Another way of thinking about rigour in the music room

‘The class worked intensively as a unit in the assimilation of new musical material and at the same time mastered unfamiliar compositional strategies. In all this there was a persistent and insistent demand from the teacher for musical precision in the cause of individual and ensemble musicianship. Musical gestures had to be given intention by being imagined, sculpted and attended to in their execution. It mattered greatly that there was precision in attack and quality in duration. It was a matter of priority that each sound in relationship to the positioning of other sounds was understood as part of an architectural whole.’

This is a description of a year 9 lesson where the teacher was demanding embodied musicianship and not letting go until a baseline of physical musicality had been achieved.

For other thoughts about rigour more generally in music education see below:

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