MyHub Consultation Final Report

MyHub - The Manchester Music Education Hub Consultation of Stakeholders
A Report by Brighter Sound for Manchester City Council July 2013

Consultation carried out by Brighter Sound Additional research by Liz Fitzpatrick
Brighter Sound Ltd 29 Swan St Manchester M4 5JZ 0161 830 3899 info@brightersound.com
MyHub Consultation Report / June 2013
Contents
03 10 14 15 21 29 39 48 53 60 Executive Summary Methodology Findings by Stakeholder Group 1. Children & Young People 2. Schools 3. Music Workforce 4. Music & Arts Organisations 5. Music Industry 6. Funders 7. Additional Research Summary
Appendices (as electronic attachments)

AP1 AP2 AP3 Additional Research Policy and Practice Questions Matrix Presentation
2
Brighter Sound: MyHub Consultation on behalf of Manchester City Council 2013
Executive Summary
Consultation Commission Brighter Sound was commissioned by Manchester City Council (MCC) in Spring 2013 to consult with young people and the music & music education sectors in Manchester, and record experiences and opinions around: The music offer for young people in Manchester MyHub (the Manchester Music Education Hub) and The ideals that underpin MyHub, specifically: - A young person centred offer - Access to the highest quality offer for all children and young people - Clear progression routes MyHub MyHub is Manchesters Music Education Hub, part of a national initiative introduced by the government in response to Darren Henleys National Plan for Music Education. Funding for MyHub is provided by Department of Education and administered by Arts Council England. Manchester City Council is the Hub lead organisation for the city. Over the course of the initial Hub funding period (August 2012- March 2015), MyHub will receive a total of 2.345 million. Between 70-75% of this money is devolved directly to schools for instrumental and vocal tuition with the remainder used to commission One Education to carry-out various activities including quality assurance of tuition, data collection, running the cross city Music Centres and partnership development. The partners on My Hub's Strategic Group are Manchester City Council*, One Education, with voluntary representation from Brighter Sound and the Royal Northern College of Music. Manchester Schools are represented on MyHub's Monitoring and Advisory Group, providing both oversight of the commissioned delivery and strategic input.
*Directorate for Children and Commissioning and Community and Cultural Services
3
MyHub Consultation Report / June 2013 Some background information on the members of the strategic group and the work they already do in Manchester: One Education Music works in 97% of Manchesters Schools and academies, teaching over 11,000 young people every week. They are also commissioned to deliver the Music Centre Programme. This is delivered at 3 large Music Centres and 6 sub centres across the city. 700 young people attend activities every week in term time. RNCM is a leading international conservatoire for undergraduate and postgraduate students, and brings 400 performances per year to the city. RNCM is open to Manchester's musical community to hire and use its space. Brighter Sound specialises in working with children in challenging circumstances and those outside mainstream music provision, working with over 13,000 young people in Greater Manchester since being founded in 2000. Manchester City Council is a major investor in Manchester's cultural offer, with support for organisations, festivals, events and infrastructure provided to assist the growth and success of the city's cultural sector. The aim of the consultation process Our aim was to gather intelligence and produce a report to: 1. Inform MyHub's strategy, based on the wider aims of Manchesters Cultural Ambition Strategy and the National Plan for Music Education 2. Identify new opportunities, areas for development, evident gaps in provision 3. Capture the breadth of Manchesters musical offer 4. Build a clearer picture of musical access & progression routes for children and young people in the city We focussed on identifying the potential for MyHub so that an action plan could be created to enable MyHub to meet the ambitions and needs of its stakeholder groups. Questions were written that reflected a standard action-focussed approach: Where are things now, where could they be, what can be done to move between the two. We consulted with a range of stakeholder groups, which we believed were representative of all those with a direct interest or stake in the music offer for young people in Manchester, namely: 4
- Children and young people - Schools - Music education workforce (peripatetic and freelance music practitioners) - Music & arts organisations (funded) - Music industry (non-funded organisations and companies) - Funders (More details in Methodology section)
Summary of findings While there was a broad range of responses to the set of questions we posed (Appendix AP3), there were some clear themes that emerged across the stakeholder groups. We have summarised these as follows: Emerging Themes 1. Diversity From offering and supporting a diverse offer of musical provision, to advocating it. Different genres, pedagogues and approaches to reaching YP all need to be at the core of the offer. 2. Progression Meaningful pathways for pursuit of music in and out of school, including performance opportunities and access to industry have been a constant theme. Parts of the sector are currently more engaged than others, rectification of which would go some way to achieving what is needed. 3. Innovation MyHub is in a very strong position to innovate and lead its field its position within and links to Manchesters infrastructure, opportunities to broaden cultural reach, and potential around working models all contribute to this 4. Connectivity The scope and potential of MyHub's connections within the city (whether they exist yet or not) gives the offer something unique if properly harnessed. The way in which MyHub manages these relationships and works in partnership with its stakeholders is key to success. Finding ways for communication to work in all 5
MyHub Consultation Report / June 2013 directions would greatly benefit the service and the ownership amongst stakeholders. 5. Governance The factors around how MyHub connects with its stakeholders across Manchester and possibly beyond need to be considered. Ideas including setting up an independent trust, an association or merging with Greater Manchester Music Education Hub (GMMEH). These issues have been raised a number of times as well as the mechanism of delegating money to schools (via MCC). There is also increasing evidence to suggest increased government emphasis on partnership, hard evidence, diversity of funding amongst other priority areas will need to influence MyHubs strategy to maximise its impact. 6. Communication The identity of MyHub, and its offer need to be communicated strongly to stakeholders, using methods appropriate to each stakeholder group in order to be most effective.
As part of our consultation we commissioned desk-based research into the national policy perspective on the subject of music education, bringing together the key messages and directives from sources including National Plan for Music Education National Plan for Cultural Education Arts Council England: working with music hubs Manchester City Councils Cultural Strategy Together with statistics and data published by: Curious Minds State of the Region Cultural Learning Alliance Youth Music DCMS
In comparing the themes evident in research from stakeholders in Manchester, it is interesting to look at a very brief summary of findings from this national & policy perspective:
Key themes from national research 6

