Written evidence submitted by the Music Education Council

1. Executive summary:
• Music Services and, latterly, Music Education Hubs demonstrate the positive social impact that participating in music education activities can have. They provide evidence in respect of successful practices and lessons learned, particularly over the past decade, but also over the past 70 years (See case studies).
• Access to musical activities can be improved by ensuring all schools provide a strong foundation in music education as part of a broad and balanced curriculum; taught by confident and competent teachers. Progression routes, beyond those which schools or clusters of schools can provide alone are made possible through strong local, regional and national partnerships and effective partnership working[1].
• Efforts have not been co-ordinated more effectively in some cases due to lack of a deliverable holistic vision within the available resources; clear responsibilities combined with a willingness to hold those responsible to account; and the lack of effective developmental support for those who need it.
• Examples of effective best practice have been seen at times between the DfE and DCMS in music education. This has been dependent upon shared priorities and personal efforts by ministers in each department, for example, Michael Gove (DfE) and Ed Vaizey (DCMS).
• MEC has no comparative evidence in respect of effectiveness of social mobility through sport or culture, but can provide extensive evidence of social mobility through music education programmes.
• Examples of how cultural venues working as active partners with Music Education Hubs will be able to boost access and social impact are included in Case Studies 2 and 3. 

2. Main Submission: This submission is made on behalf of the Music Education Council (MEC) and is completed by the Chair, Richard J Hallam MBE. MEC is the umbrella organisation for all organisations connected with music education in the UK. Richard Hallam has been a professional musician, teacher, director of music, inspector and advisor, including being consultant to the DfE from 2003 to 2012 and chair of MEC since 2013.

3. Music projects and programmes can have an impact on all of the areas of social mobility, health, crime reduction, education, community engagement and diversity[2]. To be successful the approach must have quality and appropriate focus. The evidence below focusses mainly on social mobility, education, community engagement and diversity, but there are many more examples.

4. Music Services and, latterly, Music Education Hubs demonstrate the positive social impact that participating in music activities can have. They provide evidence in respect of successful practices and lessons learned, particularly over the past decade, but also over the past 70 years (See case studies below). Events such as these bring children and their extended families into contact with culture, venues and experiences beyond those normally experienced by many, raising aspirations, changing perceptions and challenging prejudices.

5. Case Study 1: 70 Years of Music Making… Leicester-Shire Schools Music Service celebrates 70 years with a calendar of high profile events for young people. Founded by Eric Pinkett, Leicester-Shire Schools Music Service (LSMS) first opened its doors in Leicestershire in 1948 which was the beginning of a rich heritage of music education and opportunities for City and County students that continues to this day. To celebrate such a fantastic achievement, a number of unique and special events have been organised throughout the year…World Premiere! February 3rd 2018 showcased the World premiere of Legend of the Sky, an exciting and ambitious commission created collaboratively with the Philharmonia Orchestra, with whom LSMS has partnered for many years.  Led by Composer Fraser Trainer and Librettist Hazel Gould, over 250 students wrote the lyrics, composed the music and performed their own piece of celebratory music working alongside the Philharmonia musicians. The composition, depicting the ancient Leicestershire folk legend The Griffin of Griffydam, who terrorised his villagers, includes a large orchestral ensemble, steel pans, Indian classical musicians, a massed primary choir and the LSMS show choir and showcased the rich cultural diversity of the work both organisations do today. Where are they now? Reunion. Many Leicestershire alumni have experienced social mobility over the past 70 years. Many will get together again in March, including Richard Hallam MBE (Chair, MEC). Grand Finale – The Royal Albert Hall Following a successful bid to MEC member Music for Youth, 700 talented Leicestershire Students will be showcasing their talents at the Schools Prom by performing Legend of the Sky at the Royal Albert Hall in November 2018, promoted by Music for Youth. For many, this will be the first time they have visited London or experienced an iconic venue like the Royal Albert Hall. During the concert the young people and their extended families will also experience a diverse range of musical styles and performers with exceptional talent.

6. Case Study 2: Bristol Music Trust (BMT), also the home of Bristol Plays Music, the lead organisation for the Bristol Music Education Hub based at Colston Hall, held a launch event at the Houses of Parliament in November 2017 to celebrate its prospective partnership with London’s Barbican Centre and Newcastle’s Sage Gateshead to promote inclusivity and diversity in the arts sector. As the operator of Bristol’s flagship music centre, BMT is leading on spreading inclusivity in the arts across the rest of the UK.  BMT’s focus is delivering accessible arts and music training for all, and collaborating with two of London and Newcastle’s most ambitious, innovative and inclusive cultural centres on spreading inclusive best practice. In collaboration with other MEC members, resources such as the short accessible guide to music education have been produced: https://theshortguidetoaccessiblemusiceducation.wordpress.com/ MEC Music Education Awards celebrate and share examples of effective practice. Bristol’s work was recognised as joint winners in 2016 Bristol Plays Music was again been shortlisted in 2017.

7. Improving access and talent pipelines: All young people attend school. Schools provide the basic foundation in culture and sport. This is particularly important for young people whose families may not offer any or only limited experiences in these areas.

