Finding My Feet: Early Years in the Classroom
I began teaching high school classroom music in 2011, having previously taught private and group piano, saxophone, clarinet, and band lessons at various schools and institutions in Australia and Japan.
My students ranged from complete beginners to dedicated performers at a popular music technical college. Stepping into an international school music classroom with students of such varied abilities and interests felt a bit like a trial by fire. Some approaches worked, others did not, a reality familiar to many first-year teachers.
The "Plugged" Concert: A Glimpse of What Music Could Be
I taught Key Stage 3 for three years, growing in confidence over time. The highlight of each year was the term leading up to the “Plugged” concert, established by Head of Music Mr Curran and former music teacher Mr Chapman. Year 7 performed songs from the 1970s, Year 8 from the 1980s, and Year 9 from the 1990s. Student engagement in these informal learning contexts was always fascinating to me. Students who identified as “serious” musicians and those who were typically less interested in music were equally involved and motivated.
Although this term was my favourite to teach, it required extensive preparation. I scored all parts in Sibelius and created practice tracks in GarageBand for students to rehearse with. Despite the workload, students’ enthusiasm and the shift in my role from instructor to mentor made the experience deeply rewarding.
Adapting and Expanding: Music Technology Enters the Picture
At my next school, I taught Pre-K to Year 6 without a dedicated music room, travelling between classrooms with instruments on a cart. However, each student had access to a personal computer or iPad. Due to space and noise constraints, I began incorporating music technology, an area outside my comfort zone, into my teaching. While challenging, the addition of digital music components proved highly engaging for students and complemented the performance-based learning I was already confident delivering. It also required significant preparation, from creating tutorials to ensuring I stayed one step ahead of the class.
In my subsequent role, teaching primarily Key Stage 1 and 2, I continued integrating performance and digital composition, even with younger learners. Performance opportunities were abundant thanks to Head of Music Ms Corrigan, with recitals, concerts, and musicals forming a central part of school life. Informal performance was also encouraged through initiatives such as “Busking Friday”, organised by Mr Findlay.
Searching for a Better Way
Before joining my current school, I knew I would once again be teaching a broader primary range, Kindergarten to Year 6. I wanted to find an approach that would support my teaching, reduce preparation time, and allow more space for joyful, meaningful classroom experiences while remaining academically and pedagogically sound.
Discovering Musical Futures International
After meeting Chris and Anna and attending a brief workshop at a FOBISIA conference, featuring Musical Futures International with Anna and 'Gain Staging' with Chris, I decided to attend a Bangkok Big Gig to deepen my understanding of the Musical Futures International framework. I immediately felt that the approach and resources complemented what I was already doing in the classroom. Not only did they save hours of preparation time, but the materials were of a quality far beyond what I could produce alone, and the pedagogical progression aligned closely with my own teaching philosophy.
Since that first workshop, I have integrated Musical Futures International materials into many of my classes at AOBA Japan International School and shared them with colleagues. We were also fortunate to be selected as a Champion School, supported by the arrival of long-time Musical Futures teacher Mr Hoddinott as Head of Bunkyo Campus.
A Growing Community and a Resource That Keeps Evolving
I particularly appreciate the ongoing development of the platform. It has evolved significantly since I began using it, and I am excited to see what comes next. Equally valuable has been the opportunity to connect with a network of like-minded educators through workshops and social media, a vital source of support in what can sometimes feel like an isolating specialist role.
The MFI materials, especially the Recreate resources, have also proven invaluable for cover lessons. With a small amount of preparation and lesson planning, non-musician teachers can facilitate meaningful musical learning with confidence.
Looking Ahead with Confidence
Next school year, I will return to teaching Key Stage 3 and above. After a decade working primarily with younger students, the transition brings a degree of trepidation, but also genuine excitement. Compared to my first high school teaching experiences 15 years ago, I no longer feel the dread of the unknown. Instead, I am eager to see how Musical Futures materials will support and shape learning in this new context.
Written by Sean Tait
Sean Tait is an experienced pianist, performer and music educator with over twenty years of teaching across Australia, Thailand and Japan. Having taught everything from private piano and band lessons to classroom music across all primary and secondary year levels, Sean brings a broad and adaptable approach to music education. He is passionate about informal learning, student engagement, and integrating music technology meaningfully into the classroom. Sean has embedded MFI materials across his programme at AOBA Japan International School, where his school holds Champion School status. He is currently preparing to return to secondary teaching.