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Commissioned by:

The Vogler Partners Steering Group Sligo County Council, Sligo Borough Council, Music Network,The Arts Council and Mary Immaculate College of Education, University of Limerick

Research funded by: The Department of Education and Science, Central Policy Unit, Research and Development Committee

Researcher: Orla Moloney Date: August 2005

Acknowledgements: Our thanks to all those who assisted in the production of this publication.

Photography: Jo Gray and Steve Rodgers

Published by: The Arts Office, Sligo County Council, April, 2006 Contact details: Market Yard, Sligo. Phone: 071 9111980. Email: [email protected] Website: www.sligoarts.ie © Arts Office, Sligo County Council

Front Cover Image: Childern from Moylough and Ballintogher National Schools at a Vogler Quartet Workshop, with their teachers Brian Cahill, Seamus McCormack and Cellist Stephen Forck, April, 2003. Photographer Steve Rodgers.

Sligo County Council

Sligo Borough Council

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Contents

Section One - Executive Summary Section Four - The Vogler Primary 4.6. The members of the Vogler Quartet Section Six - Conclusion Curriculum Support Programme 4.6.1. The impact 1.1. The Vogler Quartet in Sligo Residency 4.6.2. Attitudes Appendices 1.2. The Vogler primary curriculum 4.1. Background 4.6.3. Skills support programme 4.2. Context 4.6.4. Key factors for the musicians i. The Guth Project with Colm O’Donnell 1.3. The impact 4.3. Variables 4.6.5. Future actions - the musicians’ ii. The Vogler second level school programme 1.4. Key factors in the success of the Vogler 4.4. The children responses iii. A brief look at the instrumental tuition primary curriculum support programme 4.4.1. The impact 4.6.6. Research commentary strand of the Vogler Quartet in Sligo 1.5. The organising partners 4.4.2. Attitudes 4.7. The support team Residency 4.4.3. Knowledge, skills and understanding 4.7.1. The facilitator iv. A brief look at the performance strand of Section Two - Introduction 4.4.4. Overlap with the instrumental 4.7.1.i. The impact the Vogler Quartet in Sligo Residency tuition strand 4.7.1.ii. Key elements in the Vogler primary v. Research literature 2.1. The aims of the research 4.4.5. Overlap with the performance curriculum support programme vi. Participants in the research process 2.2. Terms of reference strand 4.7.1.iii. Future actions - the facilitator’s vii. Research brief 2.3. Methodology 4.4.6. Primary to second level transfer response viii. Map of Sligo indicating location of schools 2.3.1 Background documentation 4.4.7. Key factors influencing the children’s 4.7.1.iv. Research commentary ix. List of teachers who participated in the 2.3.2 Meetings, interviews and school visits artistic and educational experience 4.7.2. The composer Vogler Quartet, Music Education Residency 2.3.3 Attribution 4.4.8. Future actions - the children’s 4.7.2.i. The impact Programme (1999-2004) 2.3.4 The structure of the report responses 4.7.2.ii. Key elements in the Vogler primary 4.4.9. Research commentary curriculum support programme Section Three - Background 4.5. The teachers 4.7.2.iii. Research commentary 4.5.1. The impact 4.7.3. The Guth project 3.1. The context in which the residency was 4.5.2. Attitudes planned and delivered 4.5.3. Knowledge, creativity and skills Section Five - The experience of the 3.2. Resources 4.5.4. Overlap with the national Primary organising partners 3.3. A profile of the Quartet Curriculum Support Programme 3.4. An overview of the three strands of the (P.C.S.P.) 5.1. The context Vogler Quartet in Sligo Residency 4.5.5. Teacher impact: some additional 5.2. The impact 3.4.1. The education strand perspectives 5.2.1. Practical outcomes 3.4.2. The instrumental tuition strand 4.5.6. Overlap with the instrumental 5.2.2. Learning outcomes 3.4.3. The performance strand tuition strand 5.3. Future actions 3.5. The main outcomes of the 4.5.7. Overlap with the performance strand Vogler Quartet in Sligo Residency 4.5.8. Key elements influencing the teachers’ artistic and educational experience 4.5.9. Future actions - the teachers’ responses 4.5.10 Research commentary

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Section One - Executive Summary

1.1.The Vogler Quartet in Sligo Residency 1.3.The impact • The teachers also experienced a number of • The Vogler primary curriculum support positive changes in their attitudes, knowledge, facilitator learned new skills and developed The Vogler Quartet in Sligo Residency was The programme impacted significantly on the skills and understandings, not only in the area of creative approaches in linking live music distinctive from the outset in terms of its children and teachers as well as on the musicians classical/ chamber music, but in relation to performance to the primary curriculum, not just long-term developmental approach and its and the members of the specialist support team: teaching music in general. For many, the in music but across a range of subjects. She also commitment to inform policy and practice at development of a more positive personal developed skills in training, support and resource local and national levels in the areas of • As a result of their exposure to the Vogler relationship with the music resulted in a more development as well as research techniques. A education, instrumental tuition and performance. primary curriculum programme, the children confident and creative approach to teaching guest composer articulated a clear link between It was ambitious not only in its aim but also in its experienced a number of positive changes in their music in the classroom. Positive outcomes were education work in general and her artistic structure, which incorporated a cross-sectoral attitudes, knowledge, skills and understandings, not sustained for the most part but the teachers practice, which is inspired by the openness, partnership group made up of arts and education only in the area of classical/ chamber music, but in could foresee difficulties in maintaining a focus on imagination and humour of the children with agencies working at regional and national level. relation to music in general. These outcomes music and a high level of creativity in the whom she works, and their tendency to pare were sustained for the most part one year after classroom in the absence of a structured live everything back to the bare essentials. 1.2.The Vogler primary curriculum support the conclusion of the residency. Children who music programme. The ‘Vogler teachers’ have programme attended instrumental tuition in the Sligo developed into a significant music resource in the Academy of Music benefited particularly from region but further support is required to The Vogler primary curriculum support their interaction with the musicians in the consolidate the learning and to enable them to programme was an important strand in the classroom share their skills with their peers. In particular, residency, which promoted musical capacity links are needed with local music resource building in schools across the county, taking into organisations in the areas of instrumental tuition account the diversity of needs and resources. The and performance. programme was adapted by a facilitator who designed and delivered training and resources to • Members of the Vogler Quartet found their the teachers, enabling them to deliver music attitudes towards music education altered over workshops in the periods between visits by the the course of the residency; they came to see Vogler Quartet. Feedback from all stakeholders their work in the classroom as an enhancement suggests that the facilitator’s role was pivotal in of their artistic development. achieving positive, long-term sustainable outcomes They also found that their skills in communication in the programme. and pedagogical practice were enhanced by their involvement in the programme. The quartet has gone on to become more involved in educational work in Germany as a result of its experiences in Sligo.

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SECTION 1

1.4. Key factors in the success of the Vogler In terms of delivery, participants identified the In terms of training, participants identified the - The development and maintenance of primary curriculum support programme1 following elements: following elements: partnership structures - live music performance in the school - summer training courses Underpinning all of the key factors identified was environment - evening preparatory sessions The organising partners intend to channel their the role of the facilitator and her skills in devising, - relationships between the musicians/ - ongoing facilitator support enhanced understandings of education and local delivering and resourcing the programme through children/ teachers - informal networking, advice and support music development into policy and provision at training, support and the design of appropriate - collaboration between musicians and among the teachers both local and national level. materials. teachers/ the teachers’ active role in delivering the programme between visits In terms of resources, participants identified the In terms of structure and content, participants by the Vogler Quartet following elements: identified the following elements: - participation and interaction - access to instruments - an enabling approach - creativity - access to specially designed Vogler - extended timeframe - fun resource packs - provision of a focus on music - opportunities for mutual learning - links to the music curriculum - commitment from the teachers 1.5.The organising partners - cross-curricular approach - flexibility (and the individual personalities) - artistic quality of the musicians The organising partners found that the positive - clarity of roles - administrative support and co-ordination outcomes that emerged from the Vogler - inclusion of all children regardless from Sligo County Council Arts Office residency overall were generally sustained one of musical ability year on from the conclusion of the programme. - musical challenge Besides having achieved an increased profile and - novelty having developed a series of valuable relationships - clustering of schools for at local, national and international levels, the Vogler workshops partners experienced a series of learning - opportunities to make connections outcomes with the potential to influence future with other musical genres policy and provision in the areas of: - complementary interventions in - Live music education composition and traditional music - The role of touring musicians - ongoing opportunities for reflection, - The school as a legitimate site for evaluation and change high quality art - The nature of artists’ residencies - Flexible training provision for musicians, facilitators/ mediators and teachers

1 It is interesting to note the resonance between some of the key factors identified in the Vogler primary curriculum support programme and those identified in a piece of research that examined other music education programmes in Ireland and abroad. Issue of capacity building, timeframe, collaboration, interaction, challenge, training for musicians and access to administrative support and resources all emerged as key factors in Bringing live music to the classroom: Exploring the benefits to teachers, musicians and students - A report on findings of a comparative study of music initiatives (2004) - Aileen Donagher McGowan for Sligo County Council Arts Office