Every child should have the opportunity to learn an instrument or sing at any age. Music Education is a partnership between schools, music services, arts organisations, teachers, music specialists, performers and managers. Hubs should be a combination of these stakeholders. A collaborative cross-sector approach is favoured. Hubs and bridge organisations should advocate best practice. An interest in music is implemented in schools and then augmented by hubs. Schools should be effectively linked up with local community arts initiatives through networks and be well aware of progression routes for talented pupils. Music educators in schools should be well supported with training and skills. Hubs should determine their music provision based on the needs of their local community (needs audit). Hubs combine a model of delivery and strategy to their discretion. Young people should be at the heart of planning. Their opinions should aid quality assurance and decision making. Manchester has a wide, eclectic mix of music and cultural provision. Manchester aims to become a city that nurtures and attracts creative economy talent through encouraging pathways to participation and employment. Barriers to participation include funding, schools, conflict with the curriculum, (lack of) community spaces and issues associated with reactions to new experiences found in children.
It is apparent that themes from national and regional research, and aims outlined in policy documents created by local and national government and key funding and strategic organisations mirror the themes that emerge from the stakeholders on the ground. Both sets of perspectives, and both sets of aspirations converge on a consistent set of principles, barriers, opportunities and objectives that can inform and strengthen the future development of the Hub.
7
From the Emerging Themes we developed a set of recommendations, which we felt would most effectively help MyHub to respond to the feedback received by stakeholders. Suggested Recommendations 1. Take the opportunity to be a leader in the field, galvanising the sector. 2. Communication increase visibility and profile of MyHub reflecting Manchesters worldclass offer. 3. Expand partnership working develop high quality strategic partnerships across the whole sector (including the music industry). 4. Governance and Structure consider different options. E.g. An Associate model / Trust. Build and define the relationship with the GMMEH (Greater Manchester Music Education Hub). 5. Consider cultivating a wider cultural offer. Can MyHub own and lead the key national question? 6. Further develop a strategic overview of progression routes in the city. Develop strategies to build provision in the identified gaps. 7. Create a broader interface between schools and the citys music offer to enable CYP to access its diversity and quality. 8. Increase opportunities to share practise and CPD within the sector. e.g. across pedagogies and music genres. Improving quality and understanding. 9. Consider Talent spotting mechanisms and bursaries. 10. Review the policy of delegating funds to schools. 11. Ensure that MyHubs work is based on a rigorous needs analysis and is relevant and evidenced 12. Develop a fundraising strategy to generate income streams
8
MyHub Consultation Report / June 2013 These recommendations were presented to the Strategic Group as part of the consultation. We recorded the resulting discussion during which, as a response to the recommendations, the strategic group agreed on the following priority areas for further development. 1. Governance & Business Planning To Business Plan beyond 2015. To model short & long term ambitions, then vision for the Hub around them. Key ambitions include effective partnership working, clear progression routes across all music genres, youth leadership, diverse provision with recognition and understanding of diverse pedagogies. To ask how we drive things forward in order to develop leadership & innovation To review the governance / management approach including for example: o The merits of an associate model with lead coordinator (Cambridge Hub model), a peripatetic strategic coordinator role funded to sit across the whole hub not within any one organisation o Establishing a Trust to hold and delegate funds to meet the needs of the Hub 2. Finance To draw up a fundraising strategy, essential if were to increase / support necessary capacity and diversify funding streams To create a shared vision document for what success would look like within the parameters of the available budget To review where should the Hubs allocation is placed To address issues around capacity needed to meet the ambitions of the Hub (including nature of strategic partnership and each partners contribution) 3. Communication Look at how to recognise and represent that MyHub is a collective of a number of organisations with a broad offer. Address the mechanisms for internal communication with key and wider providers - a recurring theme in findings Create a profile / communications strategy that positions the Hub as a beacon 4. Quality Assurance Ask and define how we genuinely provide inclusive and diverse provision Developing the idea of Quality Assurance to include Quality Enhancement which should connect with CPD
9
Methodology
The brief from Manchester City Council Explore both young peoples and the music sectors thoughts and commitment to the ideals that underpin the Manchester Music Education Hub; young person centred, access to the highest quality offer for all children and young people and progression opportunities, including employment. Overall approach We identified the different stakeholder groups in Manchesters music sector and developed a strand of research into recommendations and good practice from outside of the Manchester area, bringing a national perspective into consideration. The key stakeholder groups we identified were Young people Schools Music education workforce Music / arts organisations Music industry (commercial and non-funded) Funders
We felt that the most balanced and objective view on the music offer for young people would come from engaging with a broad range of stakeholders, all of whom have the interests of Manchesters young people within their remit. While reasons for this interest may vary (commercial industry want a creative and successful emerging industry to feed its venues, record labels and reputation, whereas schools are interested in student well being and academic success) their interests converge on the music offer for young people. Lines of Enquiry Our underlying lines of enquiry were: Services: What practical provision is there / is wanted / could there be? Value: What is the value to you of the music offer in Greater Manchester why does it matter? Innovation: What could be done / achieved and how? 10
MyHub Consultation Report / June 2013 Mechanics: What are the mechanics and infrastructure of delivery of MyHubs offer? / How is communication, resource allocation, responsibility shared to reach the aims of the Hub and the NPME? Areas for enquiry here, included: Governance Infrastructure Responsibility Accountability Quality Assurance
Across these overarching themes we designed questions that would establish: 1. Current perception / impression of the offer / place within the music sector 2. Ideal circumstances / what the offer could be / uses for the services offered within the city 3. How to progress / What could happen to enable or facilitate change, if change was desirable / what progress would look like Once we had drafted the questions we commissioned an independent communications expert (Nicola Mullen, Jagged Marketing) to ensure that the questions and the language used were as neutral and non-leading as possible, and that the messaging around the consultation, to be used when contacting potential respondents, was clear and concise. (Full details of questions in appendix AP3) Our interview methods included one to one / face-to-face interviews, group interviews (in which responses of each participant were recorded), online survey and telephone interview. In all cases the questions were kept the same, and responses were recorded as raw data. In collating the data we recorded all answers into a matrix in order to draw out key themes. Recurring points were counted in order to identify the most prominent and commonly occurring answers. From this we summarised the emerging themes and identified recommendations of actions that could be proposed to the strategic group for discussion during the first internal presentation of the findings. 11
MyHub Consultation Report / June 2013 We presented these findings to the group (see appendices AP4) before recording responses to the findings and recommendations. These responses then informed a final set of recommendations which were added to the presentation. A further presentation was made to a wider group including representatives of Arts Council England. Brighter Sound facilitated these presentations in our role as objective consultants, and therefore refrained from contributing to the presentation sessions in our capacity as a member of the strategic group.
12
Table showing activity timeline

Design / Collation / Presentation w/c Preparation Analyse brief Identify clear areas for enquiry Identify relevant groups for questioning Design questioning process 15/04/2013 22/04/2013 29/04/2013 06/05/2013 Collate: Transcribe, plot stats Confer: Identify key themes Deductions / Plot conclusions Presentation Planning, Design and Write 13/05/2013 20/05/2013 27/05/2013 03/06/2013 10/06/2013 Presentation Prep Research & interviews Research & interviews Research & interviews Research & interviews Research & interviews Research & interviews Research & interviews Research & interviews Research & Interview
Presentation 1 : Informal presentation of Strategic Group: RNCM, ndings with view to deciding how they can MCC, One Education be used / useful Addition of input from strategic group Review of Presentation Review of Presentation Presentation 2 : Presentation of full ndings including strategic group input Create report Create report Submit report to Manchester City Council Roundtable: Arts Council, MCC, One Education inc CEO, RNCM
17/06/2013
24/06/2013 01/07/2013 08/07/2013
13
Findings by Stakeholder Group

This section presents the findings from each of the six stakeholder groups and a summary from the desk based research. As numbers of respondents differed between groups due to their nature (e.g. funders by face to face interview reached 6 respondents whereas workforce by online survey reached 40) the representation of the findings has been made in the most appropriate way, with the clarity of the key findings in mind. Each stakeholder section gives more detail of the methodology specific to that group and details on the respondents. Respondents gave their input on the understanding that they did so anonymously, and so no names are linked with answers.
14
1. Children & Young People

