Introduction to the Certificate for Music Educators (CME)

Musicians' Union

7 July 2017

The level 4 Certificate for Music Educators (CME) is designed to help music educators demonstrate and gain recognition for their professional abilities, while also developing and consolidating their skills and knowledge.

It was launched to fill a gap: there was previously no qualification that could be taken by all music educators in any setting working with any musical genre. The CME is designed to address key principles of working as a music educator while tailoring these in way that is applicable to each learner’s specialism.

The CME is primarily awarded by Trinity College London through a network of centres. If you are reading this, it is because your centre uses learning materials provided by the Musicians’ Union. This website is where you will find materials for Units 4, 5 and 6 of the CME. Contact your centre if you have any difficulties accessing it. If you need more general information about the CME, your centre can also provide this for you.

Follow the links on the CME channel for the materials for Units 4, 5 and 6.


 

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Introduction and background


 Introduction | Section A | Section B | Section C | Publications

Schools are required to have a range of policies which formally set out the guidelines and procedures for ensuring equality. Legislation in the UK and beyond, particularly since the mid-1990s, seeks to ensure equality for all citizens and the most recent example is the Equality Act which came into force from October 2010.
  • The significance of legislation is in its outcomes and schools are expected to monitor equality of opportunity and inclusivity, which is also judged by Ofsted during school inspections. Legislation is amended regularly in response to inspection outcomes so, as a music educator, it is important that you are familiar with up-to-date policies and procedures in any settings in which you work.
  • Music is often cited as an example of a subject area where it is possible to promote diversity and inclusion through the choice of musical materials that are used. As part of the way you develop your understanding of equality, diversity and inclusion in music education, read the following extract from legislation and guidance on education and the law.

Discrimination

It is unlawful for any education provider, including a private or independent provider, to discriminate between pupils on grounds of:

  • age
  • gender reassignment
  • pregnancy or maternity
  • disability
  • race
  • sex
  • sexual orientation

Discrimination on these grounds (known as protected characteristics) is unlawful in relation to prospective pupils (admissions arrangements), pupils at the school including absent or temporarily excluded pupils and former pupils who have a continuing relationship with the school. There are some exceptions so as to allow for the maintenance of faith schools and single-sex schools; some disabled pupils and pupils with a statement of special educational needs may be segregated in special schools and schools may temporarily or permanently exclude pupils for disciplinary reasons.

As you work through this unit, consider whether you have observed any examples of discrimination in the context in which you work, or have worked, as a music educator.

It may also help you to think back to your own schooldays or experience of further or higher education or of taking part in music-making.



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Introduction


Introduction  |  Section A  |  Section B  |  Section C  |  Section D  |  Resources


CME Learning Outcomes (LO)

There are four Learning Outcomes for Unit 4.

You will:

  • LO 1: Understand policies and procedures for promoting children and young people’s positive behaviour
  • LO 2: Be able to promote children and young people’s positive behaviour
  • LO 3: Be able to manage inappropriate behaviour in children and young people
  • LO 4: Be able to respond to challenging behaviour in children and young people

Each of these Learning Outcomes is addressed in the four sections (ABCD) that follow the Introduction as well as through the five learning activities.


Introduction

As a music educator, you may work with large groups of children and young people, small groups or individuals. You may work as a visiting music educator, or at home.

  • Promoting positive behaviour is important in whichever context you work. If you work in a school or other educational establishment, there should be policies and procedures in place to promote children and young people’s positive behaviour and sanctions which you may be able to apply if necessary.
  • While you may not encounter challenging behaviour in your current working environment, it is important that you demonstrate an understanding of how to deal with it and how to promote positive behaviour.

As a music educator, you should be aware of the document titled, The importance of music: a national plan for music education (NPME).

  • In 2011, the then Secretary of State for Education, Michael Gove, and Ed Vaizey, the then Minister for Culture, Communications and Creative Industries published the first National Plan for Music Education (NPME) which was developed on the basis of the recommendations put forward in the Henley Review of Music Education. This was undertaken by the then CEO of Classic FM, Darren Henley, at the request of the government.
  • Music Education Hubs were created in response to NPME requirements and the CME was developed by Arts Council England as stated in NPME.

WORKING WITH LARGE GROUPS

  • Children and young people enter the learning space with varying degrees of readiness to learn. You should enter it with a range of strategies to enable you to meet challenging behaviour, exercise an appropriate level of control and, through promoting positive behaviour, enable and facilitate musical learning.
  • You will need as much prior knowledge of individual children and young people as is necessary to inform how you manage the activity session or lesson. For example, where possible, make sure you know who will be in the session before you begin and any additional needs the learners may have.

WORKING WITH SMALL GROUPS OR INDIVIDUAL LEARNERS

  • It may seem that issues of challenging behaviour are unlikely to occur when you are working with a small group, or an individual, but while the behaviour displayed may be different it can be equally inappropriate and challenging.

Now, work through the four sections that follow and the five learning activities.


Introduction  |  Section A  |  Section B  |  Section C  |  Section D  |  Resources