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Section Two - Introduction

2.1.The aims of the research their potential to inform future policy and At local level, it is intended that this report will means of informing the next stage of the practice. contribute to long term planning and the development process. The Vogler Quartet in Sligo Residency was an development of arts policy. It is part of Sligo innovative use of an international string quartet as The Vogler Quartet in Sligo Residency had three County Council’s ten-year arts development At national level, it is hoped that this report will the central resource in a programme of main strands: education, instrumental tuition and vision, which seeks to address prioritised needs in contribute to a developing understanding of the long-term music education and development in performance. This research pays particular a sustained and coherent way, underpinned by a nature and value of artists’ residencies as effective Sligo, which took place between 1999 and 2004. attention to the Vogler primary curriculum commitment to research and policy development. mechanisms for local music education and In a sense, the residency programme is not yet support strand of the residency, which was As the Vogler Quartet in Sligo Residency was a development, and that its dissemination will help over, despite the official departure of the quartet designed and delivered in collaboration with central strategy in addressing music education and to inform future planning and provision not only over a year ago. This research marks another teachers throughout the county. Two other development needs in the county, this report in music but across a range of art forms. phase in the long-term developmental approach programmes that were developed under the describes and analyses the local experience as a that conceives of an artists’ residency as education strand are examined briefly and in something that goes beyond the physical comparative terms. These can be found in the presence of the artists, although their sustained Appendices section4 of the report and include participation and collaboration is at its heart. the Guth project (2003-2004), a traditional music programme devised and delivered in primary This research explores the learning that has schools by traditional musician Colm O’Donnell, emerged from the Vogler Quartet in Sligo and the Vogler second level school programme Residency with special emphasis on the Vogler (1999-2004). The report only addresses the primary curriculum support programme.2 It instrumental tuition and performance strands describes the continuing impact of the primary insofar as it traces the crossovers that took place programme and identifies issues of sustainability between them and the Vogler primary curriculum that have emerged. It outlines and analyses key support programme.5 features underpinning its most successful elements, and considers how they might be This research has been funded by the consolidated so that increased capacity can be Department of Education and Science and co- sustained and further developed, and policy and ordinated by the cross-sectoral Vogler Partners practice informed in the future. It is important to Steering Group, which incorporates interests from note that this report is not an evaluation.3 formal education and local and national music and Despite looking back to the experiences of arts development. It is made up of various stakeholders, the focus here is resolutely representatives from Sligo County Council Arts on the future. Outcomes are interrogated with Office, Music Network,6 the Arts Council and regard to the factors that influenced them and Mary Immaculate College of Education, University of Limerick. Childern participating in a Vogler Quartet, Music Education Workshop, Sooey, 2003.

2 The national primary curriculum support programme, which is run by the National Council for Curriculum and Assessment (N.C.C.A.), is differentiated from Vogler primary curriculum support programme by the use of the initials P.C.S.P.to indicate the former throughout the report 3 Independent consultants, interactions, were commissioned to conduct an evaluation of the residency in 2003. The resulting report, Vogler Quartet in Sligo Evaluation Report outlined significant changes in local capacity, particularly in relation to primary education, classical music promotion and provision of instrumental tuition. 4 Appendices One and Two 5 There is a brief overview of key outcomes in the instrumental tuition and performance strands and some proposals for future development in Appendices Three and Four. These are not afforded the same level of detail and analysis given to the Vogler primary curriculum support programme, as they fall beyond the scope of this research 6 Music Network is the national music development agency 8 An Analysis of the Primary Curriculum Support Programme of the Vogler Quartet in Sligo Residency An Analysis of the Primary Curriculum Support Programme of the Vogler Quartet in Sligo Residency 9 Pages 07/11/2006 09:46 Page 10

SECTION 2

2.2.Terms of reference 2.3.2. Meetings, interviews and school visits 2.3.3.Attribution difficulties or suggest that improvements could not be made in some areas of the programme.9 The initial tender notice drawn up by the Vogler A series of meetings, interviews and school visits The comments and observations made during In keeping with the forward-looking nature of the Partner Steering Group called for a researcher to was organised in the period April - June 2005. the course of representative meetings, interviews, research and the constructive ethos that informs ‘undertake a study of key aspects of the Vogler These included a mixture of individual and group phone conversations etc. have not been it, participants were invited to suggest changes of Quartet in Sligo Residency Programme (1999- meetings with participating: attributed to any one individual, except in cases emphasis or additions they would like to see in 2004)’, with ‘a central but not exclusive focus… (on) - primary school teachers where individuals worked alone and did not future interventions.10 the education strand of the Vogler Quartet Residency - primary school children represent a group or organisation. (VQR), particularly that pertaining to curriculum - members of the specialist support team Section five has as its focus the residency’s support at primary school level’. A more detailed who worked with teachers and 2.3.4. The structure of the report organising partners and describes the ways in brief was also made available, along with a set of musicians at primary and second level which the Vogler Quartet in Sligo Residency research questions compiled by the Steering - musicians Section one contains an executive summary of continues to impact on them. It identifies and Group in collaboration with independent - second level school teachers the research findings analyses learning outcomes and explores the consultant, Martin Drury. - local promoters implications in terms of policy and practice. - local music performance groups/ arts Section two outlines the parameters and and education resource organisations methodology of the research Section six concludes that the positive outcomes 2.3. Methodology - partner organisations at steering from the Vogler primary curriculum support group level Section three presents the background to the programme have been sustained a year after the 2.3.1. Background documentation establishment of the Vogler Quartet in Sligo conclusion of the residency. It proposes the Some individuals also followed up on their Residency at both local and national level. It gives consolidation of learning in Sligo with local and Two main sources of documentation were contributions through telephone/ e-mail/ postal a brief overview of the history, structure, national support, and highlights opportunities for consulted in the course of the research: correspondence7. timeframe and aims of the residency.8 further collaboration and mutual learning across - local documentation including archive the arts and education sectors at national level. It material, reports, correspondence and Section four is the largest section of the report suggests that such collaboration would facilitate publicity materials containing the heart of the research task. It the further refinement of the Vogler primary - national and international documentation examines the sustained impact on those involved curriculum support model, maximise including articles and reports concerning in the Vogler primary curriculum support strand opportunities for the dissemination of learning, music education, local music of the residency, the crossovers that took place and contribute to future planning and provision in development, and the nature of with the performance and tuition strands, and the music education and development. artists’ residencies key features that underpinned the most successful elements. It also outlines emerging needs and A full list of published articles and reports can be contains suggestions for future development. The found in Appendix Five. focus on positive outcomes and the key factors underpinning them does not imply an absence of

7 A full list of the people who contributed to the research can be found in Appendix Six 8 A more detailed description of the project can be found in the evaluation report: Vogler Quartet in Sligo Evaluation Report (2003) - interactions 9 For further details, see Vogler Quartet in Sligo Evaluation Report (2003) - interactions 10 For reference purposes, all proposals for the future are highlighted within the text in both Sections Four and Five

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Section Three - Background

3.1.The context in which the residency level, but also to the self-reflective was planned and delivered process that facilitated adjustments and new investments throughout the Artists’ residencies are not a new phenomenon residency, and the interrogation of the on the Irish cultural landscape. Each year, artists experience as a means of contributing from a range of disciplines come together with a to policy development and good diversity of groups, communities and organisations practice at national level for varying periods of sustained collaboration. - the integrated partnership structure that No two residencies look the same, each having its oversaw and underpinned the residency, own individual needs, aims and levels of which brought a wide range of interests, resources, and each achieving varying levels of skills and resources to the planning, sustainability with regard to outcomes. The delivery, resourcing and evaluation of the learning that has emerged from artists’ residencies programme in Ireland and elsewhere informed the planning and delivery of the Vogler Quartet in Sligo Since its establishment in 1997, Sligo County Residency, and yet there are a certain elements Council Arts Office has been keen to explore that make the Sligo project distinctive. These strategies for long term development that would elements include: be locally owned and sustainable beyond any - the policy-driven and strategically specific intervention. In analysing the musical life sophisticated nature of the Vogler of the county, a number of significant musical Quartet in Sligo Residency, which was strengths and weaknesses were apparent. complex, long-term and holistic, While the county benefited from a particularly combining the three strands of music vibrant traditional music scene and a range of education, instrumental tuition and resources in the areas of jazz and popular music, performance as a mechanism to address access and exposure to classical music remained a wide range of local music needs minimal in the late 1990s. Few classical concerts - the emphasis on equal access to high were promoted and there was no consistent quality music across all three strands audience for them.There was no tradition of (listed above), which ensured that classical string playing and tuition was largely children and seasoned concert-goers unavailable. No structures existed to facilitate were valued equally linkages between visiting classical musicians and - the interest and commitment shown not the local community, a situation that was only to the effective delivery of a exacerbated in local schools, although Sligo did collaborative music intervention at local not differ significantly from the rest of the country

Vogler Quartet in Sligo, Composer-in-Residence Project with Elaine Agnew, Rathcormac National School, 2001.