8. Access to musical activities can be improved by ensuring all schools provide a strong foundation in music education as part of a broad and balanced curriculum; taught by confident and competent teachers. Too many primary school teachers do not have the knowledge, skills and understanding to have the confidence or expertise to teach these subjects to children and young people despite this being a requirement of their Qualified Teacher Status.

9. Unintended consequences of other policies and decisions have undermined the importance of sports and culture in schools. The lack of the arts and sports in the EBacc and Ofsted’s decision to cease subject reports, stop having subject leads and reduce attention on sports and arts subjects in their inspections have contributed to decisions that have undermined the importance of these subjects in both primary and secondary schools.

10. Even when schools employ teachers who have the required expertise, schools cannot do this alone[3]. Progression routes, beyond those which schools or clusters of schools can provide alone are made possible through strong local, regional and national partnerships and effective partnership working[4]. The Government is achieving this in music by encouraging all partners to work together through the Music Education Hubs and through funding the Music and Dance Scheme and National Youth Music Organisations such as Music for Youth.

11. Some head teachers value sport and the arts as part of an essential broad and balanced education. Other head teachers have taken decisions which are devastating for some young people, particularly in secondary schools. There are currently no meaningful sanctions or incentives to provide a broad and balanced curriculum.

12. Co-ordinating efforts effectively. One size doesn’t fit all. For this reason, local flexibility is essential. However, there is never enough money to achieve 100% success. Local flexibility can also result in variability. The processes by which local decisions are made need to be transparent and decision makers held to account for the choices they make, together with how these choices respond to and accommodate identified needs, taking account of local resources. Clear priorities, targets and outcomes need to be reported, defined and explained with three year rolling plans showing clearly how objectives will be achieved over time.

13. What is reported will often define where priorities lie. But what is easy to report will often not the most important. It is often not easy to report quantitative data that is meaningful and helpful. This can result in a loss of purpose, focus and direction. Quality of provision is essential, but this can be much harder to define or assure with a largely self-employed workforce.

14. Examples of effective inter-departmental practice. The National Plan for Music Education is an example of effective inter-departmental practice. Departmental officials are often able to work well together. Their work is at its most effective when the lead comes from ministers as was the situation with Michael Gove and Ed Vaizey. Success, as with any partnership, depends on shared priorities and clarity regarding the contribution of each department and the outcomes for each department.

15. The In Harmony programmes (see also point 17 below) provide examples of effective partnership working between the DfE, DCMS and ACE.

16. Comparative evidence. MEC has no comparative evidence in respect of effectiveness of social mobility through sport or culture, but can provide extensive evidence of social mobility through music programmes.

17. Active partnership. There are examples of cultural venues working as active partners in Music Education Hubs boosting access and achieving social impact. (See case study 2 above and case study 3 below). 

18. The In Harmony programmes are providing further evidence of impact in these areas. These programmes are specifically targeted at the most disadvantaged communities and include lead partners such as the Sage, Gateshead; Royal Liverpool Philharmonic Orchestra; and Opera North. Several research reports are available. As an example, key findings including successes and lessons learned from the most recent report are as follows[5]:

• Young people continuing with their musical activities in secondary school and during GCSE studies loved music, had strong musical identities, had a social life related to music and were committed young musicians.
• This had been achieved by the In Harmony programmes which provided a wide range of inclusive, musical activities in a supportive environment and opportunities for performance and engagement with other young musicians.
• In Harmony staff are key in developing strong, supportive relationships with young people, to inspire and motivate them and guide them in the decisions they make about their musical progression.
• It was important to engage parents early on and maintain their support. Regular contact, meetings and other communications were crucial.
• Musical progression opportunities at secondary school were generally limited and where available were often inappropriate. The lack of a positive musical culture led to negative peer pressure and sometimes bullying. Most progression was through extra-curricular activities.
• There were financial challenges in providing instrumental lessons at secondary level despite the availability of the pupil premium.
• Extra-curricular activities needed to take account of location and access. Finding suitable, affordable accommodation for activities and concerts was challenging.
• To ensure appropriate musical activities for all young people required partnerships with other music education organisations, particularly music hubs which have responsibility for providing appropriate and affordable progression opportunities in their area.
• The In Harmony programmes are at various stages of development. They face different challenges. They can learn from sharing their experiences as part of ongoing professional development opportunities.
• There is no quick fix to ensuring musical progression. Each In Harmony programme needs to identify the challenges for the young people and families in its communities and through consultation with them attempt to resolve the issues.
• It is not sufficient to provide progression opportunities for young people from very deprived communities, it is necessary to recognize the barriers and attempt to remove them.

19. Case Study 3: Wigmore Hall: Chamber Tots in the Community. The Chamber Tots programme takes place in nurseries, children's centres and reception classes, and aims to inspire an enthusiasm for music in children aged 2–5 years. Chamber Tots encourages children to develop musical skills and associated social and academic skills, building a strong foundation for their future musical development. The programme also aims to develop the skills and confidence of teachers and staff, ensuring a musical legacy after the project has finished. Over the last 14 years Chamber Tots has worked in over 100 early years settings across London. It is currently delivered in partnership with Music Hubs, in 2015 working with Tower Hamlets, Haringey, Havering and the Tri-borough (Westminster, Kensington & Chelsea and Hammersmith & Fulham).https://wigmore-hall.org.uk/learning/chamber-tots-in-the-community

February 2018