Respondents Diversity of Sample Young people are held at the heart of the work that MyHub delivers, and so it was vital that we consulted with them as part of this research. Their perspective on the music offer provided for them even at these early stages of MyHubs development - is informative, but it is worth noting that there will be more opportunities for youth consultation as and when the Hub develops further. We focussed on reaching a diverse sample of respondents to ensure that young people from a wide range of backgrounds and a breadth of musical / non-musical experiences were represented. We also opted for face-to-face discussions with focus groups instead of a wider online survey, as, in our experience of delivering youth led activity we have found on numerous occasions that a conversational approach with young people will produce a far more meaningful response than a survey format. We also thought it important to carry out the focus groups in environments that the young people already accessed and where they felt relaxed and confident enough to contribute meaningfully to the process. We consulted with 27 young people across four focus groups in a range of settings. The participants were aged between 9 and 19. Settings We chose a variety of settings including music centres, youth centres, community centres, project groups and schools and carried out three focus groups from the organisations that responded to our request. The settings we chose offered participants from a range of backgrounds and with a range of musical interests / non-interests to contribute to the consultation. 1. Chorlton Music Centre provided young musicians engaging with music in a regular and very formal way (1:1 tuition, ensemble playing). Each Saturday morning the Music Centre in Chorlton runs at Chorlton High School. The young people who access this facility, which is run by One Education, all have 15
MyHub Consultation Report / June 2013 instrumental tuition or play as part of an ensemble. They all pay on a term-byterm basis for this service. 2. The Factory Youth Zone, Harpurhey, a newly developed Youth Centre in the heart of North Manchester provided us with a focus group made up of young people with a mixture of formal and non-formal involvement some having instrumental tuition, others who were self-taught with very little experience outside of the Factorys jam sessions. . Young people access the space and a range of activities from sport to media, drama and music. The music provision is not yet formally established but a small cohort meet regularly with a musical Youth Worker to write and record new music. Participants dont pay for specific activities although there is an annual membership fee of 5 and a 50pence entrance fee to those young people who can afford it. 3. Brighter Sound engagement project at Northwards Housing, Cheetham Hill had a range of participants, none of whom had received any formal tuition on an instrument, some who had been engaging with non-formal music making for a number of years and some who were engaging with music for the first time. This is a community engagement project for young people living in the Cheetham Hill area, specifically residing in Northwards managed housing. The project has been running for a 12-week fixed term at around the same time every year for the last five years. For some participants they have been involved with the project for five years, for others this is their first engagement with any sort of music-making. The activity is free to attend and funded by a community grant. 4. Whalley Range High School for Girls where most respondents were receiving instrumental tuition, through One Education delivered in school time. There was a limited response from schools following our request to run some research focus groups, but Whalley Range High School responded positively to our request. We ran a consultation group with girls from across the year groups, most of who were paying for musical tuition, provided by One Education, during school time.
16
Findings Question 1 Are you interested in music? All the young people that we spoke to across all four different settings were interested in music. Comment Yes No Number of references 27 0
Question 2 Are you interested in making music yourself? All the young people had an interest in making music although not all were actively involved at the time of asking
Comment Yes No
Number of references 27 0
Question 3 Are you involved in any music making activity currently and if so, what?
Comment Instrumental lessons through school Informal music making out of school Out of school ensemble Private Tuition Not currently involved in any activity
Number of references 16 9 8 6 2
Question 4 17
MyHub Consultation Report / June 2013 What do you get out of your involvement in these activities? Comment Enjoyment Social element Musical progression Self-expression Voice / platform Commitment Number of references 11 11 10 2 2 1
Question 5 How do you find out about music making activity? Comment School Friends / Family Internet Project workers Letters Unsure Number of references 11 7 4 3 3 1
Question 6 What kind of activity would you like to see happening for young people in the city? Comment Performance opportunities Broader range of workshops Open access ensembles / ability rather than aged focussed Opportunities to try things free of charge More rehearsal space More access to studio space More localised provision More collaboration between ensemble groups Not sure Number of references 10 4 3 3 3 3 1 1 3 18
Question 7 What could make it easier to find out about music making activity that suits you? Comment Internet / Social Media Schools / Teachers / Taster sessions in schools Flyers Youth / Community centres TV / Local radio Not sure Number of references 12 5 4 4 2 2
Findings Summary & Key Themes The social element of music making is very important to CYP but that is not to undervalue the enjoyment they get from progressing musically. The opportunity to play with other young musicians is very important whether that be in an orchestra, choir or rock band. Both musical progress and the social element brought about enjoyment for participants in music making, which was an overarching theme. Performance is a reoccurring theme; a lot of young people would like the opportunity to showcase their work regardless of whether this was orchestral, choral or band based, and to perform more frequently. They identified an increased need for accessible rehearsal space, particularly outside of school hours. Participants were keen to have access to a broader range of instruments to try out or hire. They felt that taster sessions would be a good way to experiment with something new without having to commit fully immediately. Most young people communicated through social media and this was acknowledged as the best method for finding out about new and existing opportunities. However, more traditional methods such as flyers, posters and letters home were also seen to have value. 19
Once the next steps in the Hubs development have been taken, a longerterm recommendation would be to develop a cohort of young leaders through creative activity and develop a strand of work with them that directly feeds in to the Manchester Music Education Hub. The programme will provide an opportunity for young people to directly inform and influence the shape of music provision on offer and for the Hub to directly connect with the young people that it serves. Accessibility: A number of issues that have been prevalent in recent research were cited as barriers to access including flexibility of hours, transport, pressure to commit and evening activity that finishes late, all needing to be considered when programming activity.
20
2. Schools
100 Schools were contacted by email by One Education on behalf of brighter Sound. They were sent an online survey. 16 out of 100 responded. A further 8 schools were contacted directly by Brighter Sound making a total of 24 responses to the online survey. 12 were Secondary schools 11 were Primary schools 1 chose to remain anonymous. Answers were set to a matrix and summarised to enable repetition of ideas to stand out clearly.
Findings
SECONDARY# PRIMARY# NO RESPONSE# 0# 2# 4# 6# 8# 10# 12# 14#
Q1. Please tell us which school you are from (optional)? 23 out of 24 respondents: A list of participant schools can be provided.
21
Q2. What kind of music provision do you provide in your school? 24 respondents:
BRASS/WOODWIND# MUSIC CLUBS# SINGING# RECORDERS# DRUMS # GUITAR# STEEL PANS# WIDER OPPS# CLASSROOM MUSIC# STRINGS# WHOLE SCHOOL# KEYS/PIANO# GCSE# UKELE# BTECH# EARLY YEARS/RECEPTION# GCSE# MUSIC TECH# BALALAIKA# COMPOSITION# LISTENING# MUSIC EXPRESS# SWITCH ON SOUND# 0# 2# 4# 6# 8# 10# 12# 14#
The total number of responses is more than 24 types of music making, as schools have listed multiple activities. Some secondary schools specified a qualification e.g. GCSE, whilst others described curriculum learning as classroom teaching. Similarly, some primary schools specified Wider Opportunities whilst others described it. The findings show an expected dominance towards instrumental preferences. However, singing is well represented. 22
Q3. What kind of Music Provision would you like to see for young people in Manchester? 22 respondents:
MORE SINGING (CHOIRS, COMPETITIONS)# MORE INSTRUMENTAL TUITION FOR ALL# SUSTAIN CURRENT OFFER# MORE PERFORMANCE OPPS# SEN ORCHESTRAS/BANDS# SUPPORT# MORE DIVERSITY# IMPROVED TRANSITION# RELEVANT PROVISION# MORE MUSIC TECH# MORE IN LEVENSHULME# MORE CLUSTER WORKING# 0# 1# 2# 3# 4# 5# 6#
Within this sample of schools, the majority of respondents are One Educations customers (question 5 provides additional data to support this). There is an evident degree of satisfaction with the provision of service being delivered by One Education. This is reflected in schools wanting the current offer to be sustained or for there to be more of it. More performance opportunities, for all levels of players, is a popular request (also echoed in the workforce and young peoples focus groups). Support is a vague response but as the survey develops, support in this context is in terms of CPD for teachers and access to specialists. This is also the first instance of diversity appearing in this survey. A universal ask across all stakeholder groups, though with differing degrees of priority.
23
Q4. What would you like MyHub to provide for you? 24 respondents:
CPD/GOOD PRACTICE SHARING# DON'T KNOW (MYHUB)# SPECIALIST SUPPORT# CURRENT PROVISION# INSTRUMENT LOAN# EVENTS# VARIETY# GOSPEL CHOIRS# EVENT INFORMATION# 0# 1# 2# 3# 4# 5# 6# 7# 8# 9#
CPD came out very strongly in this answer. Teachers want more skills and confidence to lead music making in their schools, preferably learning alongside other teachers, sharing practice. This is balanced by a wish to access more specialists when necessary. Therefore, there is an inference that quality is a priority. 4 respondents abstained from answering the question due to lack of information about MyHub.
24
Q5. How do you currently get information about music opportunities for your pupils? 23 out of 24 respondents:
EMAIL/NEWSLETTERS# ONE EDUCATION# OTHER ORGS# STAFF# SING UP# MYHUB WEBSITE# PERIS# NETWORK MEETS# POSTERS/FLYERS# WORD OF MOUTH# 0# 2# 4# 6# 8# 10# 12#
Undoubtedly, email/newsletters are the communication preference. The responses also indicate the reliance on One Education to be the portal to signpost schools to young peoples music-making opportunities (arguably, the responses stating peris may be referring to the One Education workforce too). As part of other organisations both the RNCM and Brighter Sound (the other MyHub partners) were name-checked. Surprisingly, word of mouth does not score highly amongst this group of stakeholders.
25
Q6. How can MyHub help you to meet targets around the National Plan for Music Education? (e.g. progression / children and young people centred and extended schools services) 22 out of 24 responses:
DON'T KNOW# VARIETY OF WORKSHOPS# NEED MORE INFO ABOUT PLAN/MYHUB# CPD/GUIDANCE# FREE/BUDGETPROVISION# EXTRA CURRICULAR/EXTENDED ACTIVITIES# SUPPORT COMPOSITION THROUGH ICT# PARENT / CARER WORKSHOPS# DEMONSTRATIONS # CONTINUE TO GIVE SCHOOLS THE MONEY# CENTRAL MUSIC LOCATION# CAROUSEL OF TOURING PROJECTS# 0# 1# 2# 3# 4# 5# 6# 7# 8#
Almost a third of respondents answered I dont know without further information to explain why they couldnt answer. 4 schools specified that they wanted more information about MyHub or the NPME in order to answer this. This evidence suggests a disconnect about the purpose of MyHub in serving the NPME. Variety was a popular response, as was CPD/Guidance again. Other suggestions represented individual school needs and can be considered bespoke.
26
MyHub Consultation Report / June 2013 Q7. What does Cultural provision for young people in Manchester look like in 2015? 17 out of 24 respondents:
DIVERSITY# DON'T KNOW# EASY ACCESS# EVENTS/FESTIVALS# ITS BLEAK# BEGIN AT EARLY YEARS# FREE PROVISION# JOINED UP OFFER# MAKE MANCHESTER A MUSICAL CITY# PROJECTS WITH SKILLS DEV# 0# 1# 2# 3# 4# 5# 6#
This question attracted the least responses. A majority of the responses were I dont know. The reasons for this lack of visioning should be explored. This is a blue-sky question, there does not have to be a right answer. However, diversity as a response rivalled dont know. This was expressed in terms of genres and instrumentation. Performances were also represented again. 2 respondents both used the word bleak suggesting a shared pessimism albeit at low numbers.
27
Findings Summary & Key Themes There is a need for an effective MyHub communication strategy to increase awareness of the offer: The MyHub profile needs to be raised as well as contextualised within the NPME. At this juncture, One Education is the most powerful conduit to communicate this to schools. However, for schools to discern a difference between the MyHub, and the One Education offer, the distinction between the brands needs to be greater. MyHub can communicate effectively with schools via Newsletter: This is the clear communication preference There is a demand for more music-related CPD for school staff: Given the interest in performances/events, as a suggestion, CPD that involves working towards performance may prove popular. However, feasibility/demand could be tested through inexpensive twilight sessions for teaching staff, perhaps emulating the Sing Up delivery model.
Tied into the Workforces requests: as there is evidence of requests from schools for support from specialist providers, a preferred pool of music practitioners may prove a valuable resource to MyHub.
28
3. Workforce
Recruitment Strategy For Sampling From the outset, Brighter Sound wanted the consultation to be representative of the music education sector in its broadest sense. Hence, we wanted to invite participation from many different groups. To do this we employed the following strategy: 1. We created 4 cluster groups to target (Formal, Non-formal, Private Tuition and Mix). Formal means musicians working in schools, or delivering school-related activity. Often providers are from formal music education backgrounds (including peripatetic tutors, orchestral players, classroom teachers etc.) Non-formal means musicians working outside of schools, often using social pedagogies rather than musical ones, likely to be delivering in workshop and community environments (including guitar tutors, vocal & MC tuition, DJs etc.) Private tuition was singled out as these musicians are delivering independently of sector support, often as part of a portfolio career. These are harder for the Hub to reach. Mix is as it infers - a combination of all types of provision. 2. We identified the relevant channels through which we could promote the survey. Brighter Sound spoke directly with targeted organisations to solicit their buyin and request dissemination through their networks. By way of example, to engage the formal sector we sent the MyHub survey to the Halle, Manchester Camerata and One Education. To engage the non-formal sector we used Brighter Sounds Music Leader network (including the Youth Music Network and smaller music organisation networks). To engage the private tuition community we requested that the Musicians Union disseminate the MyHub survey to their members (see screenshot below) and Brighter Sound also posted on some local online sites.
29
3. We monitored responses and began to collate the data when we felt we had a representative sample. Perhaps due to the success of the strategy, when we had 40 respondents, the sample looked fair in terms of sector picture. The final response rate was 42 online respondents, with a further 12 responses across two focus groups. In order to make considered and substantiated recommendations to MyHub about the needs and wants of the music education workforce, we have cross-referenced the survey findings with the focus groups where the focus groups provide supporting evidence. However, there are separate focus group findings that explore further some of these themes and other themes unique to those sessions.
30
Findings Question 1: What kind of music provision do you deliver across the city? 40 out of 40 responses:
MIX (22.5%)# PRIVATE TUITION (22.5%)# FORMAL (27.5%)# NON-FORMAL (27.5%)# 0# 2# 4# 6# 8# 10# 12#
Musicians didnt automatically fit the 4 categories selected by us. Once respondents had described their work, we allocated them into the most relevant categories. The raw data can also be segmented into instrumental/genre type; however, the question was there to probe the credibility of the sample, not to identify what type of musician the respondents were. To extend sector representation, the focus groups were comprised of two sets of 6 music practitioners, with 4 from the formal sector, 4 from the non-formal and 4 who delivered a mix of activities.
31
Q 2: Who is your main employer? 40 out of 40 responses
NHS (2.5%)# SELF-EMPLOYED AS A SMALL ORGANISATION (12.5%)# MUSIC ORGANISATIONS (20%)# FREELANCE (30%)# MUSIC SERVICE (35%)# 0# 2# 4# 6# 8# 10# 12# 14# 16#
Again, a question to ensure Brighter Sound had attracted a representative sample of respondents. The organisations were a mix of the Camerata, the Musicians Union, the RNCM and grass roots organisations like Brighter Sound. Tameside Music Service and One Education employees made up the service representation.
32
Q 3: What kind of provision would you like to see for young people in Manchester? 40 out of 40 responses:
DON'T KNOW (2.5%)# ACCESS TO MUSIC THEORY (2.5%)# LINKS TO THE MEDIA (2.5%)# CREATIVE COLLABORATIONS (2.5%)# CONTINUED WIDER OPPORTUNITIES# FREE ACTIVITY AT CENTRES# GOOD ENSEMBLES# MORE PERFORMANCE OPPORTUNITIES (12.5%)# PATHWAYS FOR (12.5%)# MORE VARIETY OF PROVISION (20%)# MORE DIVERSITY/SPECIALISMS (30%)# 0# 2# 4# 6# 8# 10# 12# 14#
From the responses to these questions diversity is described in terms of genre, instrumentation, technologies etc. Variety pertains to the delivery format. So, requests were based around more group sessions, workshops etc. Pathways were considered important to enable young people to progress beyond the environments of their access/engagement.
33
Q4: What would you like my MyHub to provide for you? 37 out of 40 responses:
CONTACTS (3%)# CENTRES FOR MUSIC (3%)# PARENTAL INVOLVEMENT (3%)# ACCESS FOR DEAF CHILDREN (3%)# ADVOCACY (3%)# PARTNERSHIP (5%)# DON'T KNOW (5%)# ROUTES TO MARKETS (5%)# INFORMATION (5%)# PERFORMANCE OPPS (8.5%)# FUNDING & RESOURCES (8.5%)# CPD & TRAINING (24%)# WORK OPPORTUNITIES (24%)# 0# 1# 2# 3# 4# 5# 6# 7# 8# 9# 10#
The workforce in the survey repeatedly requests work and CPD. This occurs again in the focus group findings. Both focus groups reported that training days provide additional benefits such as access to peer knowledge and networking opportunities. As the workforce see MyHub as an employer, it could be useful for MyHub to clarify its relationship with the Citys music workforce. Focus Group One suggested that perhaps this could be established through an associate model' or preferred provider network. This would also enable the workforce to contribute intellectual capital (knowledge of repertoire, delivery toolkits, teaching techniques etc.) to MyHub and help diversify the offer. For Focus Group Two, MyHub was also perceived as a conduit for an exchange of styles and practices. Whilst specialisms are valued there was an appetite for more cross-genre and cross art working. 34
MyHub Consultation Report / June 2013 Both focus groups were also keen, like schools, for more (and bigger) performance opportunities. Amongst the children and young people that they work with, it was felt that performances were a requisite, and a suggestion across both groups was that MyHub could facilitate city-wide and, again, cross-genre/cross art event platforms. MyHub was seen by Focus Group Two as a strategic way to advocate a mix of provision. Bringing the non-formal sector in to the schools and vice versa, hopefully, with a longer-term vision of making school provision relevant to more young people.
QUESTION 5: How do you currently find out about teaching or delivery opportunities? (39 responses)
CHANCE (4.5%)# WORK FINDS ME' (13%)# VISIT WEBSITES (20.5%)# WORD OF MOUTH - PEERS/ ASSOCIATES (31%)# NEWSLETTERS (31%)# 0# 2# 4# 6# 8# 10# 12# 14#
Word of mouth is key to music practitioners finding their work, with an equal dependency on email/newsletters from relevant organisations. Schools by comparison didnt share the reliance on word of mouth, but did see newsletters as a useful method of communication.
35
QUESTION 6: How can MyHub help you to access opportunities and information? (36 responses)
TEACHING MATERIALS (4.5%)# PERFORMANCES (4.5%)# PROMOTIONAL SUPPORT (6%)# DIRECT RELATIONSHIP (6%)# DON'T KNOW (6%)# PRACTITIONER DATABASE (8.5%)# NETWORK EVENTS (15%)# ONLINE INFORMATION (55.5%)# 0# 5# 10# 15# 20# 25#
There is an overwhelming response here for online information. Focus Group Twos responses included suggestions for MyHub to have an inclusive recruitment strategy. Group One supported online information and networking meetings.
36
Question 7: What does cultural provision for young people in Manchester look like in 2015? (34 Responses)
LIKE NOW BUT MORE' (3%)# LINKS TO THE ARTS (3%)# SOMETHING FOR EVERYONE (3%)# CENTRES OF ACTIVITY (3%)# SUPPORTED TEACHERS (3%)# INSPIRED (3%)# MORE INCLUSIVE OFFERS (5.5%)# JOINED-UP (5.5%)# QUALITY PROVIDERS (9%)# STILL FUNDED (9%)# LESSENED FROM CUTS (15%)# DON'T KNOW (17.5%)# DIVERSE/VARIED OFFER (20.5%)# 0# 1# 2# 3# 4# 5# 6# 7# 8#
This was the question with the least responses and of the 34 that did respond 6 were dont knows which means that only 28 offered an answer. The strongest response was, again, around diverse provision. This suggests there is a necessity to offer more than what is perceived as traditional music education provision. Wishes for diversity and variety were repeated throughout the online survey, supported by the focus groups. As with the schools survey, it could be seen as a concern that some stakeholders cannot envisage a cultural future for the children and young people that they work with. The rest of the higher scoring answers were biased by concerns around funding. Individual responses were high in this question.
37
Findings Summary & Key Themes The workforce would like to see more diverse and varied provision The workforce value performance and progression opportunities for their young people The workforce want their offer to be visible to MyHub and for MyHub opportunities to be available to them Work opportunities and CPD opportunities are high on the list of their needs Online Information/Newsletters are the communication preference Networking activity could support both training/sharing and Information needs
38
4. Music and Arts Organisations

