IN AN East Sussex village, the church and parochial church council are providing what the Department for Education says that each school ought to be delivering. Its Programme of Study for Music says that “Music is a universal language that embodies one among the best types of creativity.”
Regarding Key Stage 2 (children aged seven to 11), it continues: “Pupils ought to be taught to sing and play musically . . . play and perform solo and in ensemble contexts using their voices and playing musical instruments.” But an issue hangs within the air: is that this an ambition or an obligation?
Education budgets are stretched taut. Tighten a violin string without care and it’s going to snap and, silenced, be able to delivering neither note nor melody. Only in larger primary schools may staff recruitment include a music teacher. In smaller primaries, the presence of somebody who has some training and qualification in music teaching is most likely attributable to just luck. The focus will generally be on numeracy and literacy (and, in fact, good teaching).
But this shouldn’t be to disclaim the will or the necessity. Most head teachers would feel blessed to have of their team someone with musical training, able to filling the school rooms and corridors with joyous singing.
ST DUNSTAN’s lies within the parish of Mayfield and Five Ashes, East Sussex. Both villages have primary schools. St Dunstan’s itself has a robust musical and choral tradition, and hosting lots of the biennial Mayfield Festival concert events.
In an modern project, “Mission Through Music”, still in its infancy, the PCC has funded the director of music at St Dunstan’s to enter the 2 primaries with the aim of encouraging these young people to affix the choral lifetime of the church. While the Church of England needs young people, the broader aim is to introduce children to the thrill of choral singing and the facility of collaboration: to sing in four-part harmony, learning the wealthy history of music — largely, but not exclusively, that of the Church.
Additional funding through a trust has now been made available for choral bursaries. Just one has been granted, up to now. A small fee, as an incentive, is paid to the lucky recipient, who has to indicate commitment and endeavour, attending all rehearsals, singing with the church choir for 2 services a month, and learning and practising the music. The choir rehearses within the church after school on Mondays, which, one girl says, is now her favourite day of the week. Special moments for all were receiving their cassocks — and, much more, their surplices (through donations). RSCM medallions are yet to return.
THE young people’s first public performance was in 2025 in St Dunstan’s. They joined the adult choir in a performance of Joanna Forbes l’Estrange’s choral reimagining of Vivaldi’s The Four Seasons (the recording of which is now available on all good streaming platforms). They have since made a recording for CBeebies. In October, they joined the church choir for choral evensong in St Paul’s Cathedral. Throughout, they’ve attended hours of rehearsals, developing discipline and cultivating concentration — attributes that can feed their wider learning and growth.
Julie SalweyJulie Salwey
This work has rapidly prolonged beyond the parish itself. Three other primaries near by have gotten wind of the project. The director of music is invited to steer harvest festivals and to work with whole and multiple 12 months groups. The children greet her with hugs and smiles. The head teachers and staff see the worth of musical education. They would love to supply more — hence the keenness to change into involved on this initiative. But they’re constrained by budget.
JUST one 12 months in, the lucky children and their parents remain supportive and grateful. Children are busy with after-school clubs and activities, and, for some, there’ll inevitably be a clash. It has been gratifying to see just a few select choir over a desirable alternative. That said, the director of music needs to be firm: to be a member of the junior choir shouldn’t be a brief option, to be discarded when something a little bit shinier comes along.
Three big events in a single short 12 months have undoubtedly been a draw, but, importantly, the support has remained, week in week out, as participants have attended rehearsals and learnt latest music. This 12 months, the young choristers will take part in a performance of the cantata Ahoy! within the Mayfield Festival. They sang with the church choir at Remembrance and again at Christmas.
Music education is a hot topic within the media. We have, architecturally, aesthetically, and acoustically, a few of the finest cathedrals and churches on this planet. Regardless of non secular belief (or the shortage of it), the PCC of Mayfield and Five Ashes has struck a chord addressing a fundamental human need: music.
Top suggestions:
- A robust choral tradition is useful — or the motivation to initiate a “latest tradition”.
- A supportive vicar and PCC, and enthusiasm from local primary schools and their head teachers, are each essential.
- Required: an modern, determined music teacher with a passion for choral singing.
- Volunteers from the church choir are needed to assist with rehearsals, and to construct a way of shared mission.
- Diocesan support is vital (the Bishop of Chichester is an advocate of outreach to primary schools).
- Enthusiasm and commitment are more vital than ability.
- Cakes or biscuits go down well at a rehearsal after an extended school day.
- Frequent communication with chorister parents is vital — as is patience once they don’t reply.
- Crucially, funding (that old chestnut): from the PCC; fund-raising activities (£1250 raised from a quiz night within the church); local music groups; independent schools; philanthropy; applying to varied trusts, etc.
Stamina, resilience, time, and commitment are required from all involved. To see the youngsters’s faces after a concert, service, or evensong in St Paul’s is just reward.
Mike Piercy is a retired head teacher, and the writer of Careering, published by Troubadour (978-1-80514-480-9).