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SECTION 3

in this regard. Despite the acknowledged recommendation of The PIANO Report in 1996, 3.2. Resources Musicnetwork (1999-2002), In Career centrality of performance in music education, which had proposed the establishment of Development Unit (ICDU) Department of both teachers and musicians lacked the structures professional ensembles in Sligo and Galway. Both The cost and resources required to deliver a Education and Science (2000-2004),The Arts and supports necessary to establish points of agencies were also aware of the particular gaps in residency programme such as Vogler Quartet in Council/ An Chomhairle Ealaíon (1999-2004), contact and collaboration.11 relation to music education and tuition, and had Sligo are many and varied, particularly in the Sligo County Council (1999-2004), and Sligo first hand experience of the difficulty in addressing context of an experimental pilot initiative. For Borough Council (1999-2004). The following On the positive side, a number of opportunities broader music development issues in the absence example the establishment of the residency information is offered as an illustratration of the were emerging in the shape of local individuals of a coherent framework for music education. programme required the Assistant Arts Officer to costs associated with the Education Strand of the and organisations that could be supported to work full time on the project for approximately Vogler Quartet in Sligo Residency Programme engage in long term programmes for sustainable In response to this particular combination of the first year.This level of input gradually from 2000-2004 at Primary and Post Primary music development. In terms of performance, a factors, the partner organisations initiated the decreased as the programme structures became levels. It is important to note however, that the voluntary music promotion group, Con Brio, was Vogler Quartet in Sligo Residency, a mechanism more refined. education strand formed one part of an interested in establishing a professional concert for integrated music development that placed the integrated music development programme for series, while a group of Early Music enthusiasts, Vogler String Quartet as a central resource From the beginning a range of funders supported County Sligo, which also included performance Sligo Early Music Ensemble, was anxious to around which, a range of locally owned initiatives the music education programme: ESB/ and instrumental tuition. promote learning and performance opportunities would be supported to grow. Bearing in mind for its members. In the area of classical tuition, a the difficulties of sustainability that had been local musician put forward a proposal for the experienced by so many short-term residency provision of locally based string teaching classes, programmes and other such interventions in the Vogler Quartet in Sligo Education Programme (2000 - 2004) which showed potential to evolve into the more past, the partners committed to the long-term structured and sustainable Sligo Academy of provision of resources at local and national level Total Fees,Travel and Subsistence for music education facilitators Music. Another untapped opportunity lay in the with a view to influencing policy and practice. and specialist advisor ? 16,687.00 teachers and children in schools around the ? county, who were seen as essential elements in Vogler Quartet Costs 49,569.00 any local music development strategy. Teachers Administration Costs ? 20,319.00 were already bringing enthusiasm, understanding, Total Vogler Quartet in Sligo Music Education Costs (2000 - 2004) ? 86,575. 00 and in some cases musical expertise to the classroom, and children represented a legitimate Source: Sligo Arts Office, funding application to the In Career Development Unit (ICDU) Department of Education and Science 2000 -2003. audience for music performance and collaboration of the highest quality. In addition to the Vogler primary curriculum support programme two complementary residency programmes were run concurrently in music composition, dance and visual art in 2002 and 2004 At a national level, Music Network and the Arts respectively.The total additional cost of these residencies was ?22,000. Council were cognisant of the gaps in classical music provision in Sligo and of the

11 In his essay The Music Education National Debate (MEND) and the Music Network feasibility study into the provision of instrumental/ vocal tuition in Ireland, Frank Henaghan finds the key questions of the MEND report can be reduced to a single issue - ‘The challenge is to comprehensively de- mystify the role of performance as the central driving force of the whole musical enterprise’. This essay can be found in A National System of Local Music Education Services - Report of a Feasibility Study - Music Network (2003)

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3.3.A profile of the Vogler Quartet and at the University of Cincinnati, U.S.A. In 1987 Recordings with BMG/RCA-Classics include At primary level, it aimed to provide access to they took part in masterclasses with Arnold works by Bartók, Beethoven, Debussy, Janác?k, live music in a classroom context, which would The members of the Vogler Quartet are:Tim Steinhard (Guarneri Quartet), and Sandor Vegh. Shostakovich, Ravel and the complete string successfully add value to the three key elements Vogler (first violin), Frank Reinecke (second György Kurtag continues to be an inspiration to quartets by Brahms and Schumann. A CD for within the new national curriculum: listening and violin), Stefan Fehlandt (viola) and Stephan Forck the quartet. Nimbus Records features Max Reger’s String responding, composing and performing. At (cello). Formed in East Berlin in 1985, the Vogler The Vogler Quartet combine an international Quartet op. 109 and Clarinet Quintet (with Karl second level, it aimed to enable transition year Quartet quickly established itself as one of the schedule in all the major music centres in Europe, Leister). students to access music through the principles of finest quartets of this generation, renowned for the USA, Canada, Japan, Israel and New Zealand participation and enjoyment adopting a cross- an extraordinary musical intelligence, creative with a busy teaching career which includes 3.4 An overview of the three strands of curricular approach and seeking to locate classical playing, powerful interpretations and masterclasses and individual lessons at the Hanns the Vogler Quartet in Sligo Residency music and a number of significant composers in unconventional programming. In 1986 they came Eisler and Detmold Music Conservatories. The an historical, social and geographical context. In to international prominence through winning the quartet also have a keen interest in the The members of the quartet worked on music later years it focused on first year and senior year International String Quartet Competition in Evian, performance of contemporary music and, through development programmes in the areas of students and aimed to assist them to appreciate with the press jury prize and a special prize for their Sligo residency, have premiered pieces by education, instrumental tuition and performance. and critically evaluate music. At third level the the best interpretation of a contemporary work. Donnacha Dennehy, Ian Wilson, Seoirse Bodley, Each programme was built on the principles of education programme aimed to increase They were subsequently invited to study with the Stephen Gardner, Deirdre McCrea & Gerald access, quality and sustainability. participation levels in music through inclusive and renowned LaSalle Quartet in Basel, Switzerland Barry. innovative workshop performances. 3.4.1.The education strand12

The education programme operated at primary, second and third levels in County Sligo from 1999-2004. A youth and community music project also took place in St. Anne’s Youth and Community Centre from 2000-2001. The aim of the overall education programme was to adapt a non-specialised, inclusive and participative programme, recognising the broad value that music can play in developing the learning skills of the student, without presuming any specialist fore-knowledge of music from either teachers or students.

The Vogler Quartet: (Left to Right) Frank Reinecke (second violin) Stefan Fehlandt (viola) Tim Vogler (first violin) and Stephan Forck (cello). 12 As the main body of the report deals with the Vogler primary curriculum support programme, a more detailed background to this element of the education strand can be found in Section 4.1.

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SECTION 3

3.4.2.The instrumental tuition strand13 international musicians, composers and audiences In its broadest sense, it reported that the to Drumcliffe in County Sligo each year. More residency had: Overall, the partner organisations wished to make informally, two members of the quartet also - raised standards for strategic a contribution to stimulating the demand for a worked with members of the Sligo Early Music partnership, local ownership, artistic sustainable, high quality, instrumental tuition Ensemble. quality and process led artistic service in Sligo. The residency programme was development seen as a way of making a contribution to the 3.5.The main outcomes of the Vogler - placed local arts development in an work of Sligo Academy of Music (S.A.M.) in Quartet in Sligo Residency international context initiating such a service for the region. In 1999, a - created a model of music development pre-instrumental Music is Fun programme was The interactions evaluation report (2003), which that generated learning and should be designed by S.A.M. in collaboration with the examined all aspects of the residency found that disseminated organising partners, which aimed to expose it had: young children to organised music-making for the - created a new model of public funding first time. In the following years, a beginners for the arts string tuition programme was offered on a part- - piloted and developed a new form of subsidised basis to thirty children who workable strategic partnership at local participated in consecutive annual models of a and national level with diverse general musicianship course. organisations - delivered a new model of music 3.4.3.The performance strand education and development in Sligo - created a new chamber music festival for The performance programme aimed to develop the North West an audience for classical/ chamber music of the • impacted dramatically on: highest quality through a new series of accessible - the number and quality of classical music performance opportunities presented in a variety performances of venues and contexts by local groups and - the size of audiences organisations. To these ends, the Vogler Quartet - the economic welfare of the region worked with Con Brio, a voluntary music promoter, providing a resident ensemble as the basis for its annual music series, which runs from autumn to the spring. The quartet also formed the basis for a new annual chamber music festival, the Vogler Spring Festival, which brought Irish and Teacher Brian Cahill performing with childern from Moylough National School and the Vogler Quartet, Moylough, 2003.

