional Scottish fiddler and piano player” to “degree in music (BMus hons) and
PGCE music secondary.” Three Aberdeen City teachers gave details of musical training which
included part or full training at higher level. Four Moray teachers indicated some form of
musical training had been received (though only one at diploma level).
27 teachers from the three authorities, therefore, indicated that they would welcome some form
of CPD, although one Aberdeenshire teacher was not entirely supportive.15 A statement from
another Aberdeenshire teacher might be interpreted as a cry for help:
Yes – I have no musical ability and a staff with very little expertise, who have to rely on
passing workshops etc.
Few had further comments to make, though two of these are perhaps worth quoting:
Time and money are the main restraints. However, I find the children thoroughly
enjoy traditional music.
Rather than the weekly Kodaly lessons, I think pupils would benefit from the
Traditional Music Teacher having more input into Burns Competitions, ceilidhs
etc. Performing what they learn under professional guidance would be of great
value.
15
See page 11.
36
The East Coast
II
Angus
Dundee
Number of schools surveyed: 57
Number of schools surveyed: 40
Number of identified responses: 3
Number of identified responses: 1
Percentage of responses: 5.26%
Percentage of responses: 2.5%
Fife
Perth and Kinross
Number of schools surveyed: 131
Number of schools surveyed: 77
Number of identified responses: 14
Number of identified responses: 8
Percentage of responses: 10.68%
Percentage of responses: 10.38%
Some of the most disappointing response rates in the survey feature in these regions. A total of
21 teachers from the four regions indicated that Scottish Traditional Music was employed in the
school curriculum. Of those who answered no, three completed further questions in the survey,
therefore 24 responses will be considered in the following discussion.
Two respondents from Angus indicated other as the class format employed while the Dundee
respondent indicated delivery through occasional workshops. Occasional workshops featured in
7 responses received from those in Fife (three schools relying on these alone, with two
combining them with other activities, two with one-to-one tuition, and one with additional
weekly classes). Here, four schools made use of other activities solely, while two more held
regular weekly classes. Occasional workshops (four) or other activities (two) were the
predominant responses to question 2 from the Perth and Kinross teachers; no mention was made
of one-to-one tuition or weekly classes. Time allocations across the regions ranged from “6
blocks of 1 hour per week” and “blocks of time working towards an event or performance
(usually a six-week period with work done 2/3 times weekly)”; most were unable to give precise
class durations. Most classes took place within school hours with two schools in Fife and one in
Perth and Kinross also offering after school classes. Across the regions three teachers took direct
responsibility, eight indicated shared duties, and ten delegated responsibility. Again a high
proportion of the teachers involved (ten) were identified as peripatetic, three as part-time, one as
full-time and two specified as other. Two schools employed a particular teaching method (one
respondent specified this as Kodaly). Only one school (located in Angus) cited resources
37
employed (Burns, Scottish songs and dance). 23 teachers from the four regions welcomed further
assistance, one commenting:
Resources with traditional songs (Burns, Jacobite etc.) would be very helpful.
Perhaps some with music only so that they could sing along.
20 supported the establishment of a central database, some with the following comments:
It is very difficult to find CDs of Scottish Music to help children listen and understand.
Yes – songs for choirs, copy free music to use, ideas bank.
As a non-specialist in music, CDs, videos, instruments and songbook would be very
welcome.
Even CDs of Burns songs and others suitable for children, with song tape and blank tape
and music and words are v. thin on ground.
One respondent made a request for continuance:
We would like the children who are currently having input to have option of continuing
whilst next year’s P5 children begin.
One further respondent was unsure, while another found “searching databases too timeconsuming”.
Only one of the teachers in Angus had received some form of musical instruction during initial
teacher training and did not welcome CPD while the other who had received no musical training
not surprisingly supported the idea; the latter response was also mirrored in the Dundee teacher’s
answers to these questions. In the ten responses from Fife which indicated some form of musical
training having been received, Kodaly was mentioned by four, four respondents indicated that
some staff had studied music at degree level, or during initial teacher training, while two
indicated more informal musical experiences; 11 respondents here welcomed CPD. Five of the
Perth and Kinross teachers had some musical experience (including one at diploma level); four
welcomed CPD, but three did not, one stating “not until it features in Local Authority advice”,
and another citing the “time element” involved as being a problem.
Some of the further
comments made are included below; the final one might be interpreted as either sending a
reminder or a request to a higher authority:
Use of local musicians for workshops/YMI projects would be good.
38
I am only a class teacher covering a visiting teacher day in school. We use Kodaly a lot
and it would be good to have more material ie Scots poems and songs to teach in Kodaly
form along with current work.
In Fife schools we hold annual Scottish Country Dance festivals. My pupils love singing
Scottish Songs and parents think it’s so important to include Scottish music in the
curriculum.
Scottish Exec. made all schools teach Scottish Trad. Music as part of curriculum and
funded this.
The Southern region
Scottish Borders
Dumfries and Galloway
Number of schools surveyed: 63
Number of schools surveyed: 76
Number of identified responses: 8
Number of identified responses: 16
Percentage of responses: 12.69%
Percentage of responses: 21.05%
16 respondents across both regions indicated that indicated that Scottish Traditional Music
featured in the curriculum, though one qualified this by saying that it was “not as a discrete
topic”. Seven of those who said no continued to answer questions in the survey, including
several who indicated that there was indeed a degree of Scottish Traditional Music in the school
due to extra sessions offered by visiting staff, occasional workshops for St. Andrew’s Day,
evening classes etc. Their responses are included in the discussion below.
Once again occasional workshops or other activities were the preferred option amongst 16 of the
respondents. However, there was little or no indication of time allocation in the responses from
Scottish Borders, with only three indicating a range from “classes learning traditional songs for
town festival” to groups for about 20 mins” to “once or twice a year”; six of those who
responded from Dumfries and Galloway indicated time allocations varying from “infrequent” to
“1 half hour per one or 2 years in blocks every two years”. All 16 stated that classes took place
within school hours, with three also offering after school activities. “Another teacher” was the
pre-dominant answer concerning responsibility for the delivery of classes (12) though four of
these responses indicated shared responsibility. In identifying the status of teachers involved,
peripatetic was stated in ten responses, sometimes in support of part-time or full-time colleagues.
Only two respondents from Dumfries and Galloway stated yes to the question on teaching
method, citing Dumfries and Galloway’s education pack Sangs, Reels and High Jinks and Sing
39
around Scotland as teaching materials, while two from Scottish Borders stated that there was a
teaching method (unspecified) in use, and one indicated the use of teaching materials (again
unspecified). 15 welcomed further assistance, one teacher wondering if, as Learning and
Teaching Scotland had produced a manual for dance in association with RSCDS, something
similar in traditional music could be published. 19 also supported the idea of a central database,
with one negative viewpoint expressed:
No – this would not be delivered by individual class teachers but more by specialists.
One respondent in the Scottish Borders had received some formal music training (at degree
level), another stated that their acquired experience was informal while the remainder had no
musical training or did not respond. 11 in Dumfries and Galloway indicated some form of
musical training from that received during their own school days to instruction during their
teacher training. 13 respondents welcomed the idea of CPD. Further comments have been
quoted elsewhere in this report.
Anonymous and unplaced replies
Number of schools surveyed nationwide: 2118
Number of anonymous and unplaced responses: 73
Percentage of responses: 3.44%
Number of identified responses received nationwide: 408
Percentage of anonymous and unplaced responses relative to identified responses: 17.89%
A total of 73 responses received could not be placed in any local authority area; seven of these
either gave individual contact names, or a school name only (which could be in any number of
local authority areas) hence their consideration under a separate heading. Of the remaining 66
respondents, 48 indicated that their school featured Scottish Traditional Music in its curriculum,
while 16 answered no and two did not complete the question. However, only five out of the 66
failed to complete the remainder of the questionnaire and therefore 61 respondents will be
considered in the first part of this discussion.
40
Anonymous replies
Occasional workshops were once again the preferred class format (31); 17 of these were the sole
method of delivery, while ten were combined with other activities, seven with weekly classes
and four with one-to-one tuition. Only two respondents indicated that one-to-one tuition was the
sole means of delivery while eight indicated that one-to-one tuition was employed largely in
combination with other formats. Two respondents indicated that their school relied on weekly
classes only, while other activities by themselves accounted for a further nine responses.
36 respondents gave some indications of time allocations, though very few of these were
specific. 50 indicated that these activities took place within school hours (one offering both
options) while only one school relied on after school classes alone. Seven respondents took
direct responsibility, with another three indicating shared duties. 33 delegated responsibility to
another teacher, another commented that no-one was responsible for delivery (“just the
occasional visitor”) while another stated “no teaching, just listening”.
Peripatetic teachers were the predominant answer to the question on teacher status (23) with four
of these working alongside part-time teachers. Ten were identified as “other” tutors (working
with full-time teachers), three as part-time and three as full-time members of staff. Six stated that
teaching methods and materials were in use (and of these last, the Borders Education Pack16 was
the only one identified), while four said no materials were used. 48 respondents welcomed
further assistance (eight did not) while 49 supported the idea of a central database. 15 gave
details of musical training, though few specified what training this was (Kodaly, ABC and the
RSAMD featured in three responses); two other respondents misunderstood this question as
referring to pupils’ training, 26 said that they had received no training, and 18 did not respond.
35 welcomed CPD while 20 did not; some of the viewpoints quoted below were somewhat
negative:
Would be useful for staff in schools to have access to this.
The opportunity for teachers to tap in to training in this area would be positive.
Yes – if staff showed an interest.
No- I think we would use our music specialist to deliver education in this area.
16
See footnote on page 10.
41
Would find this difficult as no musical background.
No – this would be way down the list.
Only six made further comments, (some of which have already been cited elsewhere in this
report); others are reproduced below:
Traditional Scottish music as such does not feature highly in the children’s lives and is
almost irrelevant. However, a knowledge of [a] variety of instruments is always welcome
to study influence on modern music.
We would welcome more practitioners coming into school.
Finally, in saying no to question 1, one of those not considered in the above discussion did
qualify their answer with what might be seen as a request for assistance (in common with many
around the country):
We do have …recorder playing for Burns competition, violins playing at Assembly. This
year we had a St. Andrew’s Ceilidh. We would love to do more.
Unplaced replies
One of the seven unplaced respondents stated that their school did not feature Scottish
Traditional Music in its curriculum. All seven however completed that survey and so will be
considered together in the final part of this section.
Regarding question 2, other activities featured in three responses (one supporting one-to-one
tuition) while occasional workshops (two), weekly classes (one) and no reply accounted for the
remainder. Four gave somewhat vague indications of time allocations, while five indicated that
classes took place within school hours, one after school. Only one respondent took direct
responsibility, five delegated this and again one did not reply. Of the staff involved, one was
identified as full-time, two were identified as peripatetic, and two as other, one of these last
stating “we do not have any teachers of music this year”.
No teaching method or specific teaching materials were identified, and all welcomed further
assistance, two with comments:
42
Yes – and someone to deliver them!
Yes – small 2 teacher [school] with no musical skills – need lots of help.
Four welcomed the idea of a central database, two did not while one was unsure, observing that
it was “difficult to comment – courses [are] often too difficult for us”. Five indicated some form
of musical training having been received, largely through initial teacher training or in-service,
though one stated that they had trained as a Kodaly teacher. Only one did not welcome CPD,
while the rest did, although two had reservations:
Yes – for those who were musical.
Yes – only if this is at our level.
Three made further comments; two of these are reproduced below, indicating perhaps a certain
amount of detachment from the art form rather than its integration within the school curriculum:
I am happy for specialist to undertake this area.
I think that we would appreciate more opportunity to have specialist teachers in
traditional music.
43
SECTION III: CURRENT TRADITIONAL MUSIC RESOURCES
- A REPRESENTATIVE SELECTION
Introduction
Part of the current writer’s brief when conducting this survey was to take cognisance of the
teaching material currently available, and to make recommendations regarding the possible
production of new resources which might utilise specific teaching methodologies. However, the
following discussion must be prefaced by reiteration of the fact that (as can be seen from the
outcome of the survey above) only 12.99% of those who responded indicated that specific
resources were used in the teaching of Scottish Traditional Music in their school; many of these
were uncertain as to what these were and consequently did not specify. Others were content to
leave this aspect to external providers: “the tutor uses his/her own” or “this is included as part of
music programme” were statements received, and only a handful specified materials that were
related to specific methodologies (but not Scottish Traditional Music)17 - namely Kodaly and
ABC.
The first impression gleaned by the author upon perusing many web-sites and various
bibliographies was of a vast array of material, not necessarily specifically aimed at teachers but
which could be made use of in a teaching situation. The second impression was of a lack of
awareness among many people of the materials currently available, and the need to draw all of
these “lists” together into one national database which could be accessed online. In the course of
her investigations, the author also became aware of some new resource materials currently in
production which will be published/broadcast after this report has been submitted (these are
referred to at the end of this chapter). The author also noted that a number of schools cited
Scottish Country Dancing as a means of partially fulfilling the school’s commitment to Scottish
Traditional Music as well as Scottish culture in general, hence once or two dance resources have
also been included as possible exemplars for future production of traditional music materials.
Likewise there are one or two examples included which (at first glance) are outside the arts area
altogether, but nonetheless could provide a new medium for the transmission of Scottish
Traditional Music education. What now follows is a consideration of a sample of the resources
available, which also draws on examples from Ireland, England and Wales – it is not intended to
be a comprehensive listing, and not all of those listed in the bibliography are considered here.
17
Indeed, the forthcoming Kodaly educational resource in Gaelic which is referred to at the end of this section is, as
far as the current author is aware, the first of its kind in Scotland.
44
Not all resources can be covered in a survey such as this, but the author has aimed to cover those
