The State of Play continued.. Of course, care would have to be taken not to displace the current curriculum provision for music. At present, very few schools in the US offer any music education beyond their band or choral programmes, denying their students creative experiences – notably in composition – that are currently available to British pupils. In line with the breakdown of subject boundaries implicit in current recommendations, there has been a growing interest in forging cross-curricular links between school disciplines.

Subject departments, increasingly coordinated by over-arching faculties, get together to construct topics and themes that link skills-based, subject-specific work. For example, a term’s work on ‘expressionism’ (in itself a relatively abstract concept) could be explored through music, art, dance and drama each in its own meaningful way. Under the government’s specialist schools programme, music has already found itself playing an important role in this kind of unified arts approach.

From the pupils’ perspective, the benefits of this cross-curricular methodology are clear. No longer are they obliged to move from subject area to subject area switching from a ‘music’ mindset to a ‘drama’ way of thinking. No longer do subjects seem abstract or disjointed. And for Year 7 pupils, coming straight from primary schools, having sight of the bigger picture helps make the diversity of secondary education seem less daunting.

In music there are obvious and easy ways in which this approach can be embraced. Modest adaptations to a typical 12-bar blues topic – some historical background, perhaps, and close analysis of some blues lyrics – would allow it to slot easily into a unified cross-curricular project on ‘freedom’ or ‘civil rights’. Subject specialists in areas as diverse as English, history, art, geography, drama and dance would have ample opportunity to address the same topic using their own knowledge and expertise.

There can be no doubt that enabling pupils to make conceptual links between subjects, thereby allowing them to access their learning in an independent way, will raise achievement across all subject areas. Whilst these are important shared benefits, it is essential for music to retain some role as a discrete discipline within the curriculum and qualifications structure. The recent inclusion of music as a separate school specialism, under the specialist schools programme, therefore, should be heartily welcomed.

Another area in which borders need to be crossed and boundaries dismantled is that of community music. UK communities support a wealth of lively amateur music-making, which ranges from local choral societies and amateur orchestras to rock groups and talent shows.

Schools could form alliances with groups such as these to enormous mutual benefit. Interested adults from a school’s local community could join in ensembles and concerts, bringing expertise, organisational experience and money. Adult participants would themselves benefit from the subject knowledge and skills of the school’s music staff. Such schemes could also offer parents a welcome way to support their children’s school.

Community concerts focusing on collaboration between local amateur ensembles and school groups have a wider appeal and – to generalise – higher musical standards that the run-of-the-mill school concert.

Over the next ten years, most subjects will redefine and relocate themselves within the school curriculum: music is no exception. The distribution of curriculum time and the perceived value of the discipline – defined nationally and interpreted locally – will depend on the case made for their subject by music educators.

Robert Legg teaches music at a large comprehensive school in Oxfordshire