13 For more detailed description of the tuition strand and/ or the performance strand, please refer to Vogler Quartet in Sligo Evaluation Report- interactions (2003)

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Section Four - The Vogler Primary Curriculum Support Programme

This section is the largest section of the report. It Following the piloting of the initial structure, Over time, it became clear that the teachers Colm O’Donnell (traditional musician), Elaine explores the impact of the Vogler curriculum Aileen Donagher McGowan15 was appointed required additional support to link the Vogler Agnew (composer), Imelda Peppard (visual artist), support programme on the different stakeholders facilitator, a position that was at the very heart of experience directly to the primary music and Kate Wilson (dancer). involved. It presents background information on the emerging curriculum support model. The curriculum in order to maximise the value of the the programme itself and on the context in which facilitator was required to undertake certain intervention and to integrate it with their All participating schools had access to tuned and the research took place before exploring and prioritised tasks immediately. Firstly, she set about workload. It also became clear that the musicians un-tuned percussion instruments from the Sligo analysing the ways in which it impacted on the adapting the existing structure and drawing up a required advice and support with regard to Music Instrument Bank17 for the duration of the schools, the children, the teachers, the support practical music programme that brought the communications, repertoire and pedagogical Vogler primary curriculum support programme, team, and the members of the Vogler Quartet. children into contact with the Vogler Quartet in approaches in order to enable them to interact but many subsequently went on to develop their the school environment and assisted them to effectively with the children and to maximise their own instrument banks. 4.1. Background participate in collaborative music-making. collaboration with the teachers. The facilitator Secondly, she facilitated effective communication responded to these emerging needs by 4.2. Context The Vogler primary curriculum support and collaboration between musicians and developing new roles and taking on new programme brought members of the Vogler teachers, liasing between the two groups and responsibilities as required. Section four is informed by participant feedback Quartet into primary school classrooms organising opportunities for them to come one year after the formal conclusion of the Vogler throughout Sligo, to work collaboratively and together on an informal basis. And thirdly, she The Vogler primary curriculum support Quartet in Sligo Residency. Individuals and creatively with teachers and children on elements supported the teachers to deliver the music programme brought twenty-five teachers, one groups were asked to identify ways in which the of listening, responding, performing and programme in the periods between the thousand five hundred children and twenty residency continues to affect them and the composing music. From the beginning it took an musicians’ visits16. She encouraged teachers to primary schools into direct contact with the factors that underpin these effects. individualised approach; the programme was emphasise interaction, interpretation, creativity members of the Vogler Quartet over the five Understandably, feedback is local and specific. As designed, piloted and modified in order to meet and fun in their work, and supported them years of the residency. The input of the quartet such it provides a concrete basis for analysis and the varied needs of schools of contrasting size through the provision of ongoing training and was underpinned and complemented by the application to other similar programmes but it is across a wide geographical spread, each with support and a specially designed resource pack. input of the facilitator, teachers and additional important to remember that these specific different structures, traditions and levels of music She also ran summer courses and evening musicians, composers and artists who worked experiences took place in a supportive context resources.14 A broad range of artistic, educational, preparatory sessions in advance of quartet with the teachers and children at different stages. characterised by organisational and policy developmental, and administrative expertise was workshops. On the basis of this training, teachers In year three, composer and music animateur, commitment at local and national level. This brought to bear on the content, design and prepared set material with their classes over a Elaine Agnew, planned and delivered a Composer- background may have been invisible to delivery of the programme, incorporating ideas six-week period prior to the quartet’s workshops, in-Residence project incorporating a training participants at times but it contributed significantly and contributions from local and national for which they were clustered with two or three weekend for teachers and a final performance to the positive learning environment in which partners, and members of a selected support other schools facilitating maximum levels of with five participating schools. A range of short- they were free to explore, experiment and team. participation and interaction. term residencies also took place in the final year develop the programme on an ongoing basis. of the programme when seventeen primary schools took part in a celebratory event in the Hawk’s Well Theatre. Participating artists included

14 The programme was initially shaped and designed by Breda O’Shea, an ex primary school teacher working in the area of teacher training and music. During the 17 Supported by the IRMA Trust pilot year (1999/2000) Breda delivered an in-service training course in November for primary teachers interested in participating in the programme. This was followed by a period of testing and evaluating the model and rounded off by a summer training course with participating teachers. The pilot process allowed time and space for reflection and, as a result, the model was altered significantly over time. One of the most significant outcomes from the pilot year was the establishment of the post of facilitator and the identification of Aileen Donagher McGowan as an ideal candidate for the position. 15 Aileen Donagher McGowan first took part in the Vogler primary curriculum support programme as a teacher/ participant/ principal of Owenbeg N.S. She is currently conducting research into the area of music education and the needs of primary teachers under the auspices of Mary Immaculate College, University of Limerick. She also delivered P.C.S.P.training courses throughout the academic year 2004/2005. 16 Visits by the Vogler Quartet took place approximately twice a year. The teachers delivered a six week music programme in the lead up to each visit.

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4.3.Variables relatively small, a high level of interest was still achieved among non-participating children and In looking at the sustained impact of the teachers. This was especially the case in schools programme, it is important to note the degree to where team-work practices were well established which it differed from school to school.While the among teachers. In one such school, the lack of exposure to classical performance in the programme was adopted by non-participating classroom was a factor that united them, the teachers who found it to be ‘a revelation’, experiences of the children, teachers and schools demonstrating what could be achieved, even in differed according to a range of variables, which circumstances where a teacher does not have a included: particularly strong musical background. In larger - the duration of involvement by each schools, the impact was generally more confined individual school/ teacher/ group of to those teachers and groups directly involved in children the programme. In such schools, those teachers - the number of teachers involved in and students who were not directly involved each school tended to be aware of the programme’s - the proportion of children involved in existence but were unfamiliar with its specifics, each school and not particularly engaged by it. - the staff resources in terms of musical interest, confidence, training and The duration of the schools’ involvement and expertise their musical history also influenced the overall - the musical history and culture of impact of the programme on the whole-school each school community. Some schools were involved from - the level of awareness and involvement the beginning of the programme in 1999 while of the parents others only joined in 2002 when the programme was extended. Schools involved over the full five- The impact of the programme was felt more year residency generally judged the outcomes to keenly among smaller schools, with higher levels be significant and lasting.18 This was particularly of interest and involvement achieved. Teachers the case in schools where music was not from schools that took a whole-school approach especially valued prior to the residency. One reported a range of beneficial effects that they teacher described a significant shift in attitude expect to be sustained over many years, among both the children and the parents at her travelling up through the school with the school who showed little interest in music prior youngest children. Where schools did not take a to the residency and where parents would whole-school approach, but where numbers were regularly write letters to excuse their children

18 The programme was particularly effective where schools took responsibility for ensuring programme continuity. For example, a number of key teachers moved on from their schools during the period of the residency; the success of the programme depended on the schools’ commitment to replacing such teachers and supporting their replacements.

Vogler Quartet, Music Education Workshop, S.N. Molaise, Grange 2002. Learning Support Teacher (Ardkeerin National School), Frances Moran. 22 An Analysis of the Primary Curriculum Support Programme of the Vogler Quartet in Sligo Residency An Analysis of the Primary Curriculum Support Programme of the Vogler Quartet in Sligo Residency 23 Pages 07/11/2006 09:46 Page 24