that have been recently been published and thus readily available; some that teachers are known
to use even though they may be out of print; those where the approach and/or presentation might
be considered as exemplars (which include some single instrument tutors which would not
necessarily be utilised within the primary school classroom); and those that are in the pipeline.
The material considered, however, does illustrate an equally wide variety of approaches,18 many
contain a large number of tunes/resource materials while some also contain background and
history and a few concentrate on the “how to” aspect and are more tutor-orientated. It is worth
noting that very few of those resources contained in the sample are aimed specifically at the age
group under consideration in this report (or their indeed their classroom teachers) and almost
none bring together all of the various art forms that contribute to the traditional culture of
Scotland.
The Resources
Barbour, F (ed.), Ingram, K. et al (1998) Sangs, Reels and High Jinks Dumfries, Dumfries
and Galloway Arts Association Ltd.
Format: Teacher’s resource pack in ring-binder folder, and CD
Funded by/Supported by: Scottish Arts Council, Dumfries and Galloway Council, Groundbase
Ltd.
This resource is the result of a long period of research and development by many traditional
music specialists in the Dumfries and Galloway region and brings together songs (words and
music) for singing, songs associated with games (for which instructions are supplied) and
instructions for dances (for which the music is provided on the accompanying CD). The CD also
contains performances of the song material. Background to the music and details of the sources
from which the melodies have been gleaned are also provided, and the approach is at times
similar to that adopted in the dance resources cited below.
18
Many also illustrate a wide variety of cost: prices for many of the above ranged anywhere from £9 to £46. A
minor feature perhaps, but one which could have a bearing on whether a teacher or school chooses to invest in a
particular resource.
45
Bryan, V. (ed.) (1996, 2000) Ceòl nam Fèis [Music of the Fèis] (Vols. 1 and 2) Portree,
Fèisean nan Gàidheal
Format: Resource books of Scottish Traditional songs
Funded by/Supported by: Proiseacht nan Ealan (Gaelic Arts Agency), Foundation for Sport
and The Arts, Scottish Arts Council, Catherine McCaig Trust (Vol 1); Scottish Arts Council,
Highlands and Islands Enterprise, HI-Arts, The Highland Council, Comunn na Gàidhlig, Urras
Bròsnachaidh na Gàidhlig, and Comunn Gàidhlig Inbhir Nis (Vol.2).
These relatively recent publications were cited by a few respondents in the course of the survey.
Both are comprehensive collections of music, clearly set out, and contain very helpful
bibliographies, with some historical background also included in Volume 1. Volume 2 differs
slightly in that it has brief teaching notes at the end, but in general these volumes suit
practitioners or tutors who have had some prior experience of teaching traditional music as the
introduction to Volume 1 makes clear:
It attempts to answer the need felt by many tutors in past years for music which works
well in a Fèis teaching situation: tunes which appeal to learners of all ages and hold
their interest, yet are simple enough for beginners or instruments to learn by ear or
reading, and master in a short space of time.
While the collections are intended to aid both singers and instrumentalists, the main emphasis is
on singing:
Singing for all also has the advantage of underlining the fact that all music is based on
song…
Campbell, K. and McVicar, E. (2001) Traditional Scottish Songs and Music St. Andrews,
Leckie and Leckie
Format: Resource pack and CD
Funded by/Supported by: Not applicable
This publication provides a graded series of songs, tunes and dance music from around Scotland,
as well as historical background, items linked to story-telling, translations of text, a glossary, and
descriptions of instruments. Intended to address the Scottish elements contained in the 5-14
46
curriculum,19 the bibliography and discography supplied provide useful pointers towards further
study. The book is written and presented in a style that appeals to/ can be understood by teachers
and pupils alike. A teachers’ booklet is also available in the resource pack.
Douglas, S. (1982) Sing a Song of Scotland Walton-On –Thames, Thomas Nelson and Son
Format: Tutor Booklet
Funded by/Supported by: None
Though it pre-dates the 5-14 curriculum by ten years, the links to other areas of the school
curriculum are emphasised in the introduction to this resource (which again was referred to by
respondents to the survey):
Whenever possible the songs should be linked with other lessons to illuminate whatever
the children are learning about their own country, be it history, geography, literature or
art.
Piano and/or guitar accompaniment (in the form of suggested chording and a brief section on
guitar chord fingerings) are supplied, and the material is again intended to reflect many life
situations, styles and genres. A history of the songs, and individual glossaries for each, are
provided along with a brief bibliography and discography at the end of the book.
Fisher, C. and Trezise, A. (1985, 1987) The Singing Kettle (1, 2, 3) Cupar, Kettle Records
Format: Song/ Rhyme Books and records/cassettes
Funded by/Supported by: None
Though published over 20 years ago, these publications are still in use in schools around the
country, and the material is drawn not just from Scottish sources, but from further afield such as
Ireland and America.
Arranged for piano and/or guitar with suggestions for percussion
accompaniment (and recorders in Volume 1), background notes and explanation of words are
supplied for every song/rhyme, while the layout, language and approach is stated in such a way
as to appeal to both teachers and pupils alike.
19
Scottish Office Education Department (1992) Curriculum and Assessment in Scotland National Guidelines:
Expressive Arts 5-14
47
Garrett, D. (1994) An Fhideag Airgid: Taoitear Fideig air son Ceol Gaidhealach [A Whistle
Tutor for Highland Music] Skye, TM & CS
Format: Tutor Booklet
Funded by/Supported by: Scottish Arts Council
With a clear presentation, this publication is presented in both Gaelic and English, and combines
hints on performance interspersed with regular explanations of the musical theory underpinning
it. The language and layout would suggest that it is aimed at older learners who may wish to
teach themselves the instrument without a teacher being present. The tutor also deals with
posture, breathing and tonguing and provides illustrative repertoire as well as that designed to be
a springboard for further study.
Ivory, B., Ivory, O., Gordon, S.G. et al (2001) The Highland Bagpipe Tutor Book(1)
Glasgow, The National Piping Centre
Format: Tutor Book, CD and video
Funded by/Supported by: Eric Wolf Rabinowitz, a former student of the National Piping
Centre
The first volume of a series, this publication acts not only as a tutor for the instrument, but also
provides explanations of, and exercises for, the music theory associated with the Highland
Bagpipe. While aimed largely at older students (both musical beginners, and those who are
musically literate), the clarity of the layout and the presentation of this publication, particularly
in terms of the photographs supplied concerning posture, could be one template to be considered
should it be deemed necessary to issue new resources for younger primary school students.
Apart from sections on posture, fingering, notation, and the history of the music supplied, a
series of Appendices covering theory exercises (cross-referenced with material in the body of the
book), alternative fingering for the pipe scale, notation and pitch, and extra repertoire is provided
and the book is supported by demonstrations of the material on CD and on video.
Kinnaird, A. (1989) The Small Harp- A Step by Step Tutor Shillinghill, Kinmor Music
Format: Tutor Book and CD
Funded by/Supported by: None
A detailed book, aimed at complete beginners as well as classically-trained harpists, the manual
provides thorough advice on buying and maintaining the small harp, as well as sections on
tuning, reading musical notation, posture and hand positions. There are also sections on
ornamentation, history of the melodies and advice on how to arrange for the instrument.
48
Exercises and melodies are demonstrated on the accompanying CD by the author who also
supplies spoken advice.
Learning and Teaching Scotland (2006) MusicWorks 2 with the RSAMD Glasgow,
Learning and Teaching Scotland
Format: DVD video and CD audio
Funded by/Supported by: The Scottish Executive Education Department, Scottish
Qualifications Authority, Glasgow Caledonian University, the Royal Scottish Academy of Music
and Drama, the Tommy Smith Youth Jazz Orchestra, High Hold Productions
This resource, which follows on from the MusicWorks 1 with the RSAMD DVD for classical
music, is tailored to suit the requirements of NQ Music at Intermediate 1, 2, Higher and
Advanced Higher levels and adopts the same format as the previous publication. This includes
performances by students of the RSAMD Scottish Music Department, presentations outlining the
background and history of the music presented, interviews with the performers whereby the
construction of/and or the technique involved in playing a particular instrument is explained, and
an extensive section on folklore presented by Dr. Margaret Bennett. Though aimed at secondary
level students and teachers, this resource could provide a useful reference point for support and
information for primary school teachers.
MacCrae, M. (2000) Mair Sangs tae Sing: Traditional Songs Collection (2) Kilmarnock,
Kilmarnock Folk Club
Format: Teacher’s resource booklet and tape cassette
Funded by/Supported by: Awards for All, East Ayrshire Council
Following on from Volume 1 of this collection, this resource provides a further 12 songs of
different styles and genres. As the background notes for teachers make clear, the collection is the
outcome of a project designed to give school pupils access to, and participation in, traditional
song performance which links the Scottish tradition to other cultures. Still in use in schools,
notes on the song titles are supplied, and the publication is supported by recorded performances
led by the author.
49
MacPherson, A. and Henderson, H. (2006) Iomairt Ciùil Òigridh – Pasgan nam Fìdeag
[Youth Music Initiative Tin Whistle Resource Pack] Portree, Fèisean nan Gàidheal
Format: Resource pack (loose leaf ring binder folder) and CD
Funded by/Supported by: Youth Music Initiative
As with the Gaelic Song Resource Pack (see below), a great deal of material (drawn from Irish
as well as Scottish sources) is presented within this folder which is graded (up to Grade 4) and
comes in score form, with a teacher’s record chart. This publication contains a little of the “howto” factor to which the current author has previously referred, and the accompanying CD
provides the aural support by means of a slower rendition of many of the tunes to allow for aural
comprehension on the part of the student.
McGregor, J (ed.) (2006) Music – Scottish Traditional Music: Teacher’s Resource (MultiLevel) Glasgow, Learning and Teaching Scotland/National Qualifications Curriculum
Support
Format: Resource pack (loose leaf ring binder folder in folio size) and 3 CDs
Funded by/Supported by: Local Authorities, Scottish Arts Council
An extremely comprehensive publication, which covers the main instruments (including voice)
of Traditional Scottish Music, the aim of this resource is set out in its Rationale:
This resource offers guidance and encouragement to those who have indicated a wish to
be more informed so that they can effectively support students in traditional music
This and subsequent sections in the folder would suggest that the audience for this publication is
the classroom teacher, or general music specialist, and that the tuition of their classroom students
is understood as having been delivered elsewhere. The authors of each section are drawn from
established performers and teachers of Scottish Traditional Music, and the publication supplies
details of key agencies, web-sites, tuition, performance styles, care of instruments, definition of
terms, resource material and bibliographies as well as examples of assessment by both personnel
drawn from the Scottish Qualifications Authority, and traditional music practitioners. This is
supported by recordings. While not specifically aimed at teachers in the primary sector, this
resource provides a useful aid to understanding all the elements that go into the performance of
Scottish Traditional Music; as one of the authors observes:
50
Scottish music is eminently approachable and easy to include in classroom work at all
ages and levels.
(V. Bryan in McGregor [2006], p. 15)
McKenna, C. (2003) A Complete Guide to Learning the Irish Tin Whistle Dublin, Walton’s
Format: Resource pack (Tutor material and resources) and double CD
Funded by/Supported by: None
This is a comprehensive publication, using a mixture of ideas drawn from both the classical and
traditional genres (but not any particular method), and music from both Ireland and Scotland. A
brief description of the instrument, finger charts and biographies of some of the more notable
exponents of the instrument are interspersed throughout. The language used appears to be aimed
at older students and adults, rather than very young players, and the repertoire used progresses
quite quickly to some testing pieces. Ornamentation features widely in the accompanying CD
which has simple guitar accompaniment throughout.
Mhàrtinn, A., Ghreumach, K., [Martin, A, Graham, K.] et al (2006) Iomairt Ciùil Òigridh
– Pasgan na Òran [Youth Music Initiative - Song Resource Pack] Portree , Fèisean nan
Gàidheal
Format: Resource pack (loose leaf ring binder folder) and CD
Funded by/Supported by: Youth Music Initiative
A great deal of material is provided in this Gaelic song pack and again this resource appears to
be aimed at those who have some prior experience in Gaelic song, as the printed collection is
text only; the accompanying CD supplies performances of each song by established performers
and tutors. The graded series of songs (some of which are drawn from genres outwith the
Scottish tradition) comes with translations and a teacher’s record page, with exercises to be done
(largely comprehension) at the end of each song. Basic phrases and vocabulary for Gaelic are
also supplied.
51
Martin, C. and Hughes, A. (1998) The Scottish Folk Fiddle Tutor (2nd edition) Breacais
Ard, Taigh na Teud
Format: Tutor book and CD
Funded by/Supported by: None
This publication, which is intended for beginners and for use either on its own or in tandem with
other material, draws on a variety of melodies not just from Scottish Traditional Music but from
other folk traditions and nursery songs. It also functions as a musical theory tutor at the
beginning of the book, with lessons and written exercises to be filled in. Photographs are
supplied by way of illustration of correct posture and bow hold. The publication is supported by
a CD which demonstrates the exercises and melodies.
Martin, C. (ed.) (2002) Traditional Scottish Fiddling: A player’s guide to regional styles,
bowing techniques, repertoire and dances Breacais Ard, Taigh na Teud
Format: Tutor and student book
Funded by/Supported by: Scottish Arts Council
An extremely thorough resource, with advisors drawn from all round Scotland, this publication
in addition to covering what it says in the title provides a history of the repertoire included and
the performers/composers.
Again aimed at older players and those who have had some
experience in fiddling, the demonstration CD would nonetheless provide good examples for
listening (and dancing) to in the classroom. A bibliography for those who wish to undertake
further research into the historical background and/or acquire further repertoire is also supplied.
Martin, N. (ed.) (2005) Exploring Trad. Belfast, Arts Council of Northern Ireland
Format: DVD-Rom
Funded by/Supported by: Arts Council of Northern Ireland
A comprehensive introduction to Irish Traditional Music, this DVD-Rom contains over 10 hours
of listening and viewing material which covers history, instruction, terms used, instruments,
performers and composers and dance. Though there are many sections and sub-sections, each is
clearly laid-out, the DVD is easy to navigate and the quality of production is excellent. Some of
the video material is drawn from an earlier television series Bringing It All Back Home produced
by Hummingbird productions, but now no longer available. With the incorporation of traditional
music in Northern Ireland’s GCSE Music examination, the DVD is primarily aimed at the
52
secondary sector (both teachers and students) and has been distributed to all secondary and
special needs schools throughout the province. However, the format and information that it
contains makes it an extremely useful aid for teachers at all levels.
Miller, J., Hassan, S., Stollery, P. et al (2001) Music of Scotland Glasgow, Learning and
Teaching Scotland
Format: Online resource which includes printed material, music scores and parts, audio and
midi files
Funded by/Supported by: Not applicable.
A extremely thorough resource, assembled by a team of advisers from around the country and
based on the original 1988 publication by Jo Miller, this is aimed at teachers and pupils from the
secondary sector, but could be useful for teachers at primary level to access for information, and
it could again provide a template for consideration should new resources be produced and/or a
central database be assembled. A wide range of areas is covered: instruments/voices and
resources, forms and styles, history, explanations of terms and concepts, and teacher notes with