17 organisations were identified that contribute to the infrastructure of funded music/ arts organisations in Manchester, some with a broader regional / national brief. We aimed to gain a broad representation of the sector and selected a breadth of organisations from small to large scale and across music genre. Organisations were approached by emails and one to one interviews were set up by phone/ email correspondence. 17 organisations responded. Each interview was held in a quiet space either at the Brighter Sound offices or at a space identified by the host organisation. Each interviewee was asked the same questions and each interview lasted between 45 minutes to an hour. The responses were recorded by note taking and voice memo. Themes were apparent in the answers given, and threads across answers given by individuals quickly emerged. Answers were set to a matrix and summarised to enable repetition of ideas to stand out clearly. Here is a breakdown of the summarised findings by question: Question 1 What contribution do you make to music in the city? It is clear that there is a breadth and depth of musical expertise and delivery across Manchester. This provision is across music genre and pedagogy. Each organisation from the small to the large scale was committed to education and learning, keen to see a city that provides an excellent offer for children and young people and more than willing to play their part in delivering this. Please see more detail in appendices. Question 2 39
MyHub Consultation Report / June 2013 What kind of music provision would you like to see for young people in Manchester? Comment Clear progression routes across all music genres Broad and diverse range of provision Variety of teaching styles / pedagogies with opportunities to share practise Joined up provision across the City and Greater Manchester High Quality offer Provision tailored to the needs of the young people (including SEN and challenging circumstances) Provision tailored to the needs of schools Music as part of life long learning with a social / personal development impact Accessible / communicated / signposted Clarity about expertise in the sector - work out where the expertise is Giving young people access to the professional world Support and understanding from Head Teachers Youth Led provision Strategic support from the local authority Focus on transition Number of references 10 10 10 9 9 9 7 7 7 3 3 3 2 1 1
Question 3 What are the gaps in progression for Manchester's talented young people? Comment Large numbers of music organisations across the city representing a wide range of music genres but no clear strategy for progression routes Lack of talent spotting mechanisms which are needed to be able to identify talent in order to progress it. Relationship with schools needs to open up across the sector Gap between first access and then opportunity to develop talent beyond grade 5 no high level ensembles, resulting in Number of references 8
7 5 4 40
MyHub Consultation Report / June 2013 lack of aspiration for advanced players Head teachers, music teachers and parents need to value the richness of the offer CYP who are economically deprived need financial support No consistency of offer across schools - some YP have opportunities some dont pockets of excellence rather than pathways of excellence Lack of aspiration for advanced players Lack of provision for SEN Need increased numbers of Manchester young people being recruited into the citys conservatoire Need increased opportunities for showcasing and performance/ international exchange There is a dip in music interest and clarity of progression routes at secondary school level Models of Youth Leadership are important We need inspirational musicians
4 4 3
3 3 2 2 1 1 1
Question 4 What relationship do you currently have with MyHub? Comment The Hub needs to take a dynamic proactive, strategic lead across the sector and have an overview of whats happening in the city Would like more partnership working, engagement, collaboration, and a closer working relationship The hub should aim to have a bridging role connecting organisations to the schools and vice versa Frustrating relationship now that Manchester isnt part of the GMMEH Hub taking a long time to get off the ground. Excitement there initially but lack of action and now the impetus is going Find difficulty in providing all the information needed by the Hub as were a small organisation Number of references 12
10 7 3 2 2
41
MyHub Consultation Report / June 2013 Question 5 How do you think MyHub can add value to your music provision? Comment The hub could would bring added value with a focussed and comprehensive offer for young people if it joined/ formed a relationship with the GMMEH High quality proactive instigator, forming strategic partnerships gain an overview and eradicate overlap Through collaborative working By providing opportunities for sharing of practise Training, supporting and valuing global musicians from different cultures Help small and large organisations connect with schools through a broad diverse offer Development of their SEN strategy Communication / signposting between the sector and schools and young people By helping with the identification of gifted and talented young people Through the development of high quality ensembles Number of references 12
5 5 5 4 4 4 4 2 2
Question 6 What would you like to see it achieve? Comment Partnership working. Pulling together and promoting the strengths of different organisations and artists. Help schools work out whats available across the sector. They need to know where to go and where the quality is Build provision where there are gaps and increase provision in schools Ensure that every young person has access to a diverse offer of Music Education across the city without loosing quality of provision Number of references 6 6 6 5
42
MyHub Consultation Report / June 2013 A coordinated approach to provide the best and most relevant music provision across all genres Generate income streams Meet the aspirations of the National Plan core and extension A trusted brand in schools and families Provide seams of excellence that CYP can tap into The Hub needs to be part of the [broader] cultural offer The Hub could be a central place where people can go for information Define what an interested or talented child can expect in terms of an offer Achieve recognition from the city stakeholders Value the music practitioner / teacher Define what success actually looks like Music becomes a fundamental skill like reading and writing everyone should be able to play at a rudimentary level when they leave school Research into the socio economic benefit of music Look at aligning the music centres provision with the activities of wider organisations compensate for funding loss 3 3 3 2 2 2 2 1 1 1 1 1
1 1
Question 7 What role can MyHub play in achieving the goals set out in the National Plan for Music Education and the Manchester City Councils Cultural Ambition Strategy? Comment The Hub needs to be broad and strategic, linked into the citys growth agenda and looking ahead. It needs ambition, excellent delivery and consolidation Needs to develop links across art form and develop young peoples wider cultural understanding Making sure that what is being offered to young people is relevant and appropriate Embrace the city as a centre for music development. Feeding the young artist of tomorrow. Retaining talent and a music scene in Manchester Number of references 10
6 5 4
43
MyHub Consultation Report / June 2013 Ensure that CYP get access to a wide variety of opportunities with support for each progression opportunity To become more networked, with clarity and clear communication Urgently needs to develop a fundraising strategy Should be leading and owning the key national question - How does its specific focus on a music offer- broaden into a wider cultural offer 3 2 2 2
Question 8 What does cultural provision for young people in Manchester look like in 2015? Comment Sustainability -Stakeholders realising the importance of cultural education and awareness of the impact it has on peoples lives Provision could look the same unless the Hub takes this chance for success. The time for innovation is now Broadly and deeply engaged, far- reaching and connecting with far more young people. Every pathway for the talented child has real quality training and inspiration Grow a strategy to see how high quality first access provision relates to wider cultural provision e.g. drama/ dance provision The hub could have partnerships across these cultural providers Partnerships key e.g. with HE, Industry, BBC ITV media producers/ major conservatoires, the opera centre Young people energised, excited about the offer- feeling a sense of pride and seeing the value Develop a metaphorical portal that the next generation of talent have started to walk through- young people who are multi skilled, with an international perspective and driven artistically and politically Schools have more control over their funding schools lead and then organisations need to work flexibly to meet their needs Number of references 4 3 3
3 1 1
44
Question 9 What do you think are considerations for a good working model for MyHub? Comment The hub needs to develop a good relationship / formal partnership with the Greater Manchester Music Education Hub - Manchester doesnt stop at a boundary - Manchester is an international brand. Theres a need to avoid duplication and have a clear offer Manchester as a beacon, given the richness of its offer, is important. Need to find a way to make it work across both hubs in which Manchester retains its focus of being a world class provider It needs to be intelligent, energetic and instinctively collaborative, working with practitioners, schools, organisations and young people Quality of service. Using the best expertise Music is all about society and community the structure needs to reflect that e.g. partnership working, embracing music from different cultures Could become a Trust, have an arts organisation structure with a trading arm attached, a charity or an association. Lead status could be conceded from Manchester Education Hub to Bolton Appoint an independent steering group with education and music industry expertise to ensure effective in delivery and communication Need external evaluation and quality assurance Money going to different schools presents difficulties for ensuring quality across the sector and good quality music practitioners/ leaders. Leadership is critical, the structure beneath light and responsive, entrepreneurial and collaborative AGMA could set up a music provider to work across both the Manchester and Greater Manchester hubs. This hub could be independent from the councils - an arms length organisation Number of references 8