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from participating in music activities. The teacher 4.4.The Children 4.4.2.Attitudes on stage at the Hawk’s Well made him ‘feel described how their school now has a vibrant important’. One year on, the children still and enthusiastic music scene, which is fully 4.4.1.The impact The majority of children had little or no exposure demonstrated an obvious pride in their supported by both children and parents. Another to classical/ chamber music, live or recorded, prior achievements in this regard. teacher described how the place of music had Research visits took place in four schools in May to the residency and were unfamiliar with the not changed at their school per se, as traditional 2005 facilitating children to provide direct particularities relating to string quartets: the The children’s listening habits were altered as a music had always been valued and practised feedback19 on their experience of the programme instruments, the repertoire or the composers. result of their experience. They retained their there, but how a significant shift had occurred in and the way in which it continues to impact on Caricatures and stereotypes influenced their ideas enjoyment of classical music and although they no the range of musical interest that now existed them. The comments of the children have been about classical music and classical musicians. One longer had access to the quartet, they continued among both teachers and children. supplemented with the observations and analyses child used to jump up to ‘do the conductor’ in an to enjoy listening to classical recordings during of participating teachers and members of the exaggerated way at the first sound of orchestral school hours. It was obvious from their lively Parents and the local community members were Vogler Quartet. Outcomes relating to exposure, or string music, but stopped after meeting the input that they still associated classical music with informed and involved in the programme to enjoyment, awareness and enthusiasm for music quartet and hearing them perform. Others fun. They took note when classical music was differing degrees from school to school but in and music-making are grouped under the heading anticipated musicians who were ‘old’ and ‘English’, played on the radio and used in films, most cases, they were invited to attend schools Attitudes, while those relating to curriculum based who would play music that would be ‘boring’ and advertisements and television programmes. A tiny based performances. Limited hall size restricted musical knowledge and understanding, creative ‘slow’. They were surprised at the appearance and minority reported that they listened to Lyric FM opportunities for participation in some schools interpretation and cross-curricular learning are to nationality of the quartet, and the nature of the and/ or classical CDs at home, mainly due to the but where parents, relatives and siblings were be found under the heading Knowledge, skills and music, which they found to be ‘lively’, ‘fun’ and interests of their parents, but heightened by their accommodated, the levels of awareness, understanding.20 ‘good craic’. own musical experiences at school. enthusiasm and support for the programme increased accordingly. The final celebratory The children enjoyed the experience of hearing the Teachers observed that many of the children now concert, which was held in the Hawk’s Well in music played live and spoke of their enjoyment of engage more enthusiastically in all types of musical June 2004, was aimed primarily at parents in getting up close to the musicians and their activities inside and outside the classroom, order to give them an insight into the work that instruments. They developed an appreciation for although this differed in degree from school to had taken place in the classroom over the years. the appearance, sound and in some cases, the feel school. Participation in choirs and bands increased of individual instruments. Many were particularly significantly in some schools and one teacher impressed by the sound, shape and size of the noted particular changes among the older unfamiliar cello. children who had been reluctant to take part prior to the residency. Another noted a change Collaboration with the musicians improved the in the pro-active way that children started to children’s self-confidence and self-esteem. They request access to the instrument bank in order to enjoyed the opportunities to perform for the compose atmospheric sounds during storytelling. quartet and alongside them. One boy One school choir added an accompaniment of commented that the collaborative performance tuned percussion to their performances, a move

19 Direct quotes are used wherever possible to denote direct feedback from the children 20 As this is a future oriented piece of research and not an evaluation, the outcomes are summarised briefly and in broad strokes. For those interested in evaluating an arts education project, see the arts - education interface: a mutual learning triangle? P.18 - 24 (2005) - NFER, for an interesting framework of outcome categories for children working with artists in school settings.

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that was very popular with both children and to musical terms such as forte and pizzicato and 4.4.4. Overlap with the tuition strand be accorded low priority at best, even after the parents alike. Other teachers reported more in some schools, they learned to work with staff residency. In such circumstances parents would subtle changes in their schools, with children notation in the context of choral and percussion A small number of children were inspired to take be unlikely to encourage their children to take up demonstrating a greater interest in listening to pieces. Their musical confidence and performance up instrumental tuition. The Director of the Sligo a classical instrument, especially as the instruments music and talking about it, and choosing to bring skills were enhanced by their active preparation Academy of Music (S.A.M.) confirmed that there would not be easily available and might prove their instruments into school from home. of performance material in advance of the had been an increased level of interest from expensive. This was confirmed by one child quartet’s visit, and by their musical interaction children attending ‘Vogler schools’. A small during a field visit, who reported a desire to learn Teachers observed that the music programme with members of the quartet. Teachers number took up violin or other classical the piano but who had taken up guitar instead as reached some children who did not participate particularly noted an advance in their abilities in instruments while more turned to widely available piano was ‘too expensive’. easily in other aspects of their schooling, and had a singing and percussion. instruments such as guitar and harmonica. The calming influence on those who were choice appeared to be influenced by factors of Children who did attend the academy during the hyperactive.21 One quartet member observed During my research visits to schools, the children location and expense. Children from Sligo town residency found their classroom encounters with that certain children sat very still at first, hesitant demonstrated a range of songs they had learned, and surrounding areas were generally more the quartet significantly enhanced. Besides the to get involved, but grew more confident, creative some providing accompaniment with percussion aware of the academy and more likely to attend opportunity to get to know the musicians better, and participative over time, ‘blossoming’ as he put instruments, whistles and in one case, ukuleles. classes there. Individual teachers remarked on they were invited to illustrate various musical it ‘into something quite beautiful’. They also demonstrated knowledge about a the existence of a lingering cultural bias against points in the classroom and took an active part in number of composers from the classical, romantic classical music in some localities where it would collaborative performances with the quartet. 4.4.3. Knowledge, skills and understanding and modern periods, and in some cases about the societies in which they lived and worked, and Teachers reported an increased ability among the pieces of music they had composed. Due to children to identify the sound of violin, viola and the cross-curricular nature of the programme, cello, and in many cases to follow an instrumental they interpreted and illustrated a lot of learning line in a piece of music. During one school visit, through art and other project work incorporating the children offered to demonstrate a series of history, geography and a range of other subjects. physical movements they had devised to illustrate The project format enabled them to re-visit their different instrumental lines in a particular piece of learning easily a year later. music and despite the passage of a year, they retained the basic ability to listen and differentiate between instruments.

The children also developed an increased understanding of the elements of music in the course of the programme, particularly rhythm, tone, pulse and tempo. They learned to respond Vogler Quartet, Music Education Workshop, S.N. Realt Na Mara, Rosses Point, 2000.

21 This point also arose in relation to the Guth residency with Traditional musician, Colm O’Donnell - see Appendix One.

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4.4.5. Overlap with the performance strand 4.4.7. Key factors influencing the children’s artistic contribute to different aspects of the programme, to an interactive style that emphasised enjoyment and educational experience using different abilities with varying degrees of and creativity. There was very little crossover with the more confidence. formal performance strand of the residency, and For purposes of clarity, the key factors identified very little sense among the teachers that it would in each section (relating to the experiences of Musical connections - The programme encouraged For future reference, teachers proposed have added anything extra. A small group of children, teachers, facilitators and musicians) have musical connections across genres. Children were more frequent opportunities for direct children attended at least one concert in been sub-divided as follows:24 invited to bring traditional instruments with them contact between the children and the Drumcliffe as well as some performance to school and play alongside members of the musicians, in order to build relationships workshops22 with their parents. However, these - Structure and content Vogler Quartet. This helped to broaden the further and enhance opportunities for children were an exception and the general level - Delivery musical frame of reference and validate the creative interaction. of awareness of the Con Brio concert series and - Training diversity of musical traditions. the Vogler Spring Festival was low, often restricted - Resources to those living in the vicinity of Drumcliffe. For Timeframe - The shortest period any child was the majority of children, the Vogler performance In some cases, participants suggested a greater involved was one year while some were programme was synonymous with schools based emphasis on particular factors that underpinned participants for the full five years of the performances and the farewell concert at the success of the programme. These suggestions programme. The generous timeframe gave Hawk’s Well Theatre, in which they had a central have been highlighted within the text in order to children the opportunity to move beyond any role themselves. ensure that they are taken into consideration in negative stereotypes they associated with the any future planning process. classical genre and build positive relationships with 4.4.6. Primary to second level transfer the music and the musicians. Some of the a. Key elements - structure and content children who were involved over a number of It is interesting to note, the comments of one years became significant music resources within second level school teacher23 who observed that Novelty - The unfamiliarity of the music and the their schools, with an ability to help other children children who had participated in the Vogler novelty of working alongside professional classical and to support teachers. The extended programme came into the secondary system with musicians from another country heightened the timeframe allowed teachers and musicians to a good memory of their musical experiences and children’s interest and enthusiasm for the hone their skills and interactive approaches, an ability to discuss them. In comparison to other programme. significantly contributing to the quality of the children, they had more interest in music in children’s experiences over time.26 The teachers general, better listening skills and better abilities in The cross-curricular approach - The children developed more trust in themselves and the recognising classical repertoire. The teacher particularly enjoyed the opportunity to link their children, and took greater creative risks as a found this particularly noticeable among the boys, musical experiences to their favourite subjects on result. The musicians developed more as it was unusual in her experience. the curriculum, as well as to other art forms.25 appropriate levels of communication as they got Teachers and musicians also commented on the to know the children better, and moved from a Vogler Quartet, Post Primary Music Education ways in which this allowed every child to more formal ‘concert style’ workshop approach Workshop, Convent of Jesus and Mary, Enniscrone, Co. Sligo, 2000.