hints for inventing projects. Audio and Midi files support this, and a substantial list of written
and recorded resources, as well as organisations and educational establishments, is also provided.
Munro, A. (2005) Oideachadh nam Fèis – Ceòl na Fìdhle [A Fèis Tutor: Fiddle Music]
Portree, Fèisean nan Gàidheal
Format: Tutor and student book
Funded by/Supported by: Scottish Arts Council, Fèisean nan Gàidheal, Highland Council,
Iomairt na Gàidhealtachd, Bòrd na Gàidhlig
Clearly presented, this publication is written in Gaelic and English throughout.
This is
particularly useful when dealing with musical terms. The language and layout are primarily
aimed at young people, and it contains some historical background, definition of terms, and
musical games; it also aims to teach not just the instrument but musical notation as well. A short
bibliography is included at the end of the book together with some further resource material.
53
Quinn, S. (comp.) (1993) Traditional Music Education Pack Belfast, St. Mary’s University
College
Format: Resource pack for teachers which includes video
Funded by/Supported by: Not applicable
Moulden, J. and Quinn, S. (eds.) (2002) Traditional Song Education Pack Belfast, St.
Mary’s University College
Format: Resource pack for teachers which includes CD
Funded by/Supported by: The Cultural Traditions Group of the Community Relations Council
of Northern Ireland
Both of the above resource packs were produced in response to the new curriculum for primary
and secondary schools in Northern Ireland which was introduced in the early 1990s. While
focusing on the NI syllabus Key Stage 2-4 (ages 8-16), the editors, drawing on their respective
backgrounds as a former Head of Learning Resources at St. Mary’s and a former Principal of
Braidside Integrated Primary School, have brought together materials from all round Ireland and
Scotland which include previously published texts and videos (such as Ciaran Carson’s
Traditional Music of Ireland and Brian and Eithne Vallely’s Traditional Instruments of Ireland)
as well as their own notes for teachers, resources and recordings. Links are made to the NI
curriculum (specifically in the area of Cultural Heritage and Education for Mutual
Understanding), but the notes supplied also make clear that this is a resource that can be utilised
for other educational systems, and extensive bibliographies and discographies are supplied.
Scottish Traditions of Dance Trust (1999) Angus Dances Education Pack Alloa/Forfar,
Scottish Traditions of Dance Trust/Angus Council
Format: Tutor booklet and CD
Funded by/Supported by: Scottish Arts Council National Lottery Fund (as part of the New
Directions programme) and Leader II Upland Tayside
Scottish Traditions of Dance Trust (2001) Scottish Borders Dances Education Pack
Alloa/Melrose, Scottish Traditions of Dance Trust/Scottish Borders Council
Format: Tutor booklet and CD
Funded by/Supported by: Scottish Arts Council National Lottery Fund (as part of the New
Directions programme), the Cray Trust, the D’Oyly Carte Charitable Trust, the PF Charitable
Trust
The materials and approach for both of these publications were piloted beforehand in local
schools, and draw their materials and performances from local culture and heritage. Both packs
54
emphasise connections to the 5-14 Expressive Arts curriculum throughout, with lesson plans
supplied for some of the dances demonstrating links to the skills and levels required by that
syllabus; they also include suggested timings for the content and teaching concepts. Background
to the dances is provided, and the accompanying CD supplies the music performed (and in some
cases composed) by local musicians.
Strudwick, K. (2003)Prosiect – Alawon Fy Ngwlad [Project – Tunes from My Country]
Caerphilly Caerphilly County Borough Council
Format: Resource booklet for teachers and CD
Funded by/Supported by: TRAC (Traditional Music Development Agency for Wales), Menter
iaith Caerffilli, Caerphilly Borough Council
The impetus for this project is stated as having come from a Scottish source in the form of a visit
to schools in the area from the singer Isla St. Clair. Having become aware through this visit that
children in these schools were unfamiliar with the traditional songs of their country, the author
(as the Arts Development Officer for Caerphilly Borough Council) set about assembling material
for use in schools. Selected according to genre, tunefulness, local association and child appeal,
the songs are presented in both Welsh and English and are intended as a springboard for further
investigation of Welsh traditional song. Notes on the 13 songs are supplied with indications of
chordal accompaniment, and the booklet is supported by performances of the material on CD.
Turnbull, F. et al (2001) Dance Scottish – A resource for teaching Scottish dancing in
schools Edinburgh, The Royal Scottish Country Dance Society
Format: Resources pack including tutor booklet, video and CD.
Funded by/Supported by: Endorsed by Learning and Teaching Scotland
This resource establishes links to the 5-14 Expressive Arts curriculum at the start of the booklet.
It also gives the background to Scottish Country Dancing and the Society itself. 18 dances
(which are graded in difficulty from beginner to advanced) are described together with diagrams,
photographs and, where appropriate, an explanation of their titles. This version is supported by
an audio CD which supplies the dance music, and a video which demonstrates teaching methods
and the dances through performances by young pupils. Photocopying of the dance sheets is
permitted by the Society (provided the source is fully acknowledged) and a brief list of further
reference books is also included. This version of the resource is no longer available; however, it
is currently being revised and updated to include a DVD, and will be re-launched in January
2008.
55
Upton, E. and Paine, L. (1996) Up the Sides and Down the Middle Devon, Southgate
Format: Resource book for teachers (cassette also available)
Funded by/Supported by: South West Arts
Aimed at non-specialist primary school teachers (and initially piloted amongst them), this
publication refers not only to the National Curriculum for Dance and for Music, but also includes
a model for cross-curricular work using country dancing. Based on 18 dances from across
England, as well as dances from Ireland, Scotland and Wales, it gives the background to the
dances and encourages teachers and pupils to create their own. A glossary of terms is included,
and a brief list of other resources that may be consulted.
Upton, E. with Young, S. (2001) Singing Times: Teaching English Folk Song Somerset,
Folk South West
Format: Teacher book and CD
Funded by/Supported by: Youth Music Initiative with funding from the National Lottery
A thorough resource pack, 19 songs are provided here not only on the basis of their extensive use
in schools, but also representing different styles and aspects of life, and links to social history
(reinforced by photographs) and literacy. Aimed at “all teachers”, the links to the National
Curriculum are made clear from the start, and the book supplies advice on how to sing (and how
to communicate this to young students), how to learn, rehearse and perform, and how to
compose new material. Suggestions for further resources, details of other training courses and
contact details of other folk organisations are also provided, as well as advice on bringing in
external performance groups. Photocopying of all but one of the songs is permitted for use in
participative lessons or workshops or live performance, and performances of the material are
supplied on the accompanying CD.
Wheeler, L. and Blackhall, S. (eds.) (2001) The Elphinstone Kist Aberdeen, The
Elphinstone Institute/University of Aberdeen
Format: Online resource, though CD of performances of material is now available
Funded/supported by: The North East Scotland Heritage Trust and Aberdeen City Council
(funding), the University of Aberdeen, the Elphinstone Institute
Another source which was cited by many in the response to the survey, and originally intended
to make new writing in North East Scots available to schools, the Kist is now a vast archive of
material which not only includes written material both past and present, but also performances of
56
a number of the songs/ballads. Extensive background information is also supplied.
A
considerable number of primary schools are listed amongst those groups that have contributed
poems, songs and stories to the site (as Les Wheeler observed in conversation with the current
author “it is important that the children create their own tradition”), and material from the Kist
can be accessed and printed provided that this is for educational or private use, and that no
alterations are made. A CD The Elphinstone Kist of North-East Verse, Song and Music for
Schools is now available.
Other resources/ some future developments
Two resources (not primarily intended for teaching music but for teaching Gaelic) which the
current author considered in the course of this review were Aon,Dhà, Trì20 and Air Splaoid!,21
both productions of Cànan. The former (supported
by
Comhairle na Gàidhealtachd
and
now out of print) consisted of a resource folder of songs for young children in the Gaelic
language married to tunes drawn not just from Scottish traditional music but from many different
genres. These were divided into categories (Clothes, Weather, The Sea etc.), and many were
suitable for playground games. Notation was supplied for many of the songs, and the pack was
supported by two audio tapes of performances. Air Splaoid! is a more recent development,
developed by Cànan, hosted by BBC Alba, and funded/supported by an additional 11
organisations which include UHI Millennium Institute, Highland Council, Bord na Gàidhlig and
Learning and Teaching Scotland. Allied to the Highland 2007 festival, this is an online resource
based around 12 lessons (one per month) but which also contains games, quizzes and historical
information. Participants choose an animated character to guide them in their studies which they
follow around various locations in the Highlands linked to events taking place in Highland 2007.
The course is hosted by BBC Alba, and is available through a number of outlets including
Skillnet, The Highland Promise (for Highland schools) and Learndirect Scotland which utilizes a
network of learning centres for students to attend for further support. The course makes use of
current technology extras which are now familiar items, particularly for a younger generation,
such as blogs, podcasts and You Tube. Both of these resources might provide templates for
consideration by the Traditional Music Forum should it decide to produce classroom resources in
the future.
20
21
Booth, J. and Campbell, M.A. (1999) Aon, Dhà, Trì [One, Two, Three]
Cànan (2006/2007) Air Splaoid! [On a spree!]
57
BBC Learning: Around Scotland – Music/Air Ghleus
The BBC Scotland Learning Unit has been involved over the summer of 2007 in filming three
themed television programmes concerning the teaching of Scottish songs. Each programme has
been filmed twice (in English and Gaelic) and the broadcasts which will alternate between the
languages are scheduled to commence in November 2007.
Recorded in three schools in
Stenhouse, Milngavie and Cumbernauld, the series is tailored to the Curriculum for Excellence
and aimed at the 10-12 year old age group; its themes are as follows: New/Old Songs (Seann
Orainn Ura), Doing it Our Way (Dòighean Eile) and Showtime (Seall Seo). Teams of two
traditional musicians work with students in each school on a particular song which is new to
them,22 introducing them to traditional music, expanding this to consider the background and
history and other instruments, to creating their own version of the material leading to a
performance alongside the traditional music tutors at the BBC. The programmes are supported
by teacher’s notes (again in Gaelic and English) on the BBC Learning’s website,23 from which a
link will lead the user to a further dedicated web-site which will be launched simultaneously with
the broadcasts. Musicians such as Eddi Reader, Anne Lorne Gillies, Gillian Frame and Maeve
McKinnon have been involved in the programmes, and the production (which stems from, and
has been inspired by other initiatives such as YMI, Highland 2007 and the BBC’s own Year of
Scotland’s Music) has been part-funded by the Gaelic Media Service (Seirbheis nam Meadhana
Gàidhlig).
Bookstart Rhymetime Project
Though not directly linked to the current discussion, this recently launched educational initiative
for early years education is perhaps one that should be observed as it develops in the near future.
Funded and supported by three organisations (the SAC funded Youth Music Initiative, Bookstart
in Scotland, and Youth Music UK) the aim is to build on the success of the Bookstart
programme24 by extending this to include musical development through the inclusion of musical
materials within the Bookstart pack. Working with a range of other organisations such as
libraries, healthcare and arts organisations, two local authorities (West Dunbartonshire and South
22
The songs involved are Fareweel Tae Tarwathie, Ciad Turas Mhic Dhòmhanill a Ghlaschu (When I Came to
Glasgow First) and Alasdair Mhic Cholla Ghasda (Alasdair, Son of Worthy Colla).
23
These are now accessible via the following links: http://www.bbc.co.uk/scotland/learning/primary/tunein and
http://www.bbc.co.uk/scotland/alba/foghlaim/airghleus
24
The Bookstart scheme (administered by Booktrust and which has been in existence since 1992) is a UK wide
programme concerned with the development of literacy skills in young children through the distribution of
educational packs to their parents via health visitors.
58
Lanarkshire) are piloting the scheme and this initial phase of the project is intended to conclude
in March 2008. Amongst the projected outcomes is the creation of a CD of songs, rhymes and
stories, the production of a leaflet for parents emphasising the importance of musical
development, and the training of local Bookstart Music Champions who will be mentored by
music educationalists. The final outcome - namely the creation of a model which can be
replicated elsewhere- may have a bearing on the approach and content of music materials for the
primary sector, including Scottish Traditional Music.
Tobar an Dualchais
A vast undertaking that is currently in its second year of its first phase, and which is not
anticipated to finish until 2010 at the earliest, this is the preservation, digitising and placing
online of over 12,000 hours of recordings from the archives of the School of Scottish Studies in
Edinburgh, BBC Scotland and the National Trust for Scotland. Managed by Sabhal Mòr Ostaig,
supported by no less than 21 different organisations including the National Lottery through the
Heritage Lottery Fund and the European Union, the director of the project, Màiread MacDonald,
is confident that potential resources for use in the primary sector will be available in this vast
archive; this therefore should be considered as a source in any future production of educational
materials.
Glow
Extensive information about Glow, the brand name for the Scottish Schools Digital Network,
may be found on its website as well as that of Learning and Teaching Scotland (see Appendix II
below). In summary, however, this is the national schools’ intranet which is currently being
tested and rolled out to institutions around the country and which is scheduled to be installed in
every school by the end of 2008. Intended to support and facilitate collaboration and access for
all stakeholders in school education (teachers, students, Local Authorities etc.) and the
Curriculum for Excellence, the system will supply cutting edge educational tools ranging from
virtual learning environments and video-conferencing, to online materials and resources
(including access to digital materials from national collections), a daily news service and e-mail.
Given that online projects and resources are currently being developed (YMI, BBC, Tobar an
Dualchais) and teaching portals in higher level education already exist,25 this development is
something that should be taken account of in any future production of teaching resources.
25
See also recent online developments at the University of Strathclyde (page 72 below).
59
Analysis of review of materials
The author is well aware that the preceding discussion represents a small part of all published
materials available. However, her findings to date have been that not only is there a need for a
central database of relevant materials and resources for primary school teachers but there may
well be materials required for the training/continuing professional development of both specialist
and non-specialist tutors/teachers (see Section V below). It must also be said that, if many
teachers still view Scottish Traditional Music as an external element, there is little point in
producing new materials if those for whom they are intended have no intention of using them,
preferring still to leave the transmission of the subject solely to external providers, a point which
will be further addressed in Section V below. In the light of this, and the fact that new resources
will be emerging in the short term following the publication of this report (some of which have
information currently available, and others - like the projected Kodaly song pack in Gaelic, and
the forthcoming Scottish Borders Council education pack- which are still in production), the
current writer believes that the Traditional Music Forum should take some further time to
consider these latest developments and the assembling of a central database before committing
further finances towards the production of new materials.
60
Recommendations

