The Trinity Certificate for Music Educators (CME) launched in 2013 and, in that time, our enthusiasm for the qualification and the value it brings to the music education sector has never wavered. But what is it about the CME we love so much? Read on for five important reasons why music educators need to explore it further.
1. It’s not just for music graduates
One of the key factors as to whether the CME is the right qualification for someone delivering music education isn’t how good a musician they are, but how their ability compares with those they are teaching. For example, if an individual is delivering music sessions in an Early Years setting, they will, of course, need to have fundamental music skills, such as the ability to sing in tune and keep a steady beat. However, the competence to play an instrument to diploma standard is arguably less critical than having the appropriate interpersonal skills to work with that particular age group. We have welcomed all manner of learners onto the CME programme over the years from lunchtime supervisors running recorder groups to SEND specialists incorporating music into their delivery.
2. The CME courses are run by some of the best in the biz
One of the things we are immensely proud of is the calibre of our CME course providers.
and the people working to deliver the programmes – and we probably don’t shout about this enough. University lecturers, primary and early years music education specialists and Music Education Hub and service heads are amongst those leading the programmes available, many of which are available remotely if their centre isn’t local to you.
3. ‘You can spot a CME teacher a mile off’
This was my favourite line from a recent meeting with some of our CME course directors because, over the course of many years, they have been able to see the positive effect taking the CME has on their employees. You see, where the CME differs from many forms of CPD is that it’s not simply about a learner’s capacity to learn, remember and do stuff; written into it is the requirement for learners to reflect on what they are doing or have done at every stage. Through this, learners on the CME programme aren’t purely meeting the learning objectives of the qualification but cultivating habits that will continue to be beneficial to them throughout their career. However…
4. Learners have to be willing to engage with the course content
The CME is not a qualification that can successfully be completed if perceived as a tick-boxing exercise. For example, a learner might attend Safeguarding training and be able to provide copies of the relevant policies from all of the settings in which they work, but if they do not demonstrate an understanding of why these are in place and how they are embedded into their teaching, they will not have fully evidenced their ability to meet the learning outcomes for this section of the CME. It’s therefore essential that prospective learners understand that it’s not simply about what you know – musically, pedagogically, procedurally – but how you use that knowledge to inform your teaching practice.
5. The CME is just the beginning
The CME is not designed to be the end of an educator’s CPD journey. Of course, for some the certification and validation of their teaching practice is the main incentive for committing to a course. But the CME learning outcomes provide a foundation in music teaching and reflective practice that aims to encourage and equip learners for a career full of learning. We always hope that learners of the CME will complete the course with skills, knowledge and experience that will carry them – and their students - forward into new avenues of musical learning.
Would you like to know more about CME learners’ experiences and what they have gone on to do next? Why not read one of the following blogs posts next:
Are you ready to take your music teaching to the next level? Find out more about the CME with Trinity.
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