22 These were part of the third level programme and took place in Sligo Institute of Technology and in the model::niland, an arts centre located in 26 This is explored more fully in sections 4.5. and 4.6. Sligo town 23 In the absence of more in-depth research, this observation regarding children from the Vogler programme should be looked upon as interesting but should not be extrapolated further. I spoke to just two second level teachers who had participated in the programme. The second of these could not comment on the children coming from the Vogler programme at primary level, as she was not aware of their identities. 24 In some cases, the factors identified relate to just one or two of the headings 25 Colm O’Donnell also gave an example of a child who discovered an unsuspected talent in creative writing after contributing lyrics to a group composition in the Guth programme - see Appendix One

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Quality - The children were exposed to live music Inclusion - The inclusion of all children regardless b. Key elements - delivery the quartet) and related activities in music, art, of exceptional quality throughout the residency of musical ability was crucial in making the drama and dance. contributing to their appreciation of artistic programme a positive and enjoyable experience. Environment - The children enjoyed hearing the expression and skill. The calibre of the musicians The children were encouraged to contribute to musicians perform in the intimate familiarity of Participation and creativity - The teachers, encouraged the children to see themselves as an the best of their abilities, musically, artistically and school surroundings. Many of them commented musicians and facilitators pointed out that the authentic music audience and the school as an academically. on the potential to get up close to the musicians children’s fun derived from elements of authentic performance venue. It provided role and their instruments, and to watch them making participation and creativity that were central to models and encouraged the children to imagine a music. They also liked getting close on a personal the programme. It encouraged them to be future where they too could achieve such high For future reference, both the teachers and basis. The teachers pointed out that the creative and to see themselves as musicians and musical standards. It is interesting to note, the facilitator suggested further reinforcement immediacy of the children’s experience helped artists. It valued individual contributions and however, that while stakeholders acknowledged of the principle of inclusion backed up with them to make the connection between the moved away from the old, more restrictive and the exceptional quality of the Vogler Quartet as a training and resources, to combat any musicians, their instruments and the creative act didactic approach to music in the classroom, key factor in the programme’s success, most temptation that may arise to exclude those of making music. The creative, non-competitive which one teacher characterised as: ‘sit up in yer teachers emphasised the need to match artistic perceived to be ‘without a note in their environment, in which they came together with seat and sing!’ quality with high quality skills in communication heads’ from performance programmes.This is children from neighbouring schools, provided a and pedagogy particularly relevant where cross-curricular positive alternative to their usual competitive c. Key elements - resources work is involved, to ensure it is always seen as experiences at sporting events. an addition not an alternative to music Access to instruments - the loan of percussion For future reference, the teachers proposed participation. At school level, they also Relationships - The children enjoyed interacting instruments facilitated greater levels of more structured training for musicians prior suggested that additional strategies would be with the musicians who were described as having participation among the children in the build up to their participation in schools developed to expose all of the children to ‘good personalities’ and a ‘good sense of humour’. and during the Vogler workshops. A number of programmes, to enable them to develop an professional performance at some stage. They made the children laugh, telling funny stories schools were encouraged by the positive understanding of appropriate child-centred and making animal sounds with their instruments. experiences of the children in using the approaches in the specific environment of The teachers also commented on the strong instruments and purchased their own selection the primary classroom. relationship that developed between the afterwards. These have contributed to the musicians and the children and their obvious development of subsequent musical activities enjoyment in working together. The children among the children. admired the musicians and were motivated to work hard in order to impress them.

Fun - Fun was central from the children’s point of view. Their list of highlights included musical games, performance opportunities (individual, group and in collaboration with the members of

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no barriers on their learning outcomes and saw Feedback illustrates the way in which clear Sligo Academy of Music. It is unfortunate that the 4.4.8. Future actions - the children’s responses their achievements in art and other subject areas communication can be facilitated by an extended same opportunities were not available to all as valid components of the music project. The timeframe. While a good rapport between artists children involved in the Vogler primary curriculum When asked about the future the children children’s lack of fear of composition is also and children can be developed immediately, the support programme due to the lack of a responded27 that they would like to: instructive. It would appear that the children five year timeframe of the Vogler primary peripatetic tuition scheme in the county. The - keep in contact with the members of approached the expression of ideas and feelings curriculum support programme provided current separation between music education and the Vogler Quartet in sound in much the same way as they would participants with scope to develop trust and instrumental tuition in primary schools is - meet and work with musicians from a have approached the making of a painting or a explore a diversity of possibilities for creative unhelpful and future programmes would benefit range of genres including traditional, poem. The learning here is for adults who tend collaboration. Good communications can also be significantly if the resources were put in place to country, pop, rock and jazz to see composition as something more enhanced by consideration of physical factors enable a more holistic approach. Finally, it is worth complicated and daunting, inextricably linked to such as group size and venue.While teachers or noting the subsequent growth in musical activities high levels of skill and knowledge. mediators may deliver important elements of a in some of the schools and the way in which they 4.4.9. Research commentary collaborative programme, the opportunities for were enhanced by newly developed instrument Relationships are at the heart of the child’s direct contact between the musicians and the banks. This would suggest that sustainability is It is interesting to note that the introduction of an creative experience and the musician’s ability to children should be maximised. significantly aided by the building of resources in a unfamiliar genre was not a barrier to the relate to children at an appropriate level is of practical context, where they can be tried and children’s participation. If anything, the novelty primary importance. It was interesting to see It is interesting to note the enhanced musical tested with support and guidance. factor generated added enthusiasm. The ‘live’ how the Vogler Quartet’s ability to develop experience of those children who attended the nature of the musical experience impressed positive relationships with the children at primary children most and it would appear that as long as level, compensated considerably for their lack of this experience is fun, creative, and based on the pedagogical experience28 and how the extended child’s active participation, any genre or style may time frame facilitated this process. It was also be considered suitable, regardless of familiarity, interesting however, to see the way in which obscurity, or the positive or negative stereotypes teachers valued skills in communication and surrounding it. pedagogy equally with artistic quality when analysing the elements that contributed to The children’s responses went beyond the children’s learning and enjoyment. This reflects particularities of the music programmed, current thinking among the organising partners demonstrating the need for creative strategies to who emphasise the need to engage high quality capitalise on learning across a diversity of genres, performers with appropriate skills and styles and even subjects. A number of children in methodologies that focus on interaction and that the Vogler programme developed interests in value the child’s experiences and perceptions of non-classical instruments as a result of their music rather ‘handing down’ received learning. contact with a string quartet. Similarly, they put Stefan Fehlandt (viola),Vogler Quartet, Composer-in-Residence Project with Elaine Agnew, St.Anne’s Youth and Community Centre, 2000.

27 Future actions proposed by teachers, musicians and members of the specialist support team can be found in sections 4.5, 4.6 and 4.7 respectively 28 More discussion of the specialised training needs of musicians working in education can be found in Section 4.6 and again in Section 5.2.ii

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4.5.The teachers already interested and confident, the programme musical abilities of the children. As a result they When deciding the extent upon which to focus heightened these qualities and created a greater tend to challenge the children more in terms of on these elements in ratio to the provision of a 4.5.1.The impact awareness of artistic and creative possibilities in music and their general creativity. positive music experience, teachers were influenced their work. Where teachers were unfamiliar with to a large degree by the level of formal music While participating teachers shared a the music and lacking in self-confidence, it helped 4.5.3. Knowledge, creativity and skills training they had received. They were also commitment to improving their ability to deliver them conquer their fears and opened up new influenced by the history of music activity at their the music curriculum, they came from a wide musical vistas. Taking individual differences into account, the school. One teacher described her school as range of musical backgrounds with varying levels overall ability of the teachers to deliver the primary having no history of music participation but a of confidence, training and experience. Many teachers continue to feel increased music curriculum increased significantly during the fledgling interest in singing. She was anxious to Consequently, the project impacted on them in enthusiasm for teaching music now that the residency and the experience continues to impact capitalise on the positive musical experience different ways and to different degrees. In broad residency has finished. They are more on practice in the classroom. In a piece of offered by the Vogler programme in order to terms, the teachers agreed that the project broadminded about incorporating less familiar research conducted by the facilitator Aileen encourage the children’s interest further. While resulted in more positive attitudes towards genres and styles in their work and feel more Donagher McGowan, twenty-three out of twenty she covered some of the theoretical elements of classical/ chamber music (and in some cases, positive about working alongside professional four participating teachers identified new skills music, she was anxious not to put the children off towards the teaching of music in general). It musicians, regardless of genre. Most, if not all they had developed, including improved by linking it too inextricably with the more increased their levels of confidence, creativity and would view future collaborations as a mechanism approaches to listening and responding, formalised elements of learning. skill in the planning and delivery of the to support them to deliver the curriculum rather conducting the children in singing and percussion curriculum. Outcomes relating to exposure, than something separate or added on. work, and engaging the children in simple During the five years of the programme, the appreciation, awareness, enthusiasm and composition29. teachers’ abilities to introduce more fun and to confidence are covered under the heading The teachers remain more self-assured in terms of make the music more interactive increased, and Attitudes. Those relating to the teachers’ ability to the content they cover and the approaches they With the help of the facilitator, who designed they report that the results can still be found in deliver the music curriculum, to make music a take to music in the classroom. They are specialised resource packs and provided ongoing their classrooms. The training and resources creative and fun experience for children, and to comfortable introducing classical compositions training and support, the teachers found access equipped them with games, exercises and ideas plan and organise music activities effectively in and are more imaginative and adventurous in points to cover rhythm, tone, pulse and tempo as that prompted the children into creative collaboration with musicians are covered under their teaching approaches. Many continue to use they arose in the music. In the preparatory work interpretation of the music. They learned to the heading Knowledge, creativity and skills. ideas learned from the Vogler programme (such leading up to the quartet’s visits, the teachers create linkages across subjects and with other art as cross-curricular themes) while a few have gone used a range of musical terms repeatedly and in forms, expanding their ability to make creative 4.5.2.Attitudes on to adapt the programme using local musical practical contexts, so the children became familiar connections. In some cases, they developed a resources. Generally the teachers are more with their use and learned to respond more flexible and creative approach to the Overall the programme left participants feeling willing to take risks as a result of their experience. appropriately. allocation of subject time, although this remained more comfortable with and appreciative of a difficult issue for some. While no structured classical/ chamber music and more positive about Significantly, the teachers not only trust their own The teachers were encouraged to incorporate programme of live music has been introduced in its place in the classroom. Where teachers were musical abilities more; they also trust more in the musical literacy and introduce elements of schools since the quartet left30, many teachers notation. For some, this was new and challenging. continue to work with the ideas and resources