A central database of resources/materials suitable for the primary school sector should be
assembled which is accessible for, and publicised to, all.

Cognisance should be taken of this and of new and emerging resources before
committing further finances towards the production of new materials; in particular, the
resources which are being currently developed in the early years sector should be
monitored so that any future new materials for the primary school build on these.26

Consideration should be given towards working with relevant organisations to access and
harness technology in the provision of traditional music education for teachers (both
specialist and non-specialist) and pupils.

Consideration should also be given towards working in collaboration with other Scottish
Traditional Arts organisations in the production of materials which would address crosscurricular issues, and aid acceptance of the artform by teachers and hence its inclusion
within the school curriculum.
26
See recommendations on teaching methodologies in Section V below.
61
SECTION IV: INITIATIVES IN SCOTTISH TRADITIONAL MUSIC EDUCATION
- A REPRESENTATIVE SELECTION
Introduction
This section attempts to give a brief overview of some of the initiatives currently underway
outwith the formal primary school system as well as the perspective of the local authorities on
the subject. It has not been without its difficulties. Inaccurate or out-of-date information on websites, coupled with changes in contact details and personnel, and a range of different titles for
those involved in overseeing the provision of traditional music within authorities have made it at
times almost impossible to gain a clear picture of what is going on. In fairness, it must be said
that much of what is going on is extremely positive and bodes well for the transmission of
traditional culture. However, it should be also noted that there are so many initiatives underway
that there is a danger of unnecessary duplication and possible waste of resources, both human
and financial.
On commencing this research it was immediately apparent that there are a great many traditional
music educational initiatives/projects currently in progress at a local, regional and national level,
far too many to be covered in a brief survey such as this. There are equally a great many
individuals, festivals, sponsors and organisations working hard to deliver these (Blas, Ceolàs,
Celtic Connections, Fèisean nan Gàidheal, Fèis Rois, RSAMD Youthworks, Scottish Arts
Council both through the Youth Music Initiative and other funds, and Local Authorities to name
but a few) and the effect has been positive and impressive. As may be seen from Section III
many other sponsors have been behind the production of traditional music education resources,
and all of this work is, in the current author’s opinion, reflected in the high profile given to
traditional arts on Scottish network television and radio. Scottish Traditional Music education
continues to flourish, and what follows here is a flavour of some of the initiatives now underway.
The Celtic Connections Education Programme, based in Glasgow, commenced in 1998 and,
to date, is estimated to have reached over 100, 000 children from all over Scotland through its
programme of free school concerts during the Celtic Connections Festival at the Glasgow
Concert Hall in January each year and its programme of taster workshops which run in schools
both during the festival and throughout the year in time frames of between 5-8 weeks during the
spring/summer and autumn/winter terms. Schools from 17 local authorities attended the festival
in 2007, which is the largest attendance in the history of the programme so far. Many schools
62
have requested follow-up sessions following the workshops, but at present funding restrictions
do not permit the programme to respond to every request.
In operation since 2001, the Traditional Musicians in Schools scheme (a programme of visits
and performances by traditional musicians co-ordinated and administered by Fèis Rois) has
expanded since its inception to cover most of Scotland – it is intended that primary schools in all
of the regions will have been visited by the end of 2007. Working with local authorities,
Cultural Co-Ordinators and primary schools, and funded by the Scottish Arts Council, the
scheme is based on a two-cycle revolving cycle which offers an initial visit with follow-on
workshops concentrating on tin whistle, singing and group work. The scheme was awarded the
Community Project of year at the BBC Traditional Music Awards in 2004, and, according to
Allison Watson (Fèis Rois Education officer) some of those visited have requested further visits
and assistance. Fèis Rois is part of the overall Fèisean nan Gàidheal association, the umbrella
organisation for the 43 fèisean which currently exist around Scotland, and which has, through
these, delivered traditional music tuition through the Youth Music Initiative to 6,211 pupils in
schools in Highland and East Lothian Council areas in 2006-2007 alone. In a programme which
is normally divided into three 4-week blocks of tuition, the options offered are normally tin
whistle, Gaelic song, children’s song and group music.27
The Youth Music Initiative has supported a number of educational projects countrywide. In
Fife, three one-year traditional music projects (aimed at pupils in P5) are currently underway in
schools located in Kirkcaldy, Inverkeithing and Oakley. In St. Marie’s Primary School,
Kirkcaldy, four groups of instruments (based on penny whistle, bodhran, guitar and violin
respectively) have been formed, and are taught in small same instrument groups on a weekly
basis before coming together to form a ceilidh band which performs to the school and the wider
community in the summer term. In Inverkeithing Primary School, there are also four groups
(here tuned percussion is taught in place of violin) which form larger and smaller groups as
required and based on ability; all pupils also sing traditional Scots songs. Singing is also the
basis of the project at Inzievar Primary School in Oakley where guitar, whistle and bodhran are
also studied and which is now continuing through after school classes beyond its allotted timespan, such has been its success. However, all of the above projects are dependant on the
continuation of YMI funding.
27
See http://www.feisean.org/youth-music-initiative.html
63
YMI has also been behind “Music for Kidz”, a programme operated throughout Aberdeenshire
by the “Gordon Gaitherin” and the “Buchan Boorach” to provide children with the chance to
play traditional instruments and create music for local audiences. As a related issue, the YMI
also funds the utilisation of the Kodaly method in teaching music in primary schools some of
which is transmitted in Doric. Performers and educationalists such as Ewan McVicar, Les
Wheeler, Sheena Blackhall and Christine Kydd have all worked or are currently working in
schools in the region and have produced resources for schools’ use, and the Buchan Heritage
continues to provide workshops to schools and produce packs relating to Doric and local culture.
In Falkirk, YMI funding is helping to support the work being done by local organisations such
as the Falkirk Folk Club, the Falkirk Fiddle Workshop and Fèis ‘sa Mheadhan. This is being
done as part of the Falkirk Traditional Music Project which was launched as a two-year
programme in 2005. Its aims and objectives include the increasing of access to traditional music
through activities such as workshops and programmes of lessons, the appointment of a musician
in residence (Marc Duff) to research, collate and preserve the traditional music and stories of the
area, and (arising from this last) to work with pupils to compose/create new material which will
also give rise to traditional music resource packs for primary schools. Free tuition in a variety of
traditional instruments is also being offered through after school and Saturday classes.
Home to at least five traditional/folk festivals this year alone, and with a strong focus on fiddle
tuition (it is estimated that over 140 school pupils receive fiddle tuition at any one time, with 7
full-time instructors employed in schools across the region) the vibrant music culture that exists
in Shetland has recently seen another development in the appointment of a designated traditional
music officer; YMI funding has also allowed the establishment of a two-year project based in
five areas in the islands for young people to acquire the different traditional styles and techniques
of fiddling from older players so as to pass on and conserve the tradition. A study is currently
being undertaken concerning the possible introduction of higher and further education music
courses which involves Shetland Arts Trust, Shetland College and other associations.
In Scottish Borders, a traditional and world music development post has recently been created.
Funded by YMI, and with an initial duration of one year, the remit of this position includes the
development of a traditional and world music instrumental instruction programme in primary
schools, utilising the skills of the locally based Bridgebuilders programme (a programme linking
traditional musicians and schools) to assist this, creating opportunities outwith the schools for
young people to play and perform, to contribute to Continuing Professional Development
64
programmes in the area, and to support the production of the proposed new traditional music and
song education pack.
In Edinburgh, two full-time bagpipe tutors have recently been appointed as part of the city
Council’s Arts and Learning/Instrumental Music tuition team.
Funded through the YMI
initiative, the tutors now have approximately 570 chanter pupils (drawn from Primary 6 and
Primary 7 classes in the city) from which it is hoped an Edinburgh Pipe Band will eventually be
formed. Many of the city’s string tutors include Scottish Traditional Music within their tuition
programme and in this way it is estimated that around 1,000 young pupils will have been
exposed to the genre at some stage. The establishment of a full-time job-share position for
clarsach tuition has resulted in an expansion of numbers to around 80 students, though this is
largely drawn from the secondary sector. With all of these developments complementing work
already being undertaken by such organisations such as Craigmiller Ceilidh Club and Singing
Out!, the formal and informal sectors of traditional music education within the city have recently
been brought together in the form of traditional musician and teacher Fiona Dalgetty who has
been appointed as one of the Arts and Learning Team’s Cultural Co-Ordinators on a part-time
basis.
In Dumfries and Galloway, the most recent development has been the opening of the CatStrand
community arts centre in New Galloway, part funded by the Scottish Arts Council through its
National Lottery Small Grants programme. Managed by the Glenkens Community and Arts
Trust, and intended as a venue for activities, events and conferences, from October 2007 it will
be home once a month to the latest project from the RSAMD Youthworks programme which will
provide tuition in traditional music for young students of Primary 4 age and upwards (as well as
classes for adults) in fiddle, whistle, accordion, guitar, song, dance and group work.
With so much traditional music education activity going on around Scotland (and the above
examples only represent a fraction of what is currently in progress), questions must be asked as
to (a) why many are unaware of what is available and/or are unable to access this and (b) why in
many cases something more sustainable long term within the schools that are the beneficiaries of
visits and workshops does not appear to have occurred.
Finance, as can be seen from some of the survey responses, and to judge from the responses of
some of those that the writer contacted, is a concern; many of the initiatives have a finite shortterm duration and it is accepted that it is impossible to sustain them indefinitely (indeed the
65
intention of many was to “kick-start” something that could be carried on when the initial impetus
had finished). The difficulty has been to locate/plan funding for this eventuality, which begs the
question as to whether they should have commenced in the first place, if only a small percentage
of the current school-going generation will have had access to them (a problem not unique to
traditional music; many classical music projects are facing the same dilemma). There are joint
initiatives between authorities (witness the appointment of a Gaelic Development Officer for
Inverclyde, Renfrewshire and East Renfrewshire), and yet it remains the case that many who are
working to promote traditional arts within local authorities are sometimes unaware of work
going on in other regions. This also extends to some traditional arts organisations being equally
unaware of the work of others and it is clear from many of the responses to the survey that a lot
of this hard work is bypassing the primary non-specialist teacher. By the same token the good
work achieved during the external providers’ visits through workshops and projects is not
necessarily leading to something more permanent. Possible factors which could be contributing
to the lack of awareness are the following:
a) Just as there is a vast array of personnel involved in traditional music education in the
informal sector, so there is a wide variety of posts and titles for those who are
responsible for or who could be involved in the co-ordination of traditional arts activity
in a particular region – Cultural Co-ordinators (of which there may be more than one
depending on the Local Authority), Creative Links Officers, Arts Development Officers,
Instrumental Service Managers, and YMI Co-ordinators who may also be one of the
foregoing, or not, again depending on the region – this list is endless and varies from
region to region.
b) The information relating to traditional arts and music contained on some web-sites in
terms of currency, accuracy, clarity and accessibility also varies considerably; frequently,
the author found that names and contact details were out of date.
c) A great many people were kind enough to give help, advice and information to the
current author in the course of the research for this report and their contribution is
gratefully acknowledged in Appendix I. However, the author is of the view that many of
those charged with the development of traditional arts have a great many more artistic
areas to deal with within their remit, and are stretched to do so.
A further answer as to the lack of sustainability within the school curriculum may lie in the
discussion concerning the training of teachers which is considered in Section V below.
66
Recommendation

Consideration should be given to the establishment of a dedicated, designated and
accessible focus or reference point (possibly through a post with a consistent title and
publicised to all) for the traditional arts within each region for all stakeholders, and, in
particular, the primary school teacher, as a way of providing clarity, information and
assistance.
(This is a point which will be discussed again in Section VI below.)
67
SECTION V: TRAINING
Introduction
There are a great many training initiatives in Scottish Traditional Music currently underway in
Scotland, both full-time and part-time, formal (that is to say leading to a qualification) and
informal. However, many are designed for those working in the secondary sector, or who already
have some experience as traditional music tutors/performers, while few concentrate on that
which is the main focus of this report, namely the primary sector and more particularly the nonspecialist classroom teacher.
A small number of the respondents to the survey indicated that they had received some musical
training in Scottish Traditional Music either through their primary degree course or through a
postgraduate diploma in education. However, as some respondents also indicated, the musical
skills and/or experience of those embarking on what might be termed mainstream primary
education courses vary considerably from those who have some musical experience prior to
tertiary level education to those who have none at all, thus making specific knowledge and
training in the teaching of Music, let alone Scottish Traditional Music, difficult to deliver to the
prospective classroom teacher. Furthermore, the musical training associated with these courses is
frequently delivered within the context of a general music programme, which in turn forms part
of an Expressive Arts module (containing the other elements of Art & Design, Drama and
Physical Education) which is taught alongside other subjects such as Mathematics, Science and
ICT. With the inevitable time constraints involved in ensuring that all areas of the primary
school curriculum are covered in the teachers’ training, the risk of an all too brief exposure to
Scottish Traditional Music is quite high, and it is easy to see how quite a few primary school
teachers can feel completely at a loss when faced with teaching Scottish Traditional Music to
their young pupils.
The greater difficulty regarding the training of primary school teachers in the delivery of very
full and varied school curriculum is increasingly being recognised by the higher education sector
which is developing new courses to support and encourage teachers towards Continuing
Professional Development following their initial teacher training. Currently, the options
available to those wishing to become primary school teachers are either to undertake a
undergraduate or postgraduate degree course in education, or to combine their first degree
(which may or may not be school education-based) with further training by means of a
68
Professional Graduate Diploma in Education (Primary).28 There are currently six Higher
Education Institutions in Scotland (listed below)29 which offer undergraduate degrees in Primary
Education and the PGDE. Most degree/diploma courses in education require full-time study
(which, in the case of B.Ed. and PGDE students include school placements); there are, however,
growing signs that more flexible routes to qualification through part-time study/distance learning
are being developed/implemented as cognisance is taken of the fact that those who wish to
exchange their current career for one in teaching often cannot afford the luxury of taking time
out of employment to do so.30 This viewpoint also extends to existing qualified teachers who
wish to continue their professional development, best illustrated through the establishment of the
Chartered Teacher programme.31
Indeed the flexibility offered by this programme in the
selection of optional modules of study could potentially be something to be considered in the
development of courses to assist and encourage the primary school teacher in the study of
Scottish Traditional Music.32
The following section commences with a consideration of some of the third level training
currently on offer in Scotland which could be directly applicable to those working in the primary
school sector, focussing on mainstream education degree/diploma courses, music education
degrees, and those where Scottish Traditional Music is specifically mentioned amongst the
course modules on offer. It also highlights some more recent advances within the third level
sector which might assist the primary school teacher through CPD or where the potential exists
28
Basic competence in English and Mathematics are also requirements, and previous experience of working with
children of primary school age is also cited as desirable for entry to primary education courses.
29
These are the universities of Aberdeen, Dundee, Edinburgh, Glasgow, Strathclyde and the soon to be re-named
University of the West of Scotland, formerly the University of Paisley which merged with Bell College in August
2007. The UHI Millennium Institute also offers a Professional Graduate Diploma in Primary Education in
association with the University of Strathclyde (see page 75 below).
30
An example of this is the PGDE (Primary) which is now offered by the universities of Aberdeen and Strathclyde
in part-time mode.
31
The Chartered Teacher programme (a voluntary pathway for Continuing Professional Development for teachers)
was established in 2003, following the agreement drawn up between the Scottish Executive, teachers’ organisations
and local authorities, expressed in the document A Teaching Profession for the 21st Century (Scottish Executive,
2001). Applicants for this programme, who must be fully registered with the General Teaching Council for Scotland
and with some years’ teaching experience behind them, register for a course of study (usually leading to a Master’s
degree) which has been designated as having met the Standard for Chartered Teacher. Normally achieved through
part-time study, the award contains intermediate awards of Postgraduate Certificate and Diploma. Applicants are
required to complete four core modules, which are common to all of those who provide this qualification, four
optional modules which (depending on circumstances) may be selected not just from the institution of registration
but from other institutions in the programme, and a work-based project/dissertation. The institutions who currently
offer modules leading to this award are the Universities of Aberdeen, Dundee, Edinburgh, Glasgow, Napier,
Stirling, Strathclyde, West of Scotland, the Open University and City & Guilds/Rocket Learning. The collaboration
between the universities of Edinburgh, Glasgow, Strathclyde and the UHI Millennium Institute has resulted in the
publication of a joint catalogue of option modules available. Further information can be accessed at the web-sites of
the Scottish Government at http://www.scotland.gov.uk/Publications/2003/07/17538/22895 and/or General
Teaching Council for Scotland at
http://www.gtcs.org.uk/ProfesionalDevelopment/CharteredTeacher/CharteredTeacher.asp
32
See recent developments at the University of Aberdeen (pages 70 and 71 below).
69
either for the inclusion of Scottish Traditional Music training within a course, or for a possible
template for independent traditional music course development. Some other training options are
then reviewed, specifically those available for the Scottish Traditional Music tutors. While,
strictly speaking, this could be said to fall outside the main thrust of this report, it remains the
case that such tutors (in addition to providing classes in the community as a whole) are
frequently being engaged to supply classes/workshops within primary schools as an aid to, or in
place of, the primary school classroom teacher. Here too, some of the initiatives might merit
consideration as a form of CPD for primary school teachers. The discussion then concludes with
a review of methodologies from other musical styles.
Training: University sector
At the University of Aberdeen, the study of Scottish Traditional Music can be pursued by
students through the School of Education/Department of Music’s BMus and BMus with
Honours (Education) degrees which are of four years’ duration; the latter degree qualifies
students to teach in secondary schools. The subject is covered in the core curriculum as part of
the Music in Scotland course in the first two years of study; the study of traditional music is
available as an option in Year 3, and the course is open to traditional instrumentalists who may
present performance on traditional instruments as part of their final year assessment. The Music
department also has an input when required into the School of Education’s B.Ed. (Primary
Education) degree, though again traditional music is not a specific subject but included as part of
a more general musical overview; the musical abilities of students for this degree can be quite
wide ranging and include those with little or no musical training prior to entering the
programme.
The University also offers a wide range of postgraduate courses in education. Within its
Continuing Professional Development portfolio of courses there has been a recent development
which has potential ramifications for the training of the primary school teacher. Entitled “Music A Pathway to Learning”,33 a short free-standing course was instituted by the University in May
2007, and is led by tutors from the National Youth Choir of Scotland. Based on the Kodaly
method and specifically aimed at primary school teachers, the course is intended to equip both
class teachers and specialists with the skills and tools to provide a “child-friendly music
33
Further details are available in University of Aberdeen (2007) Opportunities for Continuing Professional
Development 2007-2008 accessible via the web-site at http://www.abdn.ac.uk/education/programmes/cpd.shtml
70
programme”.34 The course may be completed as a programme within itself, or may count as 15
credits towards the University’s postgraduate qualifications including an M.Ed. This could
potentially provide a template for the development of a similar course in Scottish Traditional
Music by those involved in the delivery of training in this subject in Scotland, not only with a
view to instituting a “child-friendly music programme” but providing a “primary school teacherfriendly course” as well.
The Royal Scottish Academy of Music and Drama includes a module on Scottish Traditional
Music within its four year Bachelor of Music Education Degree, a degree course for secondary
school teachers (though consideration/experience of the primary sector also forms part of the
programme) which is jointly taught and administered by the RSAMD and the University of
Glasgow (Faculty of Education); supervised teaching practice in the classroom forms part of
the curriculum.35 The Academy’s BA (Scottish Music) degree was the first of its kind in the UK.
It is now one of two four year honours courses offered by the institution, the second being the
BA (Scottish Music-Piping) which is taught and administered with the National Piping Centre.
Both offer a wide variety of skills, amongst which is an education module (which includes
techniques of teaching).
Students are not only coached in teaching methods but are also
supervised in a variety of teaching situations. The RSAMD has recently instituted exchange links
with the Irish World Academy of Music and Dance at the University of Limerick which is also
pursuing training options in its recently instituted degrees in Traditional Irish Music (see Section
VI below).
The University of Strathclyde, through its BA in Applied Music degree course, offers training
in Scottish Traditional Music as part of its curriculum which is intended to cover elements of
academic study, education and performance. Students follow a core curriculum for the first two
years of the course, but can thereafter tailor the course to their own specific interests and
aspirations. The course can be taken over three (pass degree) or four years (honours degree). It is
therefore possible to specialise in Scottish Traditional Music, but many students take advantage
to combine their musical studies with elements of the other styles and genres (such as rock and
pop) on offer within the institution. Classes are provided in Music in Community and Education
contexts, within which students can access a variety of placements in such areas as community
education, schools, hospitals etc.- again depending on their own interests and aptitude. The
University has recently developed links with the UHI Millennium Institute in the delivery of its
34
35
Ibid.
See the RSAMD’s web-site at http://www.rsamd.ac.uk
71
PGDE course. The department has links with other organisations involved in education and/or
outreach such as Stow College (where BA Applied Music students have been working through
placements with Stow students on that institution’s HNC course – see page 74 below), Celtic
Connections, Fèisean nan Gàidheal (again see below), the National Piping Centre, and, more
recently, the RSAMD. Another recent development is Celtic Community Radio which (thanks
to a Lottery grant) will be online from August 2007 and available worldwide through the
internet. Devoted to the broadcasting of all types of Scottish music and facilitated through the
Community Media Association, its Internet stream is relayed to a studio at the University of
Strathclyde, from where it is then sent to a server for wider distribution. Most recently involved
in the broadcast of the Scottish International Piano Competition, it will broadcast classes and act
as a portal for the university, the RSAMD and the National Centre of Excellence in
Traditional Music at Plockton High School.
The newly established (2006) BA in Gaelic and Traditional Music is offered by the UHI
Millennium Institute at its campus at Sabhal Mòr Ostaig on the Isle of Skye, in full-time or
part-time mode. In its full-time mode, the course is at present taken over three years, though it is
anticipated that a fourth honours year will be introduced which will include an exchange
programme with the University of Limerick (see Section VI below). Intended to produce
graduates highly competent in Gaelic, advanced performance skills and theoretical knowledge, it
is anticipated that the employment opportunities available to graduates will include a career in
education.
In delivering the course, the college is drawing on its extensive library, its
management of the Tobar an Dualchais project, and its development of online materials, as well
as its links with other educational establishments both at home and abroad. A development not
directly related to music training, but one that could be considered as a possible template for the
training of traditional musicians (particularly in the light of established links between the
Traditional Music Tutor Training Network, Stow College and the University of
Strathclyde), is the programme currently in operation in a partnership between UHI, the
University of Strathclyde, and the councils of Argyll and Bute, Highland and the Western
Isles. A Professional Graduate Diploma in Education in Primary Teaching, this teacher training
scheme allows students to access tuition through technology rather than formal attendance at
college, thus overcoming difficulties posed by geography or the need to continue employment
72
while studying. According to the UHI annual review,36 21 students have benefited so far from
this course (with a further 30 students currently enrolled).37
Technology also plays a part in the delivery of Continuing Professional Development courses
offered by the University of Dundee (School of Education, Social Work and Community
Education). In its M.Ed. which leads to Chartered Teacher Status and is available through parttime study and distance learning, there are a vast range of optional modules amongst which is
one designated “Music in the Primary School”. In this course the School employs technological
media in the delivery of tuition, including the Virtual Learning Environment, thus overcoming
potential difficulties posed by distance learning.
In its portfolio of education qualifications (of which many are specifically targeted at primary
school teachers) “Arts in Education” is cited as one of the possible optional courses associated
with the University of Glasgow (Faculty of Education)’s MSc/M.Ed. in Educational Studies
degrees. One potential future development which might supply additional training in the
Expressive Arts for primary school teachers is the proposed Postgraduate Certificate in
Education (Primary Expressive Arts)38 which by its very title recognises the importance of the
category within the primary school curriculum. It is intended that this course (which is requires
completion of three modules worth 20 credits each) will commence early in 2008.
The University of Edinburgh has long supported the study of Scottish heritage and culture
(including Scottish Traditional Music) in many forms, not least in its degree courses.39 Currently,
amongst the range of postgraduate qualifications in education offered by the Moray House
School of Education, the MSc. Education degree is available in full-time (1 year) or part-time
(24-36 months) mode and allows for optional courses to be chosen from other schools within the
University, providing, therefore, the potential for modules from the university’s School of
Literature, Languages and Cultures (Celtic and Scottish Studies) courses to be incorporated
36
UHI Millenium Institute (2006) Review 06 page 12.
In another example of co-operation between institutions it was announced in June 2007 that a working party
would be set up to investigate, and report with recommendations for, the establishment of a Fèis Academy which
would promote traditional music, drama and dance. The four institutions involved are the UHI Millennium Institute,
Sabhal Mòr Ostaig, Fèisean Nan Gàidheal and the Royal Scottish Academy of Music and Drama. It is anticipated
that a decision on this will be forthcoming before the end of 2007. See http://www.feisean.org/FeisAcademy
38
See University of Glasgow (Faculty of Education) web-site for course information (accessible via
http://www.gla.ac.uk/faculties/education/programmesandcourses/postgraduate/taught). The University is also
proposing to introduce a new four year Master of Arts (Honours) in Education with Primary Teaching Qualification
within the next two years, subject to the approval of the University Senate.
39
See Francis (1999), pages 23 and 76.
37
73
into this degree. The School itself offers an MA (Honours)40 in Scottish Ethnology which
includes the study of Scottish Traditional Music and which, amongst many career pathways
covered by its programme, lays the foundation for teaching at all levels, including primary.
Training: Other initiatives – Further Education sector and independent providers
Many Further Education Institutions offer Certificate and Higher National Diplomas in Music,
though few mention Scottish Traditional Music specifically as forming part of their courses. The
following are examples of some of those who do.
Amongst the academic partners of the UHI, Lews Castle College offers further education
diplomas in Gaelic language and Music through its Learning Centres on Benbecula and Uist,
whilst the former campus also provides tuition leading to a Higher National Certificate in Music
Performance which focuses largely on traditional music, and which can be the next stage for
those who have completed the FE Diploma. Sabhal Mòr Ostaig also offers a range of shorter
courses in traditional music, both on campus and through its outreach and learning centre of
Ionad Chaluim Chille on Islay, the former facility offering Higher Education Certificates in
Gaelic, which have optional modules in either Music, or Music Performance and Gaelic Song.
The North Highland College with campuses at Thurso, Alness, Dornoch and Wick offers
tuition in bagpipe and fiddle at National Certificate level.
Amongst its courses, Stow College (based in Glasgow) offers two which are of relevance to the
current discussion, namely the HNC in Traditional Music, and the Certificate in Music Tuition.
The former course is comprised of one-year full-time study intended to develop skills in
musicianship and composition in traditional/folk music, and may constitute the first year of a
degree programme at the University of Strathclyde. The latter course, which is delivered in
collaboration with the university and with the Traditional Music Tutor Training Network,41
concentrates on generic music tuition skills such as delivery and assessment, coaching individual
learners, managing the teaching/learning environment etc. A Professional Development Award
(Certificate in Music Tuition) which was validated by the Scottish Qualifications Authority in
June 2004, it is co-ordinated by the Training Development Officer of Fèisean nan Gàidheal,
Iona MacDonald, and is available in several centres around Scotland and through distance
40
This is a four-year honours undergraduate course (though students can graduate with an MA [general] in Year 3);
further information may be accessed via the course web-site at http://www.celtscot.ed.ac.uk/undergraduate.htm
41
A consortium which is comprised of Fèisean nan Gàidheal, Fèis Rois, ALP Scots Music Group, National Centre
for Excellence in Traditional Music, RSAMD, Scottish Arts Council and others.
74
learning. The course may accredit prior learning where appropriate, and development of the next
award (the Advanced Certificate which will include modules specific to Scottish Traditional
Music) is at an advanced stage at the time of writing.
Based in Edinburgh, the Adult Learning Project Scots Music Group (which is affiliated to the
Traditional Music Tutor Training Network, and which has a number of its own affiliates
including the Edinburgh Youth Gaitherin) provides day and evening classes for almost every
age, level of proficiency and instrument, as well as classes in dance and coaching for those who
want to take part in sessions. This last category provides music online both in written notation
and audio file for those who wish to practise in advance of the class itself. The group has also
recently (April 2007) instituted a series of training workshops for traditional music tutors, both
from within and outside the organisation. Structured around the collective experience of the
tutors within the Scots Music Group, the programme so far has focused on group work skills, as
well as considering potential problems of teaching traditional music such as effective teaching by
ear etc. Funded by the Scottish Arts Council, more training sessions are scheduled, though the
programme is at present intended to conclude in June 2008. Ways and means of allowing the
programme to continue beyond that date are currently being investigated.
Training: Other methodologies
One of the tasks assigned to the current author in undertaking this research was to review music
teaching methods in other styles (in particular that of classical music) and to make
recommendations she felt appropriate for the possible application of such methods to the
transmission of Scottish Traditional Music.
What follows is a brief overview of these
methodologies, all of which are currently being utilised in and around Scotland.
The International Kodaly Society42 (founded in 1975) is in operation in 34 countries
worldwide, and has a number of affiliated organisations, amongst which is the British Kodaly
Academy.43 In Scotland, the dissemination of the Kodaly principles has been largely
spearheaded by the National Youth Choir of Scotland which has been running courses and
workshops for teachers and children, as well as training youth choirs, for many years. The
Kodaly method for children is founded on the principles of commencing musical education as
42
Amongst its aims and objectives, the Society works to promote the educational principles propagated by the
Hungarian composer, musicologist and teacher, Zoltan Kodaly (1882-1967) which evolved from his extensive study
of Hungarian Traditional Music.
43
See Appendix II for contact details.
75
soon as possible beginning with singing games and rhymes, using tonic sol-fa where appropriate
and material which is selected from both folk and specially-composed resources. It is tailored to
each stage of the children’s development, and is particularly concerned with the preservation of
the young voice. It provides the foundation for progression to instrumental study if required,44
and its application to music training in Scotland has in the main been focused on classical music.
However, as can be seen from the results of the survey, its application to other genres has been
gradually emerging around the country, and the latest development of which the author is aware
is the production of a Kodaly resource pack in Gaelic songs currently being formulated on the
Isle of Lewis (with input from other regions such as Argyll and Bute) which is due for
publication in the near future. On a related topic, the new postgraduate short programme (“Music
– A Pathway to Learning”), recently instituted at the University of Aberdeen and which has been
mentioned earlier in this report, is based on the Kodaly method and specifically aimed at primary
school teachers.45 Given these latest developments and the Kodaly programme’s evolution from
the folk tradition, this method would appear to be one of the most accessible and amenable to the
transmission of Scottish Traditional Music both for primary school teachers and their pupils.
Devised and developed over a ten year period by the Scottish jazz musicians Tom and Phil
Bancroft, the ABC Creative Music method of musical training has been piloted and utilised in
several local authorities in Scotland including Edinburgh, East Ayrshire and Dumfries and
Galloway. It is designed to cover all age groups from nursery to adult, and is particularly
targeted at non-specialist teachers. The method uses a mixture of musical and non-musical
elements - verbal, visual, colours, shapes and sounds - to encourage the confidence and skills of
both pupils and teachers to compose, improvise and perform (“using the familiar to teach the
new”). It is also designed to address the creativity requirements of the 5-14 curriculum as well as
inculcating motor, memory and listening skills in a way that is enjoyable and memorable for all
concerned, again a method that might be accessible for Scottish Traditional Music tuition. This
method was also cited by a few of the respondents to the survey.
The Dalcroze method, founded on the educational principles of the composer and educationalist
Emile Jacques Dalcroze,46 utilises solfa based on the Kodaly method. However, this is only one
of three elements (the others being Improvisation and Rhythmics), and the method’s application
44
The Colourstrings method is one such programme that has evolved for young string players.
See page 70 above.
46
Emile Jacques-Dalcroze (1865 – 1950), who worked at the Geneva Conservatoire, and who was strongly
influenced by the rhythms of oriental music and classical poetry in the evolution of his method. The headquarters of
the Dalcroze network are located at the Dalcroze Institut in Geneva, but its UK work is administered by the
Dalcroze Society in London (see Appendix II).
45
76
covers not only music, but other performance arts as well, the link between music and dance
being particularly important. With a slightly stronger profile in England than in Scotland (though
Angus Council has committed heavily to its employment in general music tuition in schools), it
is designed to develop co-ordination, creativity, listening skills, a command of different musical
styles and comprehension of musical elements such as rhythm and structure through movement
and improvisation using singing, percussion and other instruments.
Based on the teachings of the German composer Carl Orff,47 the Orff approach (and not
method, as the Orff Society UK web-site makes clear) to music education started with a
consideration of the rhythm of language as well as his involvement in the foundation of a school
of gymnastics in Munich during the 1920s. As an educationalist, Orff is remembered for two
bodies of work produced almost thirty years apart; the first was a range of musical publications
dating from the 1920s and entitled Orff Schulwerk, and the second -which appeared between
1950-1954 - called Musik für Kinder. Modifications made by Orff to a basic model of a
xylophone resulted in the creation of a series of struck percussion instruments (related to the
xylophone) which bear his name, and it is these combined with movement, speech and singing
which are employed to encourage aural skills, improvisation and performance and which lead to
the use of standard and non-standard notation of musical ideas. Intended to embrace all arts
forms, the approach has been found to be particularly suitable for children with special needs.
One respondent to the survey cited this approach as being amongst the musical training received.
Again, based on language and the way in which children acquire language skills through
listening, the Suzuki method (named after its creator Shin’ichi Suzuki)48 begins as soon as
possible in the child’s life, with observation by the child for a period of time of the teacher and
other children playing/performing before the pupil begins to play himself/herself. Children also
listen to recorded music, and therefore introduction to formal musical notation is delayed while
aural skills are developed. Lessons are normally a mixture of one-to-one tuition and group work,
and parents are closely involved from the beginning, attending lessons, aiding children with their
practice and acting as their support. Prolonged exposure to being observed by others, therefore,
helps to overcome any fear of public performance. The potential difficulty with this approach is
that it is more suitable for those who can train, or who have trained, as music teachers/tutors
(rather than for primary non-specialist teachers) as demonstration and performance of the
47
Carl Orff (1895-1982) whose earliest involvement with music education came through his association with the
Günther School of Gymnastics founded by Dorothy Günther. His work as an educationalist, however, was
interrupted by the Second World War.
48
Shin’ichi Suzuki (1898-1998), Japanese educationalist and violin teacher.
77
specially tailored Suzuki repertoire by the teacher is part of the method. Nonetheless, there are
quite a number of Suzuki practitioners active in music teaching in Scotland, and the author is
aware of instances of the method’s application to the teaching of traditional music, North
Ayrshire being one such example.
Analysis of the training review
In the light of the above review, it seems clear that one of the reasons for primary teachers’
wariness or complete lack of confidence in tackling the teaching of Scottish Traditional Music is
the fact that their exposure to this subject during their training is frequently of very short
duration, if at all. This would go some way towards explaining why many prefer to depend on
external providers to deliver classes and workshops, and it must be said that the experiences of
those schools that have done so have been extremely positive. However, it is also a fact that
many respondents also feel ill-equipped to sustain what has been brought to the classroom
through classes, workshops or projects by external providers beyond the life-span of those
events. The author is not advocating that such “external” visits cease – fresh perspectives, the
immediacy of a “live” performance and the excitement and stimulus for young children of
something different happening in the school is always very welcome. However, in the course of
her research, the author has been made aware that funding either for the school, or for the
external tutors, to provide such programmes is often limited and uncertain and that this
uncertainty regarding the funding required (either in terms of reduction or termination) could
give rise to a lacuna in the provision of classes in Scottish Traditional Music which at present
cannot be filled by many primary school teachers.
With regard to the original brief for this report, care should be taken if selecting a particular
methodology to follow; a great deal of the tuition given by traditional musicians over the years
without recourse to a specific method has produced effective results. Again, the value of an input
of fresh perspectives from the methodologies considered should not be ruled out and may
help/boost existing teaching styles but should not be imposed. However, the use of one or more
of the above methods/programmes to aid primary school teachers should be considered, in
association with the production of materials for CPD, and the possible production of materials
for young pupils.
78
Recommendations

A distinction needs to be made between the development of training for the primary
school non-specialist and that of Scottish Traditional Music tutors, both in terms of
approach and resources/materials.

The author is of the opinion that the musical training (which includes Scottish Traditional
Music) of primary school teachers needs to be reviewed particularly in the light of the
findings of this survey and the forthcoming Curriculum for Excellence.

Such training needs to be accessible and achievable for these teachers (and be seen to be
so) – in this regard, the recognition of the validity of part-time study needs to be extended
and technology needs to be harnessed and developed further in order to enhance
accessibility.

In providing such training the cross-curricular advantages of employing Scottish
Traditional Music (and dance) in classroom teaching to address the requirements of the
school syllabus need to be emphasised, so as to dispel the idea that Scottish traditional
culture (and Scottish Traditional Music in particular) is an extra element to be endured,
and not enjoyed.

Consideration should be given to the development of modules for accreditation at the
very highest level eg as partial fulfilment of the requirements for a qualification which is
professionally recognised, such as the Chartered Teacher programme.

The use of one or more of the above methods/programmes to aid primary school teachers
should be considered in association with the production of materials for Continuing
Professional Development.

Training for Scottish Traditional Music tutors should be continue to be supported and
developed with accreditation for those who wish it.
79
SECTION VI: IRELAND – A BRIEF COMPARISON
Introduction
In many respects the situation in Ireland resembles that of Scotland. There are, and have been for
many years, many educational initiatives in traditional music education outwith the school sector
(such as that provided by such organisations as Comhaltas Ceoltóirí Éireann, Na Píobairí
Uilleann, The Francis McPeake School of Music, the Armagh Pipers’ Club etc.) and the
provision of such education within schools is in many cases but a small part of the curriculum,
with external visits by specialists being relied on. However, both Arts Councils are strongly
committed to supporting the traditional arts countrywide;49 in the Republic of Ireland, in
particular, the support for the traditional arts has increased significantly in the last few years. In
the context of this report, it is not here proposed to consider every initiative currently underway,
but to focus on just some of the more recent developments with a brief overview of the training
available.
A number of events have recently occurred in the Republic which are directly affecting the
provision of Irish Traditional Music in schools. Subsequent to the passing of the Arts Act
(2003),50 An Chomhairle Ealaíon51 announced a new policy for traditional arts in 2005, and is
currently completing the second year of a three-year Traditional Arts initiative,52 which is
“designed to stabilise existing key players and consolidate a basic infrastructure for the
traditional arts while allowing scope for new ideas, projects and partnerships to emerge”. A total
of €3,000,000 (approximately £2,000,000 at the current exchange rate) has been allocated to this
initiative for its first full year by the Council (with continued funding thereafter) while a further
€500,000 (£333,000) has been received from the Minister of Arts, Sport and Tourism. An
Chomhairle Ealaíon describes its intention through this initiative to “prioritise the traditional arts
for a fixed period, in order to realise the ambition of fully mainstreaming the traditional arts
49
Indeed both councils have recently come together in a joint funding initiative for traditional arts and language arts
entitled “Turas”/”Journey” which was recently launched at the Magee Campus of the University of Ulster. See
http://news.ulster.ac.uk./releases/2007/3159.html
50
Oireachtas na h-Éireann/The Government of Ireland (2003) Arts Act ; this repealed all previous arts acts in the
Republic of Ireland, and confirmed the continuing role of An Comhairle Ealaíon, while also conferring certain
functions in relation to the arts on the Minister for Arts, Sport and Tourism.
51
The Irish title for the Arts Council of the Republic of Ireland; this terminology will be hereafter to distinguish
between this body and the Arts Council of Northern Ireland.
52
An Chomhairle Ealaíon/The Arts Council (2005) Tionscnamh Ealaíon Traidisiúnta/Traditional Arts Initiative
2005-2008
80
within the Council’s activities”.53 The Council has given a commitment to “stabilise existing
key players…to consolidate a basic infrastructure for the traditional artforms, artists and arts
practices (working with local arts officers)” and to “develop and support networks and
partnerships between key players”.54 In a more recent development, An Comhairle Ealaíon has
instituted a similar post to that of the Traditional Arts Officer of the Arts Council of Northern
Ireland in order to take its policy forward.
In a separate educational initiative, the Irish Government took the decision in 2004 to supply
every primary and secondary school in Ireland with an internet broadband connection,55 in a
programme which is being gradually rolled out across the country and which is intended to place
the Irish system at the forefront of 21st century education. This will have major implications for
both teachers and pupils and has resulted in at least one initiative funded by An Chomhairle
Ealaíon in Irish Traditional Music which has evolved to include contacts further afield in
America and Australia (see page 84 below).
The curriculum for primary schools in Northern Ireland was revised in the early 1990s to take
account of cross-curricular themes (including Cultural Heritage in which traditional music is
featured); it has been the subject of further and ongoing review and revision since 1999 and the
new curriculum (together with that for post-primary schools) is to be gradually phased in over
the coming months commencing in September 2007.56 In contrast to the Republic of Ireland,
funding for the arts in Northern Ireland appears to have come under strain recently and this
situation has been the subject of recent debate within the Assembly.57 Nonetheless, the Arts
Council of Northern Ireland has, for many years, sponsored a number of programmes and
projects in traditional music through its many funding programmes, and has a specific post –
Traditional Arts Officer – which carries responsibility for developments in this area, recent
examples of which include the Traditional Music Archive (housed in Belfast Central Library
within the existing Archive of Classical and Contemporary Music), production of music book
resources (such as the fiddle tune publications produced by Josephine Keegan and the songs
53
Ibid.
Further details may be accessed at http://www.artscouncil.ie/areas_of_work/actions/traditional_arts_actions.aspx
55
See details contained in Irish Government statement of 24 February 2004, accessible on
http://www.education.ie/robots/view.jsp?pcategory=10861&language=EN&ecateorgy=40 This followed on from
the government’s ICTS development programme, Schools IT 2000 which was launched in 1997.
56
See details on the web-site of the Council for the Curriculum, Examinations and Assessment , accessible at
http://www.ccea.org.uk; further information is also available at Northern Ireland Curriculum, accessible at
http://www.nicurriculum.org.uk .
57
See the statement by the Arts Council of Northern Ireland accessible via
http://www.artscouncil-ni.org/news/2007/new05102007.htm . According to the motion placed before the Assembly
on 9th October 2007, funding for the arts in Northern Ireland is less per capita than in the other regions of the UK.
54
81
collections of Padraigín Ní Uallacháin) as well as a promotional CD (New Folk, Roots and
Traditional Music from NI) and an educational DVD (Exploring Trad.) which has been
discussed in Section III.
What now follows is a brief overview of some of the educational initiatives and training
opportunities in operation in the island of Ireland.
Prior to the passing of the Arts Act, Roscommon County Council with the aid of a number of
sponsors58 established a project59 in March 2003 for the development of the traditional music,
song and dance in the Roscommon area, led by Dr. Liz Doherty, Traditional Arts Specialist with
An Chomhairle Ealaíon. Following consultation with practitioners in the sector, a Traditional
Arts Forum for the area (the first of its kind in Ireland) was established to manage and develop
a number of new initiatives as follows:
1) Traditional Arts education (primary schools)
2) Marketing of existing activities
3) Performance and performance development
4) Professional development for traditional artists
5) International links and contexts.
Of particular interest to the current report are items 1, 2 and 4 of the above. Some of the actions
listed under these headings include the intent “[to] bring together musicians, dancers and
storytellers
and
organise
training
in
the
delivery
of
primary
school
education
programmes…provide subsidies to primary schools for the utilisation of the programme.
…develop a bank of instruments to support the project …develop a website for traditional arts in
the county…make services/products more widely accessible, develop online archive of
traditional arts…integrate professional development into existing projects commencing with a
programme of training for working with children”.60 The Traditional Arts Network has been
established as an online facility for Roscommon, and a glance at the Roscommon Flute Players
Society61 through this link shows some of its work undertaken in 2006 which meets some of the
aims listed under item 1 above; work is still in progress regarding the other initiatives. According
to the Council’s recently appointed Arts Education and Development Co-Ordinator, Avril Carr,
58
These were the Mid-South Roscommon Rural Development Company, the Arigna Catchment Area Community
Company, the European Union and An Comhairle Ealaíon.
59
Further details may be accessed from the web-site http://www.roscommonarts.com/trad/back.htm
60
Again, further details concerning these initiatives can be obtained from the web-site at
http://www.roscommonarts.com/trad/project.htm
61
See details at http://www.roscommonarts.com/trad/event.htm
82
the concept behind items 1 and 4 is to publicise and further support traditional musicians already
working in schools, and to encourage more live music in that context. The project is currently
aiming to involve primary school teachers more closely in the development/planning process
with the visiting musicians, particularly in the light of the revised Primary School Syllabus
(1999).62 6 schools in the county are funded every year by An Chomhairle Ealaíon and
Roscommon County Council for 60 hours of traditional arts tuition.
Taking its cue from Roscommon, the Arts Office of Clare County Council (supported by An
Chomhairle Ealaíon) established its own Traditional Arts Forum in November 2006 with the
aim of “assisting individuals and organisations to work together on shared projects of interest,
thereby putting them in a stronger position for accessing funding at national and local level.”.63
Further meetings of the Forum have taken place with a view to drawing up a programme of
traditional arts projects, again particularly those supporting the county’s Artists in Schools
scheme, which is currently in abeyance (while it is reviewed in the light of the new Forum) but
which will be re-activated in 2008. In conversation with the current author, the county’s
Traditional Arts Specialist Tara Connaghan also highlighted the provision of bursaries by Music
Network Ireland64 to attend its outreach and education course (run over three weekends in
Autumn, Winter and Spring), for which some of the county’s traditional music tutors have
registered. The Forum is currently looking at establishing a central online system bringing all
events currently underway in the county together so as to avoid clashes of major events such as
concerts and festivals.
The Deis Scheme was the first to be established as a result of the Traditional Arts Initiative
which was “aimed at encouraging and facilitating the traditional arts community.”.65 Introduced
in September 2005, the scheme provides funding for “one-off” or short-term projects only, and
considers proposals for traditional arts projects alone, or traditional arts in association with other
artforms, provided that such projects are outside other Council funding areas (such as travel or
62
Oireachtas na h-Éireann/The Government of Ireland (1999) Curaclam na Bunscoile: Ceol [Primary School
Curriculum: Music]. Support and guidelines for Primary school teachers is also accessible through the web-site of
the National Council for Curriculum and Assessment at www.curriculumonline.ie , also through the Primary
Curriculum Support Programme’s own web-site at http://www.pcsp.ie . This curriculum has resulted in a more
integrated syllabus embracing all arts subjects (and In-Service training for teachers has been provided by the
Department of Education), but it still remains the case, as with Scotland, that the length of time devoted to
traditional arts or its employment in the school curriculum remains at the discretion of the individual Head Teacher
or classroom teacher.
63
Further details may be accessed via http://www.clarecoco.ie/news/clare_art.html
64
Details available at http://www.musicnetwork.ie
65
“Deis- Description” An Chomhairle Ealaíon/The Arts Council (2005) Tionscnamh Ealaíon Traidisiúnta/
Traditional Arts Initiative 2005-2008; details also available via the web-site at
http://www.artscouncil.ie/en/view_fund.aspx
83
festivals) but in line with An Chomhairle Ealaíon’s traditional arts policy. Throughout 2006 a
number of projects have been funded through this scheme, ranging from the production of tutor
material to developing a programme of Irish Traditional Music in primary schools, to extending
a website that allows children to learn traditional music online. Regarding this last, James
Donohoe, a traditional music teacher based in Westmeath and Roscommon and a Deis award
recipient, has responded to the technology now being installed by creating and expanding an
interactive web-site, and an online system, by which traditional music may be taught. Currently
in its third year of development, this project has been made possible not only through the support
of the Irish Arts Council (and the assessment and support of Dr. Liz Doherty), but also through
collaboration with the Traditional Arts Forum in Roscommon (in whose area the first stage of the
project was piloted), the Athlone Education Centre and Apple Computers. Beginning with an
introductory model web-site containing 10 lessons, the project has evolved to the stage of a
“virtual classroom” having been created with a suite of music classes at beginner, improver, and
advanced levels, and broadcasts to schools in America and Australia. Other recipients include
Frank Torpey, proprietor of the Wexford-based company Mad for Trad. who, prompted by the
issue of the new Primary School curriculum, has developed a programme of Irish Traditional
Music (comprising information on instruments, tunes, rhythm and metre, and performances by
young traditional musicians) for use in the primary school on CD-Rom and in written format.
Entitled Cuisle (Pulse) the programme was piloted in local schools in May 2007 with great
success.
According to the former Traditional Arts Officer of the Arts Council of Northern Ireland Paul
Flynn,66 2007 has seen an upsurge in applications to the council’s SIAP (Support for
Individual Artist Programme) from those from the traditional arts sector, which provides
assistance with projects, travel grants and residencies. Available to those domiciled in the
country, applicants must have contributed to artistic activities for a year before applying, but the
scheme excludes prolonged periods of further education study, establishment of web-sites or
those already in receipt of Council funding. Recipients this year have received funds for such
projects as purchasing musical instruments, CD production and music tutorials. A number of
educational organisations are in receipt of funding from the Arts Council of Northern Ireland
under the Annual Support for Organisations Cultural Traditions Programme, such as Altnaveigh
House, the Belfast Set Dancing and Traditional Music Society, and the Armagh Pipers’ Club.
One such organisation is the Francis McPeake School of Music in Belfast, which provides
mainly evening and weekend classes for all ages, though its tutors also visit schools in the
66
Recently appointed to a similar post in An Chomhairle Ealaíon.
84
district. The school, which is 30 years in existence, has recently developed two new initiatives: a
rural programme of tuition to be brought to schools outside the city, and an online interactive
tuition system which is anticipated to become active with the launch of the school’s new website at the end of October 2007. Another educational body is the long-established Jigtime
Programme,67 a small performance group committed to bringing traditional music to pupils in
schools at primary level. The format is comprised of performances, explanations of the
instruments, history and the social context, and cross-curricular themes. Follow-up materials in
the form of the Exploring Trad DVD are supplied to the teachers, and the programme has been
brought to over 800 schools both north and south.
Training
The opportunities for training both within the formal and informal sectors in Ireland have also
increased considerably in recent times; most higher education establishments now offer modules
or pathways in Irish traditional music within their undergraduate music or education degree
programmes, with one such (the Irish World Academy of Music and Dance) offering a four year
degree course in traditional music and dance. However, as with Scotland, few courses are
specifically targeted at the primary school non-specialist sector, and the postgraduate diplomas in
education, which fulfil the same function as the PGDE in the UK, also suffer the same
difficulties in covering music (including traditional music) as their Scottish counterparts. Of
most relevance to the current discussion in this report are the teaching degrees available, and a
separate training initiative established by Comhaltas Ceoltóirí Éireann.
A traditional Irish Music option is offered in the four year Bachelor of Music Education honours
degree (established in 1986) for secondary school teachers, a course which is jointly taught and
administered by the DIT Conservatory of Music and Drama, the Royal Irish Academy of
Music, Trinity College School of Education and which is validated by Trinity College. As with
its sister qualification at the RSAMD, students undergo teacher placements during their course of
study, allowing them to apply the skills they have acquired through lectures/tutorials in the area
in which it is intended that they will find employment following graduation. Mary Immaculate
College of Education in Limerick (which is now academically associated with the University of
Limerick) offers a module in Irish Traditional Music within its B.Ed. degree for Primary School
67
For further details, see the Jig Time Programme accessible at
http://www.ccruni.gov.uk/research/directory/jpoim.htm . This programme has also been cited by the Roscommon
Traditional Arts Forum as providing the model for the implementation of its first project (see page 82 above).
85
teachers, as does St. Patrick’s College in Drumcondra in Dublin and St. Mary’s University
College in Belfast. The Irish World Academy of Music and Dance based at the University of
Limerick established a Bachelor of Arts in Irish Traditional Music and Dance degree in 2002, an
honours programme of four years’ duration. While the main thrust of this programme is towards
producing the future generations of young traditional music performers, it nonetheless
recognizes that employment opportunities come through a range of different skills; consequently
modules are offered in Community Music & Dance and Music & Dance Education. Upon
completion of the course, graduates can undertake a postgraduate teaching diploma which will
enable them to become secondary school teachers. Graduates may also progress to postgraduate
study within the department on such courses as the MA in Irish Traditional Music Performance
which (like the undergraduate course) can enhance their teaching as well as performance skills,
or the MA in Community Music. The Academy has exchange links with both the Royal Scottish
Academy of Music and Drama and Sabhal Mòr Ostaig (see Section V above).
In 1980 Comhaltas Ceoltóirí Éireann established its teachers course leading to its teaching
diploma qualification (Teastas i dTeasgasc Ceolta Tíre) in Irish Traditional Music.68 Intended
for those with some experience of teaching and performing Irish traditional music, it is held as a
week-long intensive course normally in July each year, and is comprised of lectures in musical
styles, theory, supervised teaching practice and instrumental tuition, with a final examination at
the conclusion of the course, the results of which - when combined with the course tutors’
evaluations - are used to decide if the diploma is to be awarded. More recently, Comhaltas
Ceoltóirí Éireann has committed to extending the provision of this course for primary, postprimary and trainee schoolteachers who are accomplished traditional musicians.69 It has also
committed itself (with the approval of the Department of Education and Science) to the provision
of an In-service course for primary school teachers to facilitate the teaching of traditional arts.
Analysis of overview
As already observed, there are many similarities between Scotland and Ireland in the provision
of traditional music training for teachers as well as difficulties in its transmission to those of
school going age: while some of the teaching materials produced in Ireland have been considered
68
Accessible via the web-site www.comhaltas.ie/education/ttct_exam/ See also Traditional Music Tutor Training
Network (2003) Proceedings of the 2nd National Seminar - Credit and credibility: Traditional Music Tutoring Issues
examined p. 16
69
Comhaltas Ceoltóirí Éireann (2006) Development Programme for the Irish Traditional Arts , p.26
86
in the course of the review in Section III above, the current author is not aware of a great many
resources which are specifically targeted at the primary sector or non-specialist teacher.
However, in terms of this Section (and in the context of this report with regard to aiding access
to knowledge, support and increasing communication and awareness) the author would reiterate
that the appointment/designation of a specific individual for the traditional arts in each authority
in Scotland (such as that outlined in the Roscommon and Clare models above) who would act as
a focus/reference point for all stakeholders in the traditional arts field (from performers to
specialist
tutors,
organisations,
general
teachers
etc.)
and
facilitate
clarity
and
communication/awareness of the traditional arts within the authority is something to be
considered. It would, however, require consistency of title and responsibility across the country
as a whole in order to create an infrastructure, and the author is aware that adding yet another
title to the long list that already exists might exacerbate rather than solve a problem.
Alternatively, consideration could be given to the possible appointment of a Traditional Arts
Officer within Creative Scotland70 so as again to provide a focus/reference point for the
traditional arts (including Scottish Traditional Music) nationwide.
70
The proposed new arts funding body which the Scottish Government intend to establish as a result of the
forthcoming merger between Scottish Arts Council and Scottish Screen.
87
Recommendation

Further to the recommendation of Section IV above,71 consideration should be given to
the possible appointment of a Traditional Arts Officer within Creative Scotland so as to
provide a focus/reference point for the traditional arts (including Scottish Traditional
Music) nationwide.
71
See page 67.
88
SECTION VII: SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary
The main points of the various sections of the report are herewith summarised as follows:-
Sections I and II outlined the results of the nationwide survey conducted amongst over 2000
primary school teachers, giving the national and regional viewpoints respectively. The following
facts emerged:

Some form of Scottish Traditional Music tuition was in evidence in the vast majority of
those schools which responded to the survey; however there is a perception on the part of
many respondents that Scottish Traditional Music is at times an external element or an
add-on to the curriculum.

Many respondents are happy to leave the teaching of it to others.

There would appear to be a lack of confidence in approaching the subject, compounded
by the treatment of the subject as external and the lack of specific musical experience on
the part of many of the respondents.

Many respondents indicated that their students experienced traditional music through
dance.

Many were not aware of initiatives that could be harnessed in the transmission of
traditional music tuition, or of specific teaching methods.

Funding and the short term nature of some of these initiatives was also a major concern
for many respondents.

A majority welcomed further assistance with resources, a central database, and were in
favour of Continuing Professional Development.

The need to make Scottish Traditional Music relevant to the 21st century was also
highlighted.

Just over a third of those who responded would be happy for further contact to be made
with the Traditional Music Forum.

Some regions responded better than others to the survey.

The vast majority of respondents were enthusiastic and supportive of the subject and the
survey.
89
Section III gave a brief review of some of the teaching materials in use, currently available or in
development. The following issues were raised:

There is a vast array of materials available; however, very few of these are targeted
specifically at primary school pupils, or, more importantly, their classroom teachers.

However, many are not aware of the materials that do exist – this is due to the fact that
information concerning these exists in many different areas and on many web-sites or in
local knowledge only.

There is a need for a central database of relevant materials and resources for primary
school teachers and there may well be materials required for the training/continuing
professional development of both specialist and non-specialist tutors/teachers (see
Section V).

Caution should be exercised before committing further financial resources to the
production of new resources/materials.

Some approaches/materials from other organisations could be employed in Scottish
Traditional Music tuition, and therefore consideration should also be given towards
working in collaboration with other organisations in the production of resources.
Section IV considered a representative sample of other traditional music education initiatives
currently underway within the local authorities. The following points were made:

There are a great many initiatives in progress at present, representing co-operation
between individuals, organisations, sponsors and local authorities, and which are or have
been very successful; however, many of these are short-term.

The continued funding of these initiatives is a concern.

In many cases there is a lack of awareness of what is available and how to access it.

There is a lack of consistency regarding posts/titles of responsibility charged with the coordination of traditional music activities across the country, with web-site and contact
details not always accurate, thus making accessing information difficult.

Some of those charged with this responsibility have other arts areas which also require
their attention and are therefore stretched to cover every sector.
Section V considered the training available for Scottish Traditional Music. The following were
the main issues raised:

There are many courses available, but not necessarily specifically targeted at primary
school teachers – Scottish Traditional Music frequently suffers from having to be
included as part of a different type of “crowded curriculum”.
90

One of the reasons for primary teachers’ wariness or complete lack of confidence in
tackling the teaching of Scottish Traditional Music is the fact that their exposure to this
subject during their training is frequently of very short duration, if at all.

Should external providers (for whatever reason) be unable to continue to provide tuition
in Scottish Traditional Music, this could give rise to a possible deficit in the provision of
classes in this subject which at present cannot be filled by many primary school teachers.

In spite of the foregoing, some new training initiatives are underway.

A great deal of the tuition given by traditional musicians over the years without recourse
to a specific method has produced effective results. However, there could be value in the
input of fresh perspectives from the methodologies considered in this section of the
report.
Section VI gave a brief overview of some of the more recent developments in traditional music
education in Ireland, namely:

The situation is broadly similar to that which pertains in Scotland.

Both Arts Councils are strongly committed to the promotion of traditional arts.

A specific post with responsibility for traditional arts now exists in both Arts Councils.

Significant developments have recently taken place in the Republic of Ireland including
the revision of its primary school curriculum, the Government-led initiative to install
broadband facilities in every primary school, and the commitment of An Chomhairle
Ealaíon to traditional arts (particularly in terms of finance and the consolidation of a
basic infrastructure nationwide).

There are more opportunities than ever before for training in Irish Traditional Music
education, though few courses/programmes are specifically targeted at primary school
teachers.
Conclusion
There are currently many approaches to the transmission of traditional music; while not for one
moment advocating that everything should coalesce into one standard approach, which would
stifle creativity, growth, variety and individual style, nonetheless this very diversity may work
against progress. As one of those interviewed by the author stated, there is a danger of
reinventing the wheel many times over which is an unnecessary duplication of resources, both
human and financial, and may lead to lack of communication and confusion. This diversity
extends to all areas considered by this report– there are a myriad of organisations working in the
91
area of traditional music education (both formal and informal) whose considerable contribution
to and/or financial support for traditional music must be hailed and acknowledged, but some of
these organisations are not aware of the work being done by others, and, if we are to judge by the
sample of responses that came back through this survey, their work is either bypassing many
schools who are not aware of what is available, or not necessarily creating something that is
sustained following a visit, workshop or short-term project. Many people are not aware of either
local, regional or national initiatives underway and this is not necessarily confined to primary
school teachers alone – lack of communication and awareness have been recurring issues at all
levels and with all the stakeholders with whom the current author was in contact. At government
level, the responsibility for traditional arts development varies from authority to authority, and
here again a myriad of titles and positions working in the arts sector can be encountered, making
ascertaining exactly what is underway in the various regions and precisely who is responsible
difficult. Information on some web-sites is not always kept up to date, which compounds the
difficulty, and links from council homepages to traditional arts news are not always clear or
readily available. The present writer would advocate greater clarity being sought in this area (a
point to be borne in mind should the assembling of a central database for traditional music
resources for primary teachers go ahead), and (without wishing to add to the number of arts titles
that already exist) greater consistency re. the titles of those responsible. More and better
communication between authorities, arts organisations and educational establishments as well as
within organisations would greatly aid progress.
Cross-curricular co-operation between traditional arts organisations (particularly in the matter of
the production of primary school classroom resources) would greatly assist acceptance of
traditional music and counteract the perception of it as an extra rather than something that should
be a natural part of every-day life. The Traditional Music Forum should look at emphasising the
benefits of teaching other areas of the curriculum through Scottish Traditional Music.
Consideration of approach/resources produced by other education organisations, not necessarily
arts-based, and consultation and co-operation with these establishments would aid appeal and
give a fresh perspective. In this regard, the harnessing of modern technology to communicate,
inform, support and train would appear to be the way forward, and would appeal to a younger
generation for whom podcasts, downloads and webcams are a way of life – it also overcomes the
very real problem for many teachers of topography and distance. Cognisance must be taken of
developments in educational resources in both early years and secondary level– in many respects
this highlights an emerging problem, namely an omission in both teacher training and a lack in
the production of teaching resources at primary level which could disrupt the educational
92
continuum. That being said, there are a great many materials being used by tutors in the
traditional music sector in primary schools which are not necessarily published formally (“the
tutor writes/uses his/her own” was a frequent response in the survey).
In the area of training, links are being forged by the formal and informal sectors, as can be seen
in Section V above. What is required is the need to inform and instil enthusiasm, confidence and
competence in the primary school teacher and/or head teacher, and therefore a review of the
musical training received through initial teacher training programmes might be necessary in the
light of the Curriculum for Excellence. Indeed the potential exists to develop accreditation in
traditional music at the very highest level in the formal sector either wholly or as part of a
module for professional recognition,72 something, which if handled correctly, might prove
attractive. Above all, the impression amongst primary school teachers that traditional music is
for the elite or specialists only (an image problem which also exists for classical music, but not,
it would appear, for rock and pop) needs to be counteracted by one that shows that traditional
music is accessible, fulfils not just cultural syllabus requirements but those of cross-curricular
and social issues, and is above all fun.
In many of the responses received, there were concerns expressed about the funding needed to
maintain existing projects, and/or the uncertainty that, in cases where funding had a limited time
frame, whether or not an initiative or project would continue in the long-term. In cases where
this is not possible the role of the primary school teacher in continuing to inform, educate and
inspire their pupils regarding their cultural heritage will become even more important.
72
The short course based on the Kodaly method, instituted by the University of Aberdeen might provide a model in
this regard.
93
Final Recommendations
1) The production of a comprehensive central database of teaching resources, materials,
discographies, bibliographies and online resources which is accessible by all and
publicised to all.
2) This should be continually reviewed and updated and include, for example, all websites
relevant to teaching.
3) The Traditional Music Forum of Scotland should continue its role of encouraging
traditional music education across the board; in addition the Forum could have a role in
lobbying the Education Department of the Scottish Government concerning the need for
continuity.
4) The TMF should advocate Continuing Professional Development for primary school
classroom teachers who wish it (particularly those who are non-specialists in traditional
music), possibly with accreditation, together with training for specialist tutors (whose
background is outwith the formal education sector). The TMF should work with the
relevant bodies on the creation of suitable courses and events.
5) It may be that new resources created on behalf of the TMF are required for CPD, young
pupils or specialist tutors, but careful consideration of existing/emerging resources should
be given before any work goes ahead - this may well depend on the assembling of the
database as outlined in proposal 1 above.
6) If the TMF decides to create new resources for use in the primary school classroom, it
should give consideration to working in collaboration with other Scottish Traditional Arts
organisations in the production of materials which would address cross-curricular issues,
and aid acceptance of the artform by teachers and hence its inclusion within the school
curriculum.
7) The TMF should work to counteract the myth that music is only for the “talented” or the
“expert”.
This should come through in any literature, training programmes and/or
workshops that might be provided by the Forum.
8) Online learning for CPD, or class tuition for primary school students in remote areas
where tuition in Scottish Traditional Music is not easily accessible, may well be the way
ahead in allowing the TMF to reach the widest audience possible at the lowest cost. The
Forum should consider working with relevant organisations to access and harness
technology in the provision of traditional music education for teachers (both specialist
and non-specialist) and pupils.
94
Appendix I – Further Acknowledgements
I am grateful to the following individuals who provided help, advice, support and information:
David Atherton, Creative Links Officer, Aberdeenshire Council
Donella Beaton, Chief Executive, Cànan, Isle of Skye
John Blair, Gaelic Development Officer, Inverclyde, East Renfrewshire and Renfrewshire
Councils
Dr Katherine Campbell, Lecturer in Ethnomusicology, Celtic and Scottish Studies, University of
Edinburgh
Avril Carr, Arts Education and Development Co-ordinator, Roscommon County Council
Tom Clarke, Jigtime Music Programme, Belfast
Tara Connaghan, Shannon Area Regional Arts Co-ordinator, Traditional Arts Specialist Office,
Clare County Council
Petrea Cooney, Youth Music Officer, Scottish Arts Council
Arthur Cormack, Director, Fèisean nan Gàidheal
Fiona Craig, Cranhill Primary School, Glasgow
Tom Dalzell, Education and Outreach Manager, Celtic Connections
Diana Dixon, Administrator, Scottish Traditions of Dance Trust
Dr. Marion Doherty-Hayden, Head of Music, St. Patrick’s College, Drumcondra, Dublin
James Donohoe, Traditional music tutor and Deis award recipient, Co. Westmeath
Paula Dundon, Adminstrator, Irish World Academy of Music and Dance, Limerick
Lesley Dunlop, Creative Links Officer, Glasgow City Council
Nick Fearn, Arts Development Officer, Moray Council
Fiona Ferguson, Cultural Co-Ordinator, Falkirk Council
Donald Finlayson, Manager Instrumental Services, East Renfrewshire Council
Paul Flynn, Traditional Music Development Officer, Arts Council of Northern Ireland
David Francis, Convenor, Traditional Music Forum
Tony George, Principal Officer Instrumental Music (North and West Neighbourhoods),
Edinburgh City Council
Neil Girvan (Director) and the staff at Axis Media, Glasgow
Eunice Henderson, Shetland Fiddle Instructor, Bell’s Brae Primary School, Shetland
Ingrid Henderson, Lochaber Development Officer, Fèisean nan Gàidheal
Clare Hoare, Cultural Co-Ordinator, Stirling Council
Craig Jackson, Schools and Examinations Officer, Royal Scottish Country Dance Society
95
Mrs Elizabeth Johnson, Head teacher, Auchtertool Primary School, Fife
Susie Kelly, Traditional Song Development Worker, Arts Development Scottish Borders
Council
Louise Lammie, Cultural Co-Ordinator, South Lanarkshire Council
Jean Leonard, Orkney Traditional Music Project
Irene Lawson, Head teacher, Johnshaven Primary School, Johnshaven by Montrose
Kirsty Lawrence, Alehousewells Primary School, Kemnay, Inverurie
Kate Lawrie, Finance and Administration, Royal Scottish Country Dance Society
Alison Leith, musician, peripatetic teacher and project co-ordinator, Aberdeen
Gica Loening, Adult Learning Project Scots Music Group, Edinburgh
Margaret MacCrae, author of Mair Sangs tae Sing (East Ayrshire Resource Pack)
Iona MacDonald, Training Development Officer, Fèisean nan Gàidheal
Jo MacDonald, Gaelic Department, BBC Radio Scotland
Mairead McDonald, Director, Tobar an Dualchais
Susanne MacDonald, Sleat Primary School, Teangue, Isle of Skye
John Norman MacLeod, Director of Academic Studies, Sabhal Mòr Ostaig
Gayle Martin, Cultural Co-Ordinator/YMI Officer, Falkirk Council
Alison Mainland, Head teacher, Rousay Primary School, Orkney
Ian MacAulay, Business Manager, Community Services, Scottish Borders Council
Niamh McCabe, Artists’ Services Officer, Irish Arts Council
Rae McEachan, Highland Youth Music Initiative Officer
Lorna McLaren, YMI Co-Ordinator, Aberdeenshire Council
Francis McPeake, Principal, The Francis McPeake School of Music, Belfast
Aileen Monaghan, Learning and Teaching Scotland
Rebecca Murdoch, Head teacher, Craigdhu Primary School, East Dunbartonshire
Anne Neilson, Traditional Music Forum of Scotland
Mary Nugent, Lecturer, Marino Institute of Education, Dublin
Helen O’Brien, Cultural Co-Ordinator, Perth and Kinross Council
Irene Pandolfi, Team Leader, Expressive Arts, Learning and Teaching Scotland
Dougie Pincock, Director, National Centre of Excellence in Traditional Music, Plockton High
School
Dr. John Purser, Course Leader, BA in Gaelic and Traditional Music, Sabhal Mòr Ostaig
Sean Quinn, Glens Music (formerly Head of Learning Resources at St. Mary’s University
College, Belfast)
Andrew Ross, Educational Development Officer (Expressive Arts), Angus Council
96
David Sherratt, Head teacher, Scoraig Primary School, Scoraig, Dundonnell
Mark Sheridan, Head of Creative and Aesthetic Studies/Director of Celtic Music Radio,
University of Strathclyde
Dr. David Smith, Senior Lecturer in Music, University of Aberdeen
Gerald Strother, Producer, BBC Learning (Scotland)
Sandra Taylor, YMI Officer, Fife Council
Siân Thomas, Director, TRAC: Folk Development for Wales
Kay Thomson, National Director, Traditional Music and Song Association
Frank Torpey, Deis award recipient and proprietor of Mad for Trad.
Yvonne Wallace, former Creative Links Officer, East Renfrewshire Council
Allison Watson, Fèis Rois Education Officer
Les Wheeler, Research Associate, Elphinstone Institute
Kathryn Wilkie, Cultural Co-Ordinator, Arygll and Bute Council
Richard Wemyss, Music Development Officer, Shetland Arts
97
Appendix II – Bibliography, resources and web-sites
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_______________________. (2006) Development Programme for the Irish Traditional Arts
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98
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__________________________. (2006b)
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A Curriculum for Excellence: Newsletter (4)
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Maclennan, M. (2006) Inverness Traditional Music Classes Annual Report (September 2005 August 2006) Inverness, Highland Council Education, Culture and Sport
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Fèisean nan Gàidheal
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transforming tradition Portree, Fèisean nan Gàidheal
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__________________. (2005a) Music Briefing 2004-05 Edinburgh, Scottish Arts Council
__________________. (2005b) Traditional Arts Briefing 2004-05 Edinburgh, Scottish Arts
Council
__________________. (2006) National Youth Music Strategy 2006-2008 Edinburgh, Scottish
Arts Council
Scottish Executive Education Department (2001) A Teaching Profession for the 21st Century
Edinburgh, Scottish Executive
100
Scottish Executive Education Department (2006) Draft Culture (Scotland) Bill – consultation
document Edinburgh, Scottish Executive
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Guidelines: Expressive Arts 5-14 Edinburgh, Scottish Office
Stokes, R. (2002) A Soundtrack for Scottish Tourism: The Scottish Arts Council and Visit
Scotland Traditional Music and Tourism Initiative 1999- 2002– final report Edinburgh, Scottish
Arts Council
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Stòrlann Nàiseanta na Gàidhlig
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Tutor Training Network
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(accessible via http://www.bbc.co.uk/scotland/alba/foghlaim/airghleus, or
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Bowie, G, Jack, E and MacAsgaill, D.R. (2004) Gluais!(CD) [Move! (CD)] Isle of Lewis,
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Cànan (2006/2007) Air Splaoid! [On a spree!] Skye, Cànan
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[Youth Music Initiative – Schools Information Pack] Portree, Fèisean nan Gàidheal
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103
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Web-sites
ABC Creative Music http://www.applebananacarrot.com
Aberdeen City Council http://www.aberdeencity.gov.uk
Aberdeen College http://www.abcol.ac.uk
Aberdeenshire Council http://www.aberdeenshire.gov.uk
Air Splaoid http://www.airsplaoid.co.uk
Air Ghleus http://www.bbc.co.uk/scotland/alba/foghlam/airghleus
ALP Scots Music Group http://www.scotsmusic.org
An Chomhairle Ealaíon/The Arts Council of Ireland http://www.artscouncil.ie
Angus Council http://www.angus.gov.uk
An Roinn Oideachais
http://www.education.ie
agus
Eolaíochta/Department
of
Education
Argyll and Bute Council http://www.argyll-bute.gov.uk
Arts Council of Northern Ireland http://www.artscouncil-ni.org
Arts Council of Wales http://www.artswales.org
Belfast Set Dancing and Traditional Music Society http://www.belfasttrad.com
Blas Festival http://www.blas-festival.com
BBC Scotland http://www.bbc.co.uk/scotland/alba
104
and
Science
Box and Fiddle Magazine http://www.boxandfiddle.com
Bookstart http://www.bookstart.co.uk
British Kodaly Academy http://www.britishkodalyacademy.org
British Suzuki Institute http://britishsuzuki.org.uk
CatStrand Arts and Community Centre http://www.catstrand.co.uk
Celtic Connections http://www.celticconnections.com
Ceòlas http://www.ceolas.co.uk
Children in Scotland http://www.childreninscotland.org.uk
City of Edinburgh Council http://www.edinburgh.gov.uk
Clackmannanshire Council http://www.clacksweb.org.uk
Clare County Council – County Arts Office http://www.clarecoco.ie/County_Arts_Offices/
Coláiste Mhuire gan Smál/Mary Immaculate College of Education http://www.mic.ul.ie
Colourstrings http://www.colourstrings.co.uk
Comhairle nan Eilean Siar http://www.w-isles.gov.uk
Comhaltas Ceoltóirí Éireann http://www.comhaltas.ie
Commann na Clàrsaich http://www.clarsachsociety.co.uk
Comunn na Gàidhlig http://www.cnag.org.uk
Council for the Curriculum, Examinations and Assessment http://www.ccea.org.uk
Create Scotland http://www.create-scotland.co.uk
Curriculum Review Group http://www.acurriculumforexcellencescotland.gov.uk
Dalcroze Society (UK) http://www.dalcroze.org.uk
Dundee City Council http://www.dundeecity.gov.uk
Dumfries and Galloway Arts Association http://www.dgaa.net
Dumfries and Galloway Council http://www.dumgal.gov.uk
East Ayrshire Council http://www.east-ayrshire.gov.uk
East Dunbartonshire Council http://www.eastdunbarton.gov.uk
105
East Lothian Council http://www.eastlothian.gov.uk
East Renfrewshire Council http://www.eastrenfrewshire.gov.uk
Edinburgh Youth Gaitherin http://www.eyg.org.uk
Elphinstone Institute http://www.abdn.ac.uk/elphinstone
European Network of Traditional Music and Dance http://www.eurotradmusic.net
Falkirk Council http://www.falkirk.gov.uk
Fèisean nan Gàidheal http://www.feisean.org
Fèis Rois http://www.feisrois.org
Fife Council http://www.fife.gov.uk
Folk Arts England http://www.folkarts-england.org
Folk South West http://www.folksw.org.uk
Folkus http://www.folkus.co.uk
Folkworks http://www.folkworks.co.uk (also to be found at http://www.thesagegateshead.org)
Foot Stompin’ http://www.footstompin.com
Francis McPeake School of Music http://www.francismcpeake.com
Gaelic Arts Strategic Development Forum – Proiseact nan Ealan
http://www.en.gaelic-arts.com
Gaelic Scotland http://www.gaelic-scotland.co.uk
General Teaching Council for Scotland http://www.gtcs.org.uk
Glasgow City Council http://www.glasgow.gov.uk
Glens Music http://www.glensmusic.com
Glow Scotland http://glowscotland.org.uk
Hands up for Trad. http://www.handsupfortrad.co.uk
Hi-Arts http://www.hi-arts.co.uk
Highland 2007 http://www.highland2007.com
Highland Council http://www.highland.gov.uk
Highlands and Enterprise Network http://www.hie.co.uk
106
International Kodaly Society http://kodaly.eu
Irish World Academy of Music and Dance http://www.irishworldacademy.ie
Inverclyde Council http://www.inverclyde.gov.uk
Jig Time Programme http://www.ccruni.gov.uk/research/directory/jpoim.htm
Learning and Teaching Scotland http://www.ltscotland.org.uk
Lews Castle College http://www.lews.uhi.ac.uk
Living Tradition Magazine http://www.folkmusic.net
Macmeanmna http://www.gaelicmusic.com
Marino Institute of Education, Dublin http://www.mie.ie
Midlothian Council http://www.midlothian.gov.uk
Moray Council http://www.moray.gov.uk
Music in Scotland http://www.musicinscotland.com
Music Network Ireland http://www.musicnetwork.ie
National Centre for Technology in Education http://www.ncte.ie
Na Píobairí Uilleann http://www.pipers.ie
National Council for Curriculum and Assessment http://www.ncca.ie
National University of Ireland, Maynooth http://www.nuim.ie
National University of Ireland, University College Cork http://www.ucc.ie
National University of Ireland, University College Dublin http://www.ucd.ie
National Youth Choirs of Scotland http://www.nycos.co.uk
National Youth Orchestras of Scotland http://www.nyos.co.uk
North Ayrshire Council http://www.north-ayrshire.gov.uk
North East Folklore Archive http://www.nefa.net
Northern Ireland Curriculum http://www.nicurriculum.org.uk
North Lanarkshire Council http://www.northlan.gov.uk
Orff Society (UK) http://www.orff.org.uk
107
Orkney Council http://www.orkney.gov.uk
Perth and Kinross Council http://www.pkc.gov.uk
Queen’s University Belfast http://www.qub.ac.uk
Renfrewshire Council http://www.renfrewshire.gov.uk
Roscommon Traditional Arts Network http://www.roscomonarts.com/trad/back.htm
Royal Scottish Academy of Music and Drama http://www.rsamd.ac.uk
Royal Scottish Country Dance Society http://www.rscds.org
Sabhal Mòr Ostaig http://www.smo.uhi.ac.uk
Scottish Arts Council http://www.scottisharts.org.uk
Scottish Borders Council http://www.scotborders.gov.uk
Scottish Government http://www.scotland.gov.uk
Scottish Music Centre http://www.scottishmusiccentre.com
Scottish Traditions of Dance Trust http://www.stdt.org
Scottish Parliament http://www.scottish.parliament.uk
Sgoil Chiùil na Gàidhealtachd/The National Centre of Excellence in Traditional Music, Plockton
High School http://www.musicplockton.org
Shetland Council http://www.shetland.gov.uk
Shetland Music http://www.shetland-music.com
South Ayrshire Council http://www.south-ayrshire.gov.uk
South Lanarkshire Council http://www.southlanarkshire.gov.uk
Stirling Council http://www.stirling.gov.uk
Stòrlann http://www.storlann.co.uk
St. Mary’s University College, Belfast http://www.smucb.ac.uk
St. Patrick’s College, Drumcondra http://www.spd.dcu.ie
Taisce Cheol Dúchais Éireann/Irish Traditional Music Archive http://www.itma.ie
Teach in Scotland http://www.teachinginscotland.com
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Teachnet http://www.teachnet.ie
Tobar an Dualchais http://www.tobarandualchais.co.uk
TRAC: Folk Development for Wales http://www.trac-cymru.org
Traditional Music.Com http://www.tradmusic.com
Traditional Music and Song Association of Scotland http://www.tmsa.org.uk
University of Aberdeen http://www.abdn.ac.uk
University of Dublin, Trinity College http://www.tcd.ie
University of Dundee http://www.dundee.ac.uk
University of Limerick http://www.ul.ie
University of Newcastle http://www.ncl.ac.uk
University of St. Andrews http://www.st-andrews.ac.uk
University of Strathclyde http://www.strath.ac.uk
University of Ulster http://www.ulster.ac.uk
West Dunbartonshire Council http://www.west-dunbarton.gov.uk
West Lothian Council http://www.westlothian.gov.uk
Wren Trust http://www.wrenmusic.co.uk
Youth Music Initiative http://scottisharts.org.uk/1/artsinscotland/music/youthmusicinitiative.aspx
Young Scot http://www.youngscot.org
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Appendix III – Teacher Survey Questionnaire
TRADITIONAL MUSIC FORUM
Traditional Music Classroom Resources Survey
Name and Address of School:
1. Does the school feature Scottish Traditional Music as part of its expressive arts
commitment?
Yes
No
2. If the answer to above is yes, what format does this take?
one-to-one tuition
weekly classes
occasional workshops or performances by visiting musicians
other
3. How much time is devoted to traditional music as specified in 2 above?
4. Does this take place
within school hours
after school
5. Who is responsible for teaching Scottish traditional music?
I am
another teacher
6. If the answer to question 5 is another teacher, is the teacher/tutor
full-time
part-time
peripatetic
7. Is any particular teaching method employed?
Yes
No
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other
8.
If the answer to question 7 is yes, have any teaching materials been found to be
particularly useful? If yes, please indicate what these are.
9.
Would you welcome further assistance by
materials/resources for Scottish Traditional music?
Yes
way
of
extra/new
teaching
No
Further comment if applicable
10.
Would you welcome a central database of teaching materials for Scottish Traditional
Music?
Yes
No
Further comment if applicable
11.
Please indicate briefly what musical training you have received.
12.
Would you welcome continuing Professional Development/In-Service training in Scottish
Traditional Music?
Yes
No
Further comment if applicable
13.
Have you any other comments that you would like to be considered by the Forum?
14.
Would you be agreeable to the Forum contacting you further based on your response
to this survey? If yes, please give name and contact details below.
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