in this evaluation, I aim to examine my group’s lesson plan for the Junior Conservators programme, designed for students aged 8–11 and 11–17. The lessons are structured across a limited number of sessions and are delivered collaboratively by me and my groupe. The primary aim of the programme is to introduce students to graphic scores and to guide and support them in learning how to read, interpret, and use these scores as songwriting and compositional tools. A central objective of the programme is to encourage students to move outside their comfort zones in relation to both composition and improvisation, particularly by challenging their reliance on conventional notation and familiar musical structures.The lessons also explore the use of effects and unconventional playing techniques, encouraging students to engage with sound in a more experimental and exploratory manner. These techniques are introduced as creative resources that allow students to expand their sonic palette and consider music in terms of texture, timbre, and gesture rather than pitch and rhythm alone. In addition, music theory is embedded within creative and non-traditional contexts, allowing students to apply theoretical concepts in practical and intuitive ways. This approach aims to help students expand their timbral awareness and tone production, while also developing confidence, creativity, and a broader understanding of music-making that extends beyond Western notation practices.For the younger age group, the lessons are deliberately designed to be more accessible and play-led in comparison to those for the older students. The primary focus for this group is to introduce the concept of graphic scores in a simple, engaging, and visually driven way. Students are encouraged to bring photographs from home, which are then used as visual stimuli around which they build their compositions and musical ideas. This approach helps to ground the abstract nature of graphic notation in familiar and meaningful imagery, making it easier for students to respond intuitively through sound rather than relying on technical instruction. By framing composition as a response to visual material, students are able to engage creatively without the pressure of correctness or formal notation.

One of the main challenges anticipated when working with the younger age group is helping students to fully grasp the concept of graphic notation, as its open-ended and abstract nature can initially be confusing. Some students may seek clear rules or specific instructions and may feel uncertain when faced with multiple possible interpretations. However, this challenge is balanced by a significant advantage: younger learners are often less constrained by rigid musical rules and expectations. As a result, they tend to approach tasks with greater curiosity and imagination and may be more open to engaging with avant-garde ideas and experimental approaches to music-making. This openness allows students to take creative risks and supports the overall aim of fostering confidence and expressive freedom.In contrast, the older students are encouraged to engage with graphic scores in a more analytical and interpretative manner. They are asked to consider visual elements such as colour, line, density, shape, and spatial placement within selected graphic score examples, and to use these features to inform their musical decisions.

This approach aims to expand their musical thinking beyond standard Western music theory and notation, encouraging them to view sound as a broader expressive medium. Students also explore how visual information can be translated into musical parameters such as dynamics, texture, articulation, register, and formal structure. Through discussion and reflection, they are encouraged to justify their interpretative choices and consider how different interpretations can lead to contrasting musical outcomes.To support this process, my fellow members of my group and I provide live demonstrations of improvising to graphic scores. By modelling the interpretative process in real time, students are able to observe how abstract visual information can be translated into sound in multiple valid ways. These demonstrations are intended to demystify the concept of graphic notation, which can be particularly challenging for conservatoire-level students so personally have struggled wrapping my head around it at the start  highly structured and rule-based musical systems. Seeing tutors take creative risks and make spontaneous interpretative decisions helps to normalise uncertainty and reinforces the idea that ambiguity can be a productive and valuable part of the creative process.In the first session, the lessons are kept intentionally basic, with a strong emphasis on building rapport and establishing a supportive and inclusive learning environment. As the teaching period is relatively short, it is essential that students feel comfortable and confident from the outset. Activities are predominantly practical, as a hands-on approach is more engaging for younger students than extended verbal explanation. A practical focus is also beneficial for the older students, as it allows them to engage immediately with the concept of graphic scores rather than overanalysing the material. Given the short timeframe, this immersion-based approach enables students to become fully involved in the creative process and develop an intuitive understanding of graphic notation, maximising both engagement and creative output across the sessions.A further advantage of using graphic scores within this context is the way in which they place all students on a more equal creative footing. As traditional staff notation is not used, students who may feel intimidated by conventional notation—particularly younger players or those with less formal training—are able to participate more confidently. Graphic scores reduce the pressure of being able to read standard sheet music  and instead prioritise listening, interpretation, and creative response. This makes the learning environment more inclusive and encourages collaboration across a wide range of abilities and instrumental backgrounds Additionally, the inherent freedom within graphic scores allows for instrumental combinations and ensemble interactions that might not traditionally occur. Instruments that would not usually be grouped together can within the same improvisatory framework, a creating rich and unexpected textures. This is particularly beneficial during improvisation-based activities, such as call-and-response exercises, where students are encouraged to listen closely and respond creatively to one another. The diverse range of instruments within the group becomes a strength rather than a limitation, reinforcing the idea that music-making is a shared, exploratory process rather than a fixed or prescriptive one. My fellow students and I adopt a practical, hands-on teaching approach, which reflects the educational philosophy of John Dewey, particularly his emphasis on experiential learning and reflection. Feedback from both tutors and students is actively encouraged through sharing sessions at the end of each lesson. During these discussions, we talk with the students about what went well, what did not work as effectively, what they feel could be improved, and which aspects of the sessions they particularly enjoyed or found valuable. This feedback allows us to modify the lessons accordingly, ensuring that we are not “firing into the dark” and hoping for a positive outcome. Instead, this reflective process enables us to adapt our teaching to better support students in meeting the learning goals of each session and to ensure they gain something meaningful from the experience. In addition to student feedback, we also plan to consult with the tutors who run the Junior Conservators programme. As they are experienced in working with the specific classes we will be teaching, they have a deeper understanding of the students’ abilities, needs, and learning styles. Their insight will help guide the lessons towards a more constructive and informative structure and allow us to refine our approach based on their professional experience.Overall, I believe this is a strong and well-considered plan in terms of both lesson content and delivery. Our first visit on 17 January will provide an opportunity to meet the students, familiarise ourselves with the learning environment, and build relationships with both students and tutors. This initial engagement will give us a clearer understanding of the context in which we are working and may lead to adaptations to the lesson plan, either after the first session or as the programme progresses. Through ongoing discussion with the tutors and reflection on our teaching practice, we aim to adapt and develop the lessons where necessary. Ultimately, the goal of these sessions is to support older students in preparing for their progression beyond the Junior Conservatory, while helping younger students to view music in new ways and equipping them with a wider range of creative tools at an early stage in their musical development.