29 From research in progress by Aileen Donagher McGowan - The information is drawn from responses to the question: What skills, if any, did you develop in the course of the Vogler programme? 30 The Guth Project (a traditional music education programme) took place during the final year of the Vogler Quartet in Sligo Residency (2003/2004)

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from the residency, applying them where possible their work effectively. Some commented on the 4.5.4. Overlap with the national Primary comments made by other artists and composers across the curriculum, using recorded music adaptability of this learning across the curriculum. Curriculum Support Programme (PCSP) who came into contact with them over the where necessary. While opportunities for collaborative planning period of the residency. were not prioritised (or requested) throughout There was some synchronicity between the Finally, the teachers’ planning and organisational the five years, some teachers did become Vogler primary curriculum support programme One musician noted that Vogler teachers were skills improved significantly. Planning tools from involved in the planning process towards the end and the work of the national P.C.S.P.in the generally more organised, more helpful and more the resource packs were easy to use, and the and collaborated with the facilitator in the 2004/2005 period, and in some cases the two hands-on in their approach than other teachers clarity of the aims and objectives for each part of development of resource materials. These were so complementary, that it is impossible to with whom he had worked, who had not the programme facilitated teachers to monitor experiences intensified the prior learning. differentiate the impact of one from the other. participated on the Vogler primary curriculum The teachers experienced a strong resonance support programme.31 They demonstrated a between the content and approaches advocated more positive attitude towards music and took a by the two programmes. The teachers felt very more participative approach with the children comfortable with the material covered by the involved. Some collaborated in the planning and P.C.S.P.as a result. They were particularly familiar organising of workshops and all maximised the with elements of percussion and composition and opportunities for mutual learning. They provided felt they were ‘a step ahead’ of the other teachers informal support to the musician in the classroom attending the P.C.S.P.training. and shared their knowledge of educational approaches and classroom management skills. The Vogler programme also influenced the way in which schools used the arts grant received from These comments were echoed by a composer/ the Department of Education and Science. Those experienced music animateur who worked on who used the funding to build instrument banks elements of the Vogler primary curriculum observed that they may not have done so if they programme. From her experience of working in had not been involved in the residency. As part schools around the country, she found the ‘Vogler of the Vogler programme, the facilitator had teachers’ particularly well organised. On offered advice on instruments and demonstrated workshop days they had rooms prepared and the their practical usage in the classroom. Without instruments ready when she arrived. They were this, they may not have seen the value of having eager and able to become actively involved in the an instrument bank in the school. workshops and showed confidence in working with a professional artist. At a practical level, they 4.5.5.Teacher impact: some additional perspectives also took responsibility for clearing things away when the workshop was finished. An indication of the ways in which the programme impacted on teachers can be seen in Teacher Seamus McCormack performing with children from Scoil Naomh Teasa,Ballintogher, at a Vogler Quartet, Music Education Workshop, 2003.

31 The musician pointed out that there were individual exceptions from schools that did not participate in the Vogler primary curriculum programme. He also observed that enthusiasm for a music project may be the greatest support a teacher can offer, regardless of collaborative music experience or skills

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4.5.6. Overlap with the instrumental tuition strand artistic experiences. Before identifying these - ability to work creatively with repertoire The enabling approach - At all stages, the elements, it may be useful to make some and generate games, structures etc programme emphasised the development of the In general, the teachers did not experience any preliminary observations about the role of the - interest and enthusiasm for the project teachers’ confidence and ability, and placed their formal overlap with the tuition or performance facilitator, which was a crucial factor in every - openness to embrace and encourage learning needs at a central point alongside the programmes. Independently of the curriculum aspect of the programme including its overall musical challenge learning of the children. The facilitator backed up support programme, a small number of teachers structure and delivery and the training and - excellent communication skills this approach by providing specially designed sent their own children to Sligo Academy of resources provided. resources as well as practical training and Music for classes. These included some who lived a. Key elements - structure and content support. a considerable distance from the academy’s base The facilitator provided an important bridge in Sligo town. between the teacher and the musicians, and Challenge - The programme opened new musical The cross-curricular approach - The way in which between the musical art form and the horizons to many teachers, exposing them to a the programme integrated music with other 4.5.7. Overlap with the performance strand curriculum.32 Her role permeated all aspects of genre and style of music that was challenging for subjects on the curriculum helped teachers to the Vogler primary curriculum programme. When some, and that they would not have sought out cover their workload, instead of adding to it. All of the teachers were aware of the Con Brio discussing key factors below, the teachers often for themselves. Teachers with less confidence in music found it concert series and the Vogler Spring Festival in comment on the efficacy of ‘the programme’ in particularly helpful that they could utilise their Drumcliffe. They had received invitations to providing them with challenge, focus etc. It is Focus - Despite the demands of the curriculum, personal strengths in English, History, Art etc. selected concerts in the Spring Festival over the important to remember that ‘the programme’ is teachers were motivated to prioritise music, within a music context. years, and some were influenced to attend as a made up of many parts including overall design, especially in the periods leading up to a visit from result of their involvement in the schools content, delivery, training and resource the quartet. The workshops provided teachers Clustering - The term clustering refers to the programme. However, in the absence of a more development, all of which were influenced by the with a clear goal in a specific timeframe, and coming together of a small number of formal link with the curriculum support work of the facilitator. All stakeholders observed inspired them to develop higher levels of participating primary schools for Vogler programme, the majority of invitations were not the way in which the role was particularly well participation and creativity among the children. workshops. At a practical level, clustering taken up. served by Aileen Donagher McGowan, especially This was quite pressurising but in a positive way. facilitated the participation of more schools in the considering the broad range of responsibilities it programme. It also facilitated networking and 4.5.8. Key elements influencing the teachers’ artistic entailed. The elements that made her particularly For future reference, the teachers pointed informal support among teachers, encouraging and educational experience effective in the role included her: out that while they have managed to sustain them to look to one another for advice and - understanding and background in music the benefits of the Vogler primary curriculum ideas. Some teachers enhanced the effectiveness In many ways, the successful outcomes for the - training and experience as a primary support programme in most areas, retaining of their cluster groups by collecting and children underpinned the experiences of their teacher and familiarity with the whole a concentrated focus on music is exchanging information with other teachers, then teachers so there are a number of clear primary curriculum (not just music) problematic and requires further support. mediating with the musicians to facilitate crossovers with the key factors already identified - initial involvement as a teacher/ Also, in the absence of a structured maximum participation during workshops. in Section 4.4. In this section however, teachers participant on the Vogler programme programme they find it difficult to maintain a have identified specific elements that contributed - commitment to supporting teachers consistently creative approach to music significantly to their own positive educational and through the programme, rather than without falling back into old routines. adding pressure

32 An account of the work of the facilitator can be found in the Section 4.1.

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Complementary interventions - A number of The Guth programme - On the other hand, the b. Key elements - delivery The musicians’ flexibility - For many teachers the complementary programmes added to the traditional music programme designed and flexibility of the musicians was fundamental to the learning outcomes of the Vogler programme. delivered by traditional singer and musician Colm Relationships - An informal evening of shared success of the project. Their willingness and These included: O’Donnell33 played to the musical strengths of music-making in the early days of the programme, ability to modify their initial formal approach to some teachers, and gave them another helped teachers to see the quartet members as music making and communication, and their Composition - Some teachers were exposed to perspective on what can be achieved with a ordinary people as well as professional musicians enthusiasm for developing more effective composition for the first time through the structured programme in a different genre. of international repute. This broke down barriers pedagogical approaches was emphasised more intervention with Elaine Agnew. They found it and improved communications. The musicians than any other attribute, artistic or otherwise. addressed fears and gave rise to additional ideas were always friendly and approachable, making for creativity. teachers feel more comfortable over time, and Administrative support and co-ordination - While a contributing to their ability to collaborate certain amount of informal co-ordination took effectively. place among participants, they were largely For future reference, teachers with varied dependent on professional communications and levels of confidence and musical expertise all support from Sligo County Council Arts Office. suggested further emphasis and support in For future reference, teachers felt that the area of composition. relationships with ‘resident’ artists would be further enhanced through an increased level of contact in a range of artistic, educational and social contexts.

