# data[].attributes.body
Barnes (2001) proposes that composing music is where creativity is at its highest point in the music curriculum, as knowledge, skill, imagination and intellect are at the forefront (cited by Philpott and Plummeridge, 2001). For most children, composition starts with allowing them musical play, according to Barnes (2001). Mills (2009) supports this claim by suggesting that the opportunity to play with sounds can lead to a sequence of sounds that pleases the composer.

One of the aims of the music national curriculum in Key Stages 1-3 is for pupils to create and compose music on their own and with others. (Department for Education (DFE), 2013(a)). The Model Music Curriculum suggests that children must become familiar with different genres of music to develop aural understanding, listen to and perform music, and practice recalling to help enhance the technique of composition (DFE, 2021).

# data[].attributes.body
In practice, music composition activities in the Early Years Foundation Stage (EYFS) are characterized by their child-centered and multi-sensory approach. Children are encouraged to explore a variety of musical instruments, materials, and technologies, allowing them to manipulate sounds and create their own musical ideas. Activities may range from spontaneous improvisation with percussion instruments to structured group compositions using simple notation or digital music tools (Young, 2016). Creativity and expression is at the forefront of music composition at this stage. In the EYFS statutory framework (2023, pp.15-16), music composition is encapsulated in the broader context of expressive arts and design, emphasizing the interconnectedness of music with other forms of expressive categories such as art, drama, and dance.

# data[].attributes.body
Ashbee (2021) proposes that for pupils to skilfully compose pieces of music, declarative knowledge within the subject supports the complexity and accuracy of composition. Although composition itself is a form of non-declarative knowledge; '...we are able to do something, to carry out a process.' (pp.42), Ashbee articulates that over time with exposure and learning of the declarative knowledge in music, such as staff notation, that 'the knower is empowered in ways of seeing, speed of access, and transfer of ability in ways that simply cannot be achieved in the absence of theory.' (pp.97).

# data[].attributes.attachment_caption
Figure 1: Shropshire Music Service (2022)

# data[].attributes.headline
Key Stage One (KS1) and Key Stage Two (KS2) example scheme for improvising and composing

# data[].attributes.subject
Key Stage One (KS1) and Key Stage Two (KS2) example scheme for improvising and composing

# data[].attributes.body
This example shows how schools can develop their music curriculum within pupil composition. There are significant progress points, as children become familiar with instruments and the inter-related dimensions of music over time. Within KS1, Figure 1 suggests pupils should explore their voice and body percussion and use simple, given graphic diagrams to support their composition and improvisation. Progressing into lower KS2, pupils may begin to use some music technology for composing, and it is expected that some progress is made in reference to accuracy and control of an instrument (or voice). Pupils in this stage will begin to connect beats to make a sequence of chords. When pupils develop to KS2, they should begin to create their own representations of notation. At this stage, solo and group improvisation with an instrument or technology should occur with refined accuracy, with a purposeful 'mood' or genre. At the end of KS2, pupils should be knowledgeable of the inter-related dimensions of music and able to identify where these are relevant in their own pieces of music.

Here, it has not been regarded that pupils in KS1 and KS2 can engage in reflective practices through listening to evaluate their compositions and those of their peers. In KS1, pupils begin to evaluate simple composition pieces and through this, they begin to identify and discriminate musical elements, such as timbre, melody and rhythm (Green, 2008). Developing into KS2, understanding of musical elements and structures is deepened. Analyzing pieces of composition becomes more sophisticated as pupils learn to identify musical components such as harmony, form and dynamics. This process encourages active listening and critical thinking skills, as well as reflection on elements of their own compositional pieces (Campbell and Thompson, 2014).

# data[].attributes.body
In KS3, pupils should be taught to improvise, compose and develop musical ideas by drawing on a range of different musical styles, genres, traditions and structures (DFE, 2013(b)). Faultley and Daubney (n.d) suggest that KS3 teachers should become familiar with their pupils' musical abilities so they can adapt lessons which build on knowledge. The National Plan for Music Education proposes that teachers should utilise soft formative assessments to baseline pupils so they can receive tailored provisions (HM Government, 2022, pp.35).

Composing in Key Stage 3 can be structurally inspired by the diverse musical traditions and genres, although, pupils should be given a choice of stimuli, and this should be carefully selected to ensure students can relate to them in some way to nurture individual creative style (Mastrolonardo, 2022). Therefore, the transition from KS2 may embody more musical independence, with assessment factors shared beforehand.

# data[].attributes.body
Although mathematics is primarily regarded as a descriptive quest, as it contains facts and objectivity, later through progression, it has characteristics of a problem-solving quest, as Ashbee (2021, pp.67) refers to mathematics as behaving by rules. She suggests that the quest of maths is to explore the implications and applications of the laws. Furthermore, people create meanings in maths by using calculations and disciplines, categorising it as an interpretive quest.

The national curriculum aims for pupils to solve problems by applying mathematical knowledge, including breaking problems down into smaller steps and persevering in seeking solutions (DFE, 2013(c)). However, prior knowledge in mathematics is a necessity for development; it is not possible to solve equations without mastery in arithmetic operation functions, for example. Consequently, sequencing, assessment for learning and responsive teaching may differ year-to-year (adapted from Ashbee, 2021, pp.70).

# data[].attributes.body
The EYFS framework (DFE, 2023) states that children working at the age related expectation should be able to count confidently and develop a deep understanding of the numbers to 10, including number bonds. Children should be given opportunities to practice and apply this knowledge by using manipulatives (such as counters and numicon). Theorist Jean Piaget (1952) suggested that children retain knowledge of abstract concepts in mathematics more sufficiently when provided with structured opportunity to practice with manipulatives.

Smith (2018) proposes there is a social process involved in learning. He states that accessibility to group based learning is important in the early stages of learning and that relationships can 'make or break' the ability to engage in learning events (pp.7). Keith (2018 (pp.75)) supports this claim by drawing on her own observation; children in a nursery were working together and building on each others knowledge when ordering quantities.

# data[].attributes.body
An example of how children in the early years stage can develop their knowledge of quantities is provided by Keith (2018), as shown in Figure 2. A 'washing line' has been created with balls threaded through, acting as the manipulatives. This is regarded as a simple but effective resource for children to enhance their quantitative knowledge and language as they are able to move the balls whilst counting. Keith also mentions that before/after children have counted it is beneficial to introduce contextual language that depicts the place of zero.

In order to measure progression based on Keith's model, observations can be made on children's interactions with the washing line. Children could be asked to complete tasks, such as: 'move three balls to the other end' and their actions recorded, providing evidence for their Early Learning Goals (ELGs). Following this, children can be introduced to the symbolic representations of the numerals up to 10 alongside the mainpulatives on the 'washing line'.

# data[].attributes.body
By the end of KS1, pupils should be fluent in recalling addition and subtraction facts up to 20 and apply the appropriate knowledge to solve similar equations up to 100 (DFE, 2013(c)). The national curriculum states that pupils in year two should be taught to use concrete and pictorial representations as an aid for supporting addition and subtraction (DFE, 2013(c)). Bruner's (1966) ideology of the three modes of representation (enactive, iconic and symbolic) suggests that children should linearly progress to secure knowledge of symbolic representations (such as numerals and operations). It is implied that children make best progress by exposure to enactive representations initially (using manipulatives), leading to iconic representations (referring to images) and finally symbolic representations. However, Borthwick (2019) opposes this viewpoint, stating that the use of manipulatives can be utilised by older pupils with secure symbolic knowledge to provide a visual guide to their mathematical reasoning.

# data[].attributes.attachment_caption
Figure 3: Retrieved from Merryland Academy (2021). 

# data[].attributes.body
I have screenshot this example of how manipulatives can iconically be represented to children in KS1. Threlfall and Frobisher (1999) imply that in order for children to become competent in addition, they must have secure knowledge of the relationships in the number system, including place value.

Figure 3 can be adapted to support KS2, who are expected to use formal written methods to calculate numbers greater than four digits. (DFE, 2013(c)). Furthermore, by the end of KS2, pupils should be able to solve multi-step addition and subtraction problems (DFE, 2013(c)), which can be facilitated by the use different manipulatives. In a previous placement of year six pupils, I observed the children independently seeking and using Base Ten resources to support subtraction calculations involving three digit numbers. They were able to mathematically reason their answers with dialogue by employing an enactive representation.

# data[].attributes.body
In KS3, pupils will be applying their knowledge of addition and subtraction in newly introduced concepts, such as formulating mathematical relationships in algebra (DFE, 2013(c)). Students should be given the opportunity to revisit and consolidate their knowledge of the four operations from previous years so it remains in their long-term memory (adapted from Rosenshine, 2012). Although, Kidd (2020, pp.45) provides insight that links to previous learning needs to be explicitly erected, and not just assumed by a teacher.

# data[].attributes.body
The national curriculum does not require decimals to be introduced until year 4 (DFE, 2013(c)). Pupils will have prior knowledge of fractions, but may not understand the numerical value of them. Place value models, such as Figure 4 are beneficial iconic representations that may have a positive impact on pupils' procedural knowledge; knowing how (Ashbee, 2021) their learning of fractions overlap into the learning of decimals. The National Council of Teachers of Mathematics (2000, pp.80-88) advocate for initial use of concrete resources, progressing into abstract place value charts to aid fluency.

# data[].attributes.body
When government maintained schools devise their curriculum, the Education Inspection Framework (EIF) is consulted to ensure they meet the expectations of their provision (adapted from Ofsted, 2019). School inspectors will perform 'deep dive' investigations, which includes observations of lessons and pupils, reviewing pupils' work and having discussions with teachers. The EIF contains statutory guidance on how schools should implement their curriculum through the three I's; intent, implementation and impact (see Figure 5). Within this section, I will be reviewing a plethora of material which shows both effective and poor strategies for the implementation of the aims: how schools plan for progression and their approaches to the art and design curriculum, as well as ensuring an accessible and engaging art and design curriculum with children with special needs and disabilities (SEND).

# data[].attributes.body
Part 2 of the School Inspection Handbook (Ofsted, 2024) states that evidence is gathered with regards to logical and systematic sequencing of the curriculum to ensure pupils acquire the intended knowledge and skills, and what 'end points' the curriculum builds towards. However, there is no guidance within the primary national curriculum (DFE, 2013) about chosen content of the arts and design subject, giving schools the independence to select what styles, genres and history to expose children to. Additionally, Gopaul (2017) provides insight that there are no requirements of timetabling art and design, which she argues gives 'freedom' to schools to allow for reviewing, revisiting and extending learning in art and design.

Ashbee (2021, pp.91-93) describes art and design as an expressive subject, with the purpose of developing students' understanding and appreciation of art and its history, as well as enhancing their ability to produce their own art.

# data[].attributes.attachment_caption
Figure 6: Torpoint Nursery and Infant School (2023)

# data[].attributes.body
My previous placement school consisted only of EYFS and KS1 pupils, however, they have a secure intent of progress in art and design across the years. Figure 6 shows the curriculum intent, with some valuable links to the implementation of their art curriculum, and the impact this should have on pupils' Spiritual, Moral, Social and Cultural development.

# data[].attributes.body
Ashbee. R (2021), Curriculum: Theory, Culture and the Subject Specialisms. London: Routledge. [online] Available at: <https://www-taylorfrancis-com.plymouth.idm.oclc.org/books/mono/10.4324/9781003039594/curriculum-theory-culture-subject-specialisms-ruth-ashbee> (Accessed 20th January 2024).

Barnes. J (2018), Applying Cross Curricular Approaches Creatively. London: Routledge.

Barnes. JM (2001), 'Creativity and Composition in music', in Philpott. C, Plummeridge. C, Issues in music teaching. New York: RoutledgeFalmer, pp.92-104.

Barnes. J (2015), Cross-curricular learning 3-14. 3rd edn. London: Sage.

Borthwick. A (2019), 'Using manipulatives in the mathematics classroom' in Pope. S; Mayorga. P, Enriching mathematics in the primary curriculum. London: Sage, pp.30-54.

Bruner. JS (1966), Toward a Theory of Instruction. London: Harvard University Press.

Campbell. PS; Thompson. WL (2014), Teaching Music in the Secondary Schools. London: Oxford University Press.

Cornwall Council (n.d), Assess, Plan, Do, Review Cycle. [online] Available at: <https://www.cornwall.gov.uk/schools-and-education/special-educational-needs/education-health-and-care-needs-assessments/assess-plan-do-review-cycle/#what> (Accessed 15th February 2024).

Department for Education (2023), Early Years Foundation Stage statutory framework for group and school-based providers. [online] Available at: <https://assets.publishing.service.gov.uk/media/65aa5e42ed27ca001327b2c7/EYFS_statutory_framework_for_group_and_school_based_providers.pdf> (Accessed 14th January 2024).

Department for Education (2021), Model Music Curriculum: Key Stages 1 to 3 Non-statutory Guidance for the National Curriculum in England. [online] Available at: https://assets.publishing.service.gov.uk/media/6061f833d3bf7f5ce1060a90/Model_Music_Curriculum_Full.pdf (Accessed 3rd December 2023).

Department for Education (2013 (a)), The national curriculum in England: Key stages 1 and 2 framework document.[online] Available at: <https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/425601/PRIMARY_national_curriculum.pdf> (Accessed 12th January 2024).

Department for Education (2013 (b)), Music programmes of study: key stage 3. National curriculum in England. [online] Available at: <https://assets.publishing.service.gov.uk/media/5a7c869440f0b62aff6c2499/SECONDARY_national_curriculum_-_Music.pdf> (Accessed 25th January 2024).

Department for Education (2013 (c)), National curriculum in England: mathematics programmes of study. [online] Available at: <https://www.gov.uk/government/publications/national-curriculum-in-england-mathematics-programmes-of-study/national-curriculum-in-england-mathematics-programmes-of-study> (Accessed 28th January 2024).

Fautley. M; Daubney. A (n.d), ISM- The National Curriculum for Music. [online] Available at: <https://www.ism.org/images/images/ISM_The-National-Curriculum-for-Music-booklet_KS3_2019_digital.pdf> (Accessed 25th January 2024).

(Figure 1) Shropshire Music Service (2022), Progression of Music Curriculum Skills from EYFS to Key Stage Two. [online] Available at: <https://www.stlawrenceprimary.org.uk/media/50907/st-lawrence-progression-of-music-curriculum-skills-ver-3-july-2022.pdf> (Accessed 20th January 2024).

(Figure 2) Keith. L (2018), Developing Young Children's Mathematical Learning Outdoors: Linking Pedagogy and Practice. London: Routledge. [online] Available at: <https://www-taylorfrancis-com.plymouth.idm.oclc.org/books/mono/10.4324/9781315300672/developing-young-children-mathematical-learning-outdoors-lynda-keith> (Accessed 2nd February 2024).

(Figure 3) Merryland Academy (2021), Addition of Two 2 digit Numbers on the Abacus | With Regrouping| Merryland Academy Digital Classroom. [online] Available at: <https://www.youtube.com/watch?v=NnDiPyCGuzQ> (Accessed 5th February 2024).

(Figure 4) Third Space Learning (n.d), Decimal Place Value. [online] Available at: <https://thirdspacelearning.com/gcse-maths/number/decimal-place-value/> (Accessed 6th February 2024).

(Figure 5) Capella Systems (2019),  Implementing Apprenticeship Curriculum Planning. [online] Available at: <https://www.apprenticeshipsdirectory.com/blog/implementing-apprenticeship-curriculum-planning-1966> (Accessed 10th February 2024).

(Figure 6) Torpoint Nursery and Infant School (2023), Art Programme of Study. [online] Available at: <https://torpointnurseryandinfantschool.co.uk/_documents/%5B881956%5DArt_Programme_of_Study_2023-24.pdf> (Accessed 12th February 2024).

(Figure 7) Torpoint Nursery and Infant School (2022). Art Policy. [online] Available at: <https://torpointnurseryandinfantschool.co.uk/_documents/%5B881955%5DArt_Policy_2022.doc.pdf> (Accessed 12th February 2024).

(Figure 8) Torpoint Nursery and Infant School (2023), Year 2- Curriculum Map 23-24. [online] Available at: <https://torpointnurseryandinfantschool.co.uk/_documents/%5B931635%5DYear_2-_Curriulum_Map_23-24.pdf> (Accessed 18th February 2024).

Gopaul. E (2017), Teaching primary art and design. London: Bloomsbury.

Green. L (2008), Music, Informal Learning and the School: A New Classroom Pedagogy. London: Routledge.

Greenwood. R (2013), ‘Subject-based and cross-curricular approaches within the revised primary curriculum in Northern Ireland: teachers’ concerns and preferred approaches.’, in Education 3-13, [online] 41(4), pp.443–458. Available at: <https://www.tandfonline.com/doi/full/10.1080/03004279.2013.819618?scroll=top&needAccess=true> (Accessed 25th February 2024).

HM Government (2022), The power of music to change lives: A National Plan for Music Education. [online] Available at: <https://assets.publishing.service.gov.uk/media/62bc1242d3bf7f292040d364/The_Power_of_Music_to_Change_Lives.pdf> (Accessed 25th January 2024).

Kidd. D (2020), A curriculum of hope. Wales: Crown house publishing.

# data[].attributes.attachment_caption
A map of the progression in art and design for KS1. Tables of content retrieved from Figure 6. 

# data[].attributes.body
Within each colour coded unit for both years, the school has inputted what pupils should be taught. Beneath this, there are statements of how the school will implement this learning. It is evident in the above snapshot that pupils will learn subject-specific vocabulary over time. Recent research by Ofsted (2023) suggests that the more foundational subject knowledge in art children become acquainted with, their capabilities for appreciation and creation increase, thus becoming more 'visually literate'.

Ofsted (2023) state that there are two 'end points' in art; convergent (prescribed knowledge) goals and divergent (pupils making meaning from knowledge) goals and leaders should 'think carefully' about where these are relevant in their curriculum. In the progress map from my placement school, there are clear links to both convergent and divergent practice and learning opportunities, although, it is not specified what pieces of art will be created. There are implicit links to the impact of this design for pupils, such as being able to visually discriminate art and fostering independent artistic styles.

# data[].attributes.body
Ofsted (2023) addresses the importance of provisions providing all learners with an ambitious curriculum that is accessible to all, particularly those with special needs and disabilities (SEND). Almost all pupils should have the same high expectations, and those who do not should be subject to a curriculum that meets their needs (Ofsted 2023).

# data[].attributes.attachment_caption
Figure 7: Torpoint Nursery and Infant School (2022)

# data[].attributes.body
Within Figure 7, there is mention about how each pupil is treated as an individual. Furthermore, school's website has a bank of information about accessibility of the curriculum and SEND provision. However, there is no explicit model for how children with additional needs are considered within this curriculum design. The Assess Plan Do Review (APDR) process could be utilised to ensure pupils with SEND are provided with equitable provision and are benefitting from the impact of the curriculum (adapted from Cornwall Council, n.d). For each of the aims within the art and design curriculum, employing an APDR method may help measure progress with pupils with SEND.

# data[].attributes.body
Barnes (2018) insinuates that subject-based learning does not meet the needs of every child. He recognises that there is a 'state of decline' in the rigorous teaching of non-core subjects. Cross-curricular learning allows for children to make valuable connections between two or more different subjects and therefore, wider life (adapted from Barnes, 2015). Kidd (2020) suggests schools using a cross-curricular design, also referred to as an integrated curriculum design or 'umbrella' planning, offers potential for children to make meaningful links between subjects and strengthening their schemas as a result.

# data[].attributes.attachment_caption
Figure 8: Torpoint Nursery and Infant School (2023) Year 2 curriculum map. 

# data[].attributes.body
This school has employed the approach of 'umbrella' planning (Kidd, 2020), which may include opportunities for cross-curricular learning. However, it is not evident where individual lessons create these connections across the subjects, as this is a long-term plan with limited detail. Greenwood (2013) argues that some cross-curricular planning can 'dilute' subject-specific knowledge, so warns that it requires collaboration amongst teachers and consideration of the impact element of pupils' understanding. To add, there is a danger that some pupils will gain knowledge that they are unable to transfer to different contexts. Frequently, schools may create over-arching themes to different subjects which may have no real connections, and therefore creative inauthentic learning experiences (adapted from Myatt, 2018). Barnes (2015) adds that although this mode of planning can raise standards, interests and motivation, there is a risk of formation of misconceptions.

# data[].attributes.attachment_caption
Annotations of the cross-curricular opportunities of the 'engineering' unit for Year 2 at Torpoint Nursery and Infant school. 

# data[].attributes.body
Within placement, I observed and taught some of the curriculum content for the 'engineering' unit, as seen in Figure 8. There were opportunities for meaningful links to be made across subjects such as history, science and design technology.

This unit started with an exciting hook for children, which included displays of unseen texts, a letter written by a "historical engineer" for the children and announcement of a class trip. Barnes (2018) implies that using interesting 'starting points' of topics of work can increase engagement across the classroom. I believe that because of the obvious enjoyment, all children were really keen to learn in this topic. Concluding the class trip (this was around two weeks into the unit), I was shocked to discover how much declarative knowledge the children were able to retrieve from memory. All pupils showed high levels of interest and passion for this learning content across the subjects, but would this finding be true if cross-curricular links were not made?

# data[].attributes.body
Mastrolonardo. I (2022), 'Encouraging creative composition through use of extra-musical stimuli: A critical evaluation of a Year 7 class making programmatic music on GarageBand', Journal of Trainee Teacher Educational Research, [online] 13(1), pp.131–162. doi: <https://doi.org/10.17863/CAM.83303.> (Accessed 25th January 2024).

Mills. J (2009), Music in the primary school. (3rd edn), London: Oxford University Press.

Myatt. M (2018), The curriculum: gallimaufry to coherence. Melton: John Catt Educational, Limited.

National Council of Teachers of Mathematics (2000), Principles and Standards for School Mathematics. [online] Available at: <"Principles and Standards for School Mathematics"> (Accessed 6th February 2024).

Ofsted (2019), Education Inspection Framework for September 2023. [online] Available at: <https://www.gov.uk/government/publications/education-inspection-framework/education-inspection-framework-for-september-2023> (Accessed 10th February 2024).

Ofsted (2023), Research review series: art and design. [online] Available at: <https://www.gov.uk/government/publications/research-review-series-art-and-design/research-review-series-art-and-design> (Accessed 13th February 2024).

Ofsted (2024), School inspection handbook. [online] Available at: <https://www.gov.uk/government/publications/school-inspection-handbook-eif/school-inspection-handbook-for-september-2023#introduction> (Accessed 11th February 2024).

Piaget. J (1952), The Child's Conception of Number. New York: Humanities Press.

Rosenshine. B (2012). Principles of instruction: Research-based strategies that all teachers should know. [online] American Educator. Available at: <https://www.aft.org/sites/default/files/Rosenshine.pdf> (Accessed 6th February 2024).

Smith. M (2018), The Emotional Learner: Understanding Emotions, Learners and Achievement. [online] London: Routledge. Available at: <https://www-taylorfrancis-com.plymouth.idm.oclc.org/books/mono/10.4324/9781315163475/emotional-learner-marc-smith> (Accessed 30 January 2024).

Threlfall. J; Frobisher. L (1999), 'Patterns in Processing and Learning Addition Facts' in Orton. A, Pattern in the teaching and learning of mathematics. London: Cassell, pp.49-66.

Young. S (2016),  Early Years Music: A Handbook for Early Years Professionals. London: Routledge.