5 5
4 3 3
2 1
45
MyHub Consultation Report / June 2013 that is not owned by the councils Dont think it should sit in a local authority department 1 Bringing the two hubs together will cover too big an area may 1 create problem with distances / mobility The head teachers monitoring and advisory group is essential 1
Findings Summary & Key Themes Bold sections summarise points above. 1. High quality strategic partnerships giving a strong overview and eradicating overlap. Strong collaborative working and joined up provision between schools and music / arts organisations 2. Alignment of music centres with activities of the partner organisations 3. Music and its relationship with society and community key An approach to partnerships that enables joined up provision between schools, arts organisations and music centres, and is able to engage with communities will give a strong overview, avoid overlap and enable strong collaborative working
4. Integration / building of a stronger relationship with the GM MEH 5. Independence from the city council Independent intelligent energetic a catalyst, instinctively collaborative e.g. CIC Trust. Association of orgs reflecting the richness of provision with a key strategic / coordinator role MyHub's position in relation to MCC and GM MEH needs to be considered, namely integration vs. independence, and how to reap benefits in each case 6. Generation of income streams key 7. Policy of allocating money to schools quality assurance and accountability, generating more music provision and increased income streams The policy of delegating money to schools should be reviewed. Change in practice could facilitate quality assurance and accountability, and help to increase income streams and generate more music provision.
46
MyHub Consultation Report / June 2013 8. Opportunity to be a sector leader, communicate, be innovative, proactive and quality assured. 9. Manchester is an international brand the MEH can provide a great PR opportunity for Manchester with a world -class offer/ provider. Buy in from the citys key stakeholders 10. Manchesters richness of provision means that it should be leading and owning the key national question how does the Music offer broaden into a wider cultural offer. Manchester's Hub can take advantage of its unique position to innovate, lead the sector and communicate good practice due to Manchester's musical richness and the city's international brand. 11. Broad and diverse range of high quality music provision across all music genres tailored to the needs of CYP in and out of schools and those with SEN 12. Clear accessible communication/ signposting. 13. Clear progression routes with the best and relevant provision across all music genres. (Gaps in provision - pockets of excellence rather than pathways of excellence, post Grade 5. performance opportunities, breadth of first access) 14. Talent spotting mechanisms and bursaries identification of gifted and talented young people All CYP should be able to identify and access diverse, multi genre music provision in and out of school, and relevant progression pathways that reward talent and provide performance opportunities. 15. Sharing of practise and recognition and value of the variety of teaching styles (pedagogies) MyHub can contribute to the sharing of practise and recognition and value of the variety of teaching styles (pedagogies)
47
5. Music Industry
Organisations were identified from Manchesters music industry infrastructure that gave a broad representation of those involved in Manchesters commercial music sector. Industry candidates were approached and given the choice of responding to their set of questions by online survey or by interview. 11 out of 20 organisations contacted responded a 55% response rate. 2 respondents contributed by interview, the other 9 via the online survey. In each case identical questions were asked. Certain themes were apparent in the answers given, and threads across answers given by individuals quickly emerged. Answers were set to a matrix and summarised to enable repetition of ideas to stand out clearly. Here is a breakdown of the summarised findings by question:
6. What contribution do you make to music in the city? Response Promoter Professional musician Live events manager Venue manager Record label manager Industry coach / talent development Publisher of industry support literature Artist manager Musicians Union Industry training deliverer Recording studio owner / manager Marketing & Press officer Number of references 3 2 1 1 1 1 1 1 1 1 1 1 48
MyHub Consultation Report / June 2013 7. What kind of music provision would you like to see for young people in Manchester? Response Industry / professional IAG that reflects 'real life', including business skills, interpersonal skills, and self reflection (ability to self motivate and self critique). Access for all - diverse, accessible provision that young people can access regardless of location or background, with appropriate group sizes. Progression - continuous, meaningful, accessible pathways Access to live performance opportunities, and live music in general for u18s: re Manchester venues more than 'community' performances. Assistance that is allowed to be market based / led An accessible, navigable network of contacts and opportunities, with IAG support Some opportunities available are not taken up by young people Number of references 5
3 3
1 1 1
8. What are the gaps in progression for Manchester's talented young people? Response Access to: Rehearsal space, Advice / mentoring Networks Performance opportunities Real world advice around making money (a living) through music. E.g. through surgeries, networking events, mentoring schemes Continuous progression - investment in development through time / expertise or financial support Support for workforce Industry work experience & placements There are many opportunities available which are not taken advantage of - is this down to hunger? Access? Culture? It should be addressed Number of references 2 5 1 1 3 3 1 1 1
49
9. What relationship do you currently have with organisations or schemes that support music for young people, for example through colleges, schools or other? Response IAG for individuals including professionals & students Mentoring & coaching for YP in informal music education Work placement coordination & support schemes for YP Talks and tours for 6th form college students Music tuition (freelance) for YP None Industrial support for members which can include students, teachers and musicians of any age Providing (through hire) rehearsal space for colleges and universities Number of references 3 3 2 2 2 2 1 1
10. What relationship do you currently have with Manchester Music Education Hub (MyHub)? Response None Industrial support during set up of One Education. Relationship more with One Education than MyHub Number of references 10 1
11. How do you think you could contribute to a support network for young people interested in music in Manchester? Response Support & advice (including HE, legal, business, marketing) through: o Mentoring Number of references
4 50
MyHub Consultation Report / June 2013 o Events o Internments / shadowing o Knowledge sharing Insurance / legal support Support through publication of IAG Difficult to offer support due to licensing legislation restricting access to live music venues 1 1 5 1 1 1
12. Other Comments Response Geographical reach for the Manchester Hub seems unclear, in how YP access provision across the boundaries, or how the hub crosses boundaries to ensure opportunities are maximised. There is a real danger in training up too many people for too few commercial opportunities. Number of references 1
Findings Summary & Key Themes A running theme developed between what the offer could be, what were perceived as current gaps and in part, what the respondents would be prepared to contribute to the music landscape. As there was a commercial aspect to the backgrounds of a number if industry respondents, there was a real emphasis on making provision fit for purpose, grounded in reality and of commercial relevance for young musicians thinking of pursuing a career in music. Not all respondents spoke about non-classical music, which was represented in the answers. Overall, respondents spoke of the need for a widely accessible, genre-diverse offer, consisting of relevant advice and support, space to be creative and access to live music experiences.
51
MyHub Consultation Report / June 2013 They also spoke passionately about their willingness to support young people, but that they identified a malaise in YP when it came to making the most of the opportunities made available.
Here are the main key themes. Access to live music, as audience or performers is limited for U18s, creating gaps in opportunities for exposure and performance There is a need for 'real world' advice - industry advice that provides help rooted in the reality of further involvement in music Progression routes consisting of 'meaningful pathways' should exist for the full range of young musicians There is a willingness to engage with MyHub Young People amongst Manchester's industry, but no relationship is currently there. Diversity in Manchester's musical offer should be supported It's perceived that many opportunities exist which aren't taken advantage of by young people.
52
6. Funders
Key funders were identified by defining the current major investors across the music / education sector in Manchester. They were ACE, Manchester City Council and Youth Music. We approached each funder by email and asked them to select the most appropriate person to interview. We had a 100% response rate. In addition to one Director and one Officer at ACE NW, the ACE suggested interviewing an officer from ACE SW as one of their key MEHs had a similar practise to MyHub of delegating funds directly to schools. We interviewed a total of seven people and held six interviews. We interviewed: ACE North West: Two officers. ACE South West: One officer Manchester City Council: Two officers and a joint meeting with two Councillors Youth Music: Chief Executive Interviews were held in a quiet space identified by the host funding body with the exception of ACE SW who we interviewed by phone. Each interviewee was asked the same questions and each interview lasted between 45 minutes to an hour. The responses were recorded by note taking and voice memo. Themes were apparent in the answers given, and threads across answers quickly emerged. Answers were set to a matrix and summarised to enable repetition of ideas to stand out clearly. Here is a breakdown of the summarised findings by question:
53
Question 1 What are the gaps in the current infrastructure for music provision for young people in Manchester? Comment Communication: Offer & infrastructure need clear internal and external communication. Manchester is an international city. Needs imagination and a creative approach to engage with the wide range of organisations that we have in the city. Sign posting to avoid patchy provision. Potential for young people to know whats out there and then choose between a range of opportunities Breadth of choice for young people- Music hubs / music services strong predication for classical music. We need fluidity across music genres. There are diverse communities of young people in the city who should have the opportunity to experience and learn about music in other cultural forms Progression We need more rigour and analysis / focus on how young people move up the ladder Partnerships with Schools schools can become hub partners. Hubs are there to support and augment school provision. Challenging Circumstances Need to improve work with young people not in the school system Evaluation need a rigorous evaluation system Sharing practise: Coming together of people working in the area create an understanding and connectivity CPD gaps in extension roles misinterpretation by the hubs that this is for their staff- this should be training for anyone that is a partner in the hub. Number of References 6
3 3 2 2 1 1
54
Question 2 What are the gaps in provision for (Manchester's) Talented young people? Comment Progression young people need to benefit from Manchesters rich offer. The hub needs to fully interrogate what the gaps are through its needs analysis to work out how to address this. (e.g. gaps in advanced ensembles identified but how is it being progressed) Fluidity how are young people identified as talented and then get the opportunities to get to the next level. Communications with young people / schools / organisations / private sector involvement (MEH cant use public investment to undercut private companies) /museums / with the Bridge organisation Need a strategic overview that understands ways of interpreting what talented means and what young people need. The intervention should be around needs rather than stages of development related to age Diversity of opportunities in diverse spaces that are relevant and appropriate including participation opportunities outside the formal learning environment Need to focus on the general effect that music education has on a childs progress. Important that CYP are enjoying music and that it develops their confidence and life skills Number of references 5
Question 3 What does cultural provision for young people in Manchester look like in 2015? Comment Joined up seamless provision. A real shared intelligence/sharing of practise across the education sector / in particular schools about whats on offer from all the cultural organisations across the city. We need to be really Number of references 7
55
MyHub Consultation Report / June 2013 networked across a wide range of partners including the BBC/ Private sector involvement. Real visibility so that Manchester is celebrated for its rich offer. Manchester has an international brand. Curriculum music in Manchester could be amazing with contribution from the Music Industry, RNCM etc. Manchester could develop something really special. Music is Manchester this mantra could come out of Manchester and really celebrate its diversity Manchester should be creating some of the most talented and creative musicians of the future. Working with partners to make this happen- diverse provision formal and non formal. Ultimate test is whether we see Manchesters young people emerging as the next talent Important that overall cultural provision in schools is an aim. Culture should be seen as a development tool at every stage of education. Local authority cultural entitlement work should be built on More engagement at a local level. Working with Curious Minds to crack that information gap. Schools taking the lead is good as long as they know whats on offer and that the communication is really strong Young people centred and relevant. Children and young people dont make a connection with their passion in music and what happens in school-80%of CYP describe a music as a passion but only8% of CYP take it up as a GCSE Augmenting and developing the work of the music service. Some MEHs are already creating a blue print for this that others can learn from Question 4 How can MyHub help you to achieve your aspirations for Young People & Music in Manchester? Comment The hub can galvanise the sector and make itself really invaluable. Currently there is a gap for this role in Manchester. It can become a primary delivery agent with Number of references 7
56
MyHub Consultation Report / June 2013 private sector and music organisations. A go to organisation- giving advice and guidance, signposting, taking on delegated responsibility Strong leadership with business awareness, and quality assurance. Look at people resource rather than organisational. The hub needs to take responsibility through its delivery and evidence base and make the case so that funders can do their job and advocate for public sector support The hub model needs to make a world class offer. Help us to achieve wider ambitions around culture- recognising that we have a really strong music sector in Manchester in terms of education, the arts and industry infrastructure and history Improve the lives and aspirations of CYP through education attainment and aspiration - leading to employment. Ensure that there is the right relationship between music provision in schools and organisations and that the residents of Manchester connect to this and make it work for them Conversations need to be open and communicative honest brokers so that collaboration can happen Fundraising the hub needs to define its strategies for continuing to safe guard and grow their resources to invest in young people (concern that distributing grants to schools cuts out the hubs role why would the government support the middle person?)
2 2
Question 5 What do you think are considerations for a good working model for MyHub? Comment A more independent model with independent leadership would be better placed to take advantage of the practise across different organisations and to respond to opportunities for change or resources. Providing a worldclass offer for young people. It can look at levels of accountability from strategy to operation to partnership. It needs a breadth of knowledge and authority with different genres and music industry represented at governance level Number of references 7
57
MyHub Consultation Report / June 2013 and business and planning skills. This will remove the feeling that the lead organisation is making all the decisions. Structure could be a CIC/ Trust/ Association with an ability to commission initiatives dependent on need Partnership working is key Need to address the issue of the external discrepancy between the GMMEH and the Manchester hub. It would be the best interest for both parties if they could be sharing best practise / progression routes and all areas that are genuinely in the best interest of young people We need analysis and evidence and quality assurance Needs to be fit for purpose to deliver the NPME- the government is unhappy about Music services submitting applications that were really about delivering their own remit Hubs have a complicated job the primary job is to be strategic. They have an enormous remit with a range of different organisations across a wide range of music genres. They currently have a chance to shape that service and to the job effectively If the hub is going to continue with delegation to schools they have to be accountable for how the money is spent and whether its good value and meets the NPME delivery. The schools need to clearly state what they are going to spend the money on and they need to understand that they do not have to spend it with their main delivery partner The hub needs more than 30% commissioning money if the money is delegated to schools to develop and grow and for leverage of extra resources The hub needs to prioritise where they should invest their money change / redundancy might be necessary if this is the case then it has to be done because its about investment of public money
3 2 2
2 1
Findings Summary & Themes Communication and increased visibility/ profile. Manchester is an international city with a world -class offer. The hub needs to lead and 58
MyHub Consultation Report / June 2013 galvanise the sector, deepen engagement and celebrate its richness of provision. It needs to represent the whole sector including the music industry and private companies. It needs to consider widening its work to culture. MyHub needs to consider its governance and make up. An independent model with independent leadership is recommended. Forming an independent association with a commissioning role. Through this it may be able to take better advantage of practise across organisations and respond dynamically to opportunities and developing resources. MyHub needs to urgently define its relationship with the GMMEH MyHub needs to take a strategic overview across progression. It needs to investigate how to promote a plethora of progression routes and identify gaps in provision both in and out of schools. (Secondary school focus / youth leadership). It needs to support and augment provision making it relevant to the CYP and connecting it directly to the sector. MyHub must have rigorous analysis of need, evaluation, quality assurance, creating evidence for and confidence in the work it does. Encourage sharing of practise and the equal value of the different music genres and pedagogies MyHub is in a position to investigate the effect that music education has on the wider development and progress of CYP e.g. confidence and life skills, and should strongly consider this.
59
7. Desk Based Research Summary

As part of the consultation Brighter Sound commissioned an independent researcher to undertake desk-based research in order to provide a foundation of knowledge surrounding music education. The full research summary is featured as an appendix and covers three specific areas: 1. Policy Documents National National Plan for Music Education (2012) National Plan for Cultural Education (2012) Arts Council advocacy (2012) Regional Manchester City Councils Cultural Strategy (2010/11)
2. Regional & National Cultural Review Documents Curious Minds State of the Region (2012) DCMS Statistical data for Manchesters Culture and Heritage Profile (2010) Manchester Cultural Strategy Statistics (2011) Cultural Learning Alliance (2012) Youth Music (2012)
3. Practice Research Other city centre music education hubs across England Considering infrastructural models Highlighting current progression routes for young musicians on a regional and national level
60
MyHub Consultation Report / June 2013 Key Themes of desk based research Every child should have the opportunity to learn an instrument or sing at any age. Music Education is a partnership between schools, music services, arts organisations, teachers, music specialists, performers and managers. Hubs should be a combination of these stakeholders. A collaborative cross-sector approach is favoured. Hubs and bridge organisations should advocate best practice. An interest in music is implemented in schools and then augmented by hubs. Schools should be effectively linked up with local community arts initiatives through networks and be well aware of progression routes for talented pupils. Music educators in schools should be well supported with training and skills. Hubs should determine their music provision based on the needs of their local community (needs audit). Hubs combine a model of delivery and strategy to their discretion. Young people should be at the heart of planning. Their opinions should aid quality assurance and decision making. Manchester has a wide, eclectic mix of music and cultural provision. Manchester aims to become a city that nurtures and attracts creative economy talent through encouraging pathways to participation and employment. Barriers to participation include funding, schools conflict with the curriculum, community spaces and childs reactions to new experiences.
61

MyHub Consultation Final Report

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

MyHub Consultation Final Report

Caricato da

Copyright:

Formati disponibili

MyHub - The Manchester Music Education Hub Consultation of Stakeholders

A Report by Brighter Sound for Manchester City Council July 2013

MyHub Consultation Report / June 2013

Appendices (as electronic attachments)

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

Key themes from national research 6

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

Table showing activity timeline

24/06/2013 01/07/2013 08/07/2013

MyHub Consultation Report / June 2013

Findings by Stakeholder Group

MyHub Consultation Report / June 2013

1. Children & Young People

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

SECONDARY# PRIMARY# NO RESPONSE# 0# 2# 4# 6# 8# 10# 12# 14#

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

Q 2: Who is your main employer? 40 out of 40 responses

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

4. Music and Arts Organisations

Brighter Sound: MyHub Consultation on behalf of Manchester City Council 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

Brighter Sound: MyHub Consultation on behalf of Manchester City Council 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

MyHub Consultation Report / June 2013

7. Desk Based Research Summary

Potrebbero piacerti anche