Collaboration - Teachers were empowered by their role in sharing the delivery of the programme. Their involvement in aspects of planning and resource development was also facilitated towards the end, when levels of confidence and skills had risen.

For future reference, teachers would like more structured opportunities to work alongside the musicians in collaborative planning, resource design and skill-sharing and training. Children Performing at the launch of the Vogler Spring Festival, Sligo County Hall, 2001.

33 For details of the Guth programme, see Appendix One

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c. Key elements - training and support varying degrees, depending on their individual Access to instruments - The provision of needs. instruments on loan was significant. The Training courses - The summer training courses instrument bank provided teachers with and evening preparatory sessions were essential Informal support - The cluster groups also gave opportunities to try out a diversity of percussion in introducing the teachers to new ideas, rise to informal networking and some teachers instruments and see what worked well, without materials and approaches. They equipped and contacted each other for advice and any financial outlay. It also created the motivation motivated teachers to use the Vogler resource encouragement. to purchase replacements when the loan period packs, which were specially designed by the came to an end. facilitator. d. Key elements - resources

4.5.9. Future actions - the teachers’ responses - Other curriculum-based performance Resource Packs - The mix of recordings, planning programmes - Teachers want to be invited to For future reference, the teachers pointed materials, information and practical games and Continued contact with the Vogler Quartet - participate in future live music programmes out that much of the training depended on exercises contained in the Vogler packs 34 Teachers made two suggestions with regard to linked to the curriculum, with similar levels of voluntary commitment, a feature that empowered teachers to work independently future connections with the quartet, including: back up support and resources. They see a would be unsustainable in the long term. between quartet visits and remain useful now risk of slipping back into old, less creative Support from the Department of Education that the residency has concluded. What - A children’s concert in the Vogler Spring habits without such support. Suggestions and Science is required in order to provide distinguishes the Vogler packs from others that Festival programme - A music programme included linkages with a range of non- substitute cover for teachers taking part in arrive regularly in staff rooms and remain could be prepared and delivered by the commercial genres, including classical (with training (including collaborative planning) unopened, is the way in which they are situated teachers in advance of the concert to some particular requests for brass and with musicians during school hours. Less within a practical programme of live music facilitate the children to participate. The woodwind), traditional, and jazz35. ideally, it could sanction a system of time-in- performance with integrated training and support. lieu for out of hours training, but once again concert would need to take place on a - The piloting of a whole-school approach36 substitute hours would be required. school day leading up to the festival weekend - Without substitute cover, schools are left For future reference, the teachers would like but could form part of the official While a whole-school approach cannot be under-resourced and creative programmes increased opportunities to be involved in programme. forced upon any school, the suggestion was can lose support among management and the design of resource materials in made for a volunteer pilot programme - An annual workshop linked to a performance staff. collaboration with the facilitator/s and the among a number of schools of all sizes. In programme musicians. - Based on the possibility of an this way, the live music programme would annual visit by the quartet to perform for make its way up through the school, starting local promoters, participating schools could with first class, and moving through the whole Ongoing facilitator support - While the role of the link in with the visit and organise a workshop community of teachers and children, with facilitator has already been discussed, it is during their stay. Again, teachers could specific strategies to reach out to parents and important to emphasise the flexibility of the prepare and deliver a programme in advance members of the community. support and advice that was on offer to teachers, to facilitate participation and interaction. who could avail of it at different times and to

34 The teachers attended the evening sessions voluntarily during term time 35 Classical and traditional music were most commonly mentioned 36 A discussion of the impact of the whole-school approach as part of the Vogler primary curriculum support programme can be found in Section 4.3. The identification of the whole-school approach as a key element in successful school residencies is in line with findings from the Arts Council’s Artist in Residence in Schools Scheme, which ended in 2002.

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4.5.10. Research commentary degrees to which teachers tackled those more - The development of a national music - Advocacy for a national music day - difficult elements, and the flexibility of the resource pack - Teachers would like to see Following the success of the Vogler residency, The complexity of the facilitator’s role was programme in allowing each participant to the existing resource pack expanded and one teacher suggested advocating for a mentioned often. While the Vogler primary choose his or her pace of learning. developed into a national music resource national music day. This would help to curriculum support programme was lucky to find pack. A modular pack is needed, which provide the ‘focus’ on music that was so somebody with the considerable skills and abilities Feedback would suggest that the link between would cover a diversity of genres, and would important in the residency and would of Aileen Donagher McGowan, it is worth personal enjoyment and confidence in music is incorporate age specific exercises and encourage information sharing and considering whether one person could or should closely linked to professional practice; the more approaches for each. The pack should have engagement of local music resources. be expected to fulfil such a wide remit. Such a comfortable the teachers became with different scope for individualisation, in order to concentration of responsibilities in one person aspects of classical/ chamber music, the more encourage schools to incorporate elements leaves a project dependent and potentially willing they were to incorporate these aspects of local musical culture and engage with the vulnerable.The process of facilitation could be into their teaching. For example, some teachers music resources available in the area. addressed in a number of ways in the future with commented on the way in which theoretical possibilities for building teams of facilitators and principles that appeared irrelevant or uninspiring with greater emphasis on co-planning and skill- on the page became more interesting when they sharing. were practically linked to live music performance in the classroom and backed up by the support The facilitator’s emphasis on addressing the and resources provided by the facilitator. In this teachers’ learning needs at every level was clearly way the teachers’ own musical understanding was a significant factor in the success of the enhanced and they gained confidence to share programme. Using a live music programme, this learning with the children in their class. backed up with training and resources was an effective way of addressing those needs, providing Across the range of skills and confidence, teachers with the practical motivation and the composition appeared to generate the highest responsibility for developing or improving levels of creative enjoyment on one hand and appropriate skills. The teachers were exposed to fear on the other, among participating teachers. all elements of the music curriculum through the The value of exposure and training in the area of live music experience with the Vogler Quartet composition is illustrated by the positive and through their ongoing contact with the experience of the teachers who participated in facilitator and the resource pack she developed the programme delivered by composer and music for use between quartet visits. Their experience animateur Elaine Agnew, although it is also clear included exposure to those elements of music that there is a need for further support in this they disliked or in which they had the least regard. confidence. It is interesting to note the different Children from S.N. Molaise, Grange preparing for a performance during a Vogler Quartet, Music Education Workshop, 2002.

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The centrality of good relationships was re- and Science in order to integrate the curriculum support programme represents a early experience where they played a Haydn emphasised, this time between teachers and collaborative planning process more effectively in significant invigoration of music education in the Minuet and were amazed at the reaction of the musicians. Despite spending time together in the the context of future residencies, especially in region. In keeping with the theme of capacity children, who found it funny and laughed out loud classroom, the development of good relationships relation to the supply of substitute cover39. building that characterised the programme, the in obvious enjoyment during the performance. between teachers and musicians cannot be taken teachers could be facilitated to share their The direct nature of the children’s response was for granted. The pro-active strategies devised by It is important that teachers are supported to increased musical confidence and skills with other like a ‘little kick’ for the musicians, in both personal the facilitator in Sligo succeeded in bringing the maintain a focus on live music performance in the teachers, encouraging them to introduce live and artistic terms. Being used to concert two groups together in a positive sociable classroom beyond the life of any residency. music, adopt more creative approaches and make audiences, who betray no obvious response context, and this set the tone for their Following the experience of the Vogler primary use of the resource packs and instrument banks during performances, it caused them to feel the subsequent working relationship. This experience curriculum support programme, many of the available. freshness of the music again.43 could be usefully considered in future residency teachers in Sligo are enthusiastic to work with programmes as teachers can find the contact with musicians from a range of different genres. With 4.6.The members of the Vogler Quartet41 The musicians became more aware of their artists intimidating37 and fear creates a barrier to an improved music infrastructure in the county as responsibility to deepen the relationship between effective communication and collaboration. It is a result of the residency, there should be ample 4.6.1.The impact audiences of all ages and the music they played. interesting to note that such fears are not opportunities to facilitate such an engagement if At the beginning of the project, they had some exclusive to music. A recent report exploring the sufficient support can be harnessed at local and Members of the quartet found their attitudes doubts about the suitability of children as an work of professional writers in the classroom national level. There is scope for improved towards music education altered and their skills in audience for classical music, but by the end of the raised the same issue.38 linkages between schools and local music communication and pedagogy enhanced through residency those doubts had disappeared. They resources with possibilities for diverse their participation in the curriculum support saw that children were open and interested in all The teachers’ involvement in the planning process performance inputs ranging from music students strand of the residency. These changes were kinds of music. and in the development of resources contributed attending Sligo Academy of Music to international further enhanced by their involvement in not only to the quality of the programme in its musicians of exceptional quality such as the Vogler performance workshops in the third level The musicians enjoyed the contact with the final months, but also to the confidence and skills- Quartet. The organising partnership has already programme, and there is significant overlