My French teacher was a bit of a hero. Back in the ’70s there was too much ‘chalk and talk’ in the classroom. Languages (modern and classical), for example, were taught in a dry, repetitive, recitational, structured, formulaic way. There was little ‘feel’ for the country, the culture, the nuance of pronunciation or inflection, the joy and musicality of language. In this context my French teacher was something of a radical, a revolutionary; the sort of chap who would willingly man the barricades in ‘Les Misérables’. Enough hyperbole. His success came through a love of language and his ability to engage the class, sometimes employing multi-sensory, kinaesthetic techniques. One day the class was even more sluggish than usual (speaking only for myself). As I recall, it was a lovely spring morning. He grabbed a portable cassette player from a side table and ushered us out onto the lawn. It was there that he taught us ‘La Marseillaise’ while giving us some background to the French Revolution and republic. ‘Aux armes, citoyens…’ we bellowed.Was it the drama, the spontaneity, the break from routine? Or was it the language, the story, the music? All six, I feel, but the music stands out in my memory. I was fortunate in attending a school where music was prevalent: singing, choral singing, ensembles and orchestras.

Chuckles will be heard (or indignant cries of dismay) in school staff or governors’ meetings when someone carelessly talks of ‘the academic subjects’, by implication the likes of music not felt to fall within that category.

Not only is music another language (without even considering lyrics and poetry), it is mathematical, historical, cultural and spiritual.

It’s a traditional disposition where Classics once ruled the roost; English and maths a given, sciences and languages encroaching. Design technology and computer science had not by then entered the vocabulary. Music isn’t generally included in that elite, yet it is arguably one of the most academic subjects. Not only is music another language (without even considering lyrics and poetry), it is mathematical, historical, cultural and spiritual. There are some who would argue that the Associated Board music exams are the only tests which have avoided grade inflation.

Music should be central to every young person’s education. Schools should be filled with music.
Then there is the collaborative joy of singing. Colin Firth dismisses his own ability: ‘My singing voice is somewhere between a drunken apology and a plumbing problem.’ Yet, most children don’t have those crippling inhibitions – if taught, enthused and encouraged effectively.
A recent initiative in Mayfield has seen the formation of a youth choir, comprising children from local primary schools. It has been met with enthusiasm by teachers, parents and, above all, children. Witnessing a rehearsal, their joy, their passion, was palpable. One girl has said Monday is now her favourite day of the week as that is when they learn and rehearse. They recently joined an adult choir to perform ‘A Season to Sing’, a choral reimagining of Vivaldi’s Four Seasons.
Music, singing and performance, all contributing to personal development: a powerful educational trio.

A Head for 25 years, Mike Piercy is now an educational consultant and school governor. Contact him at mikepiercy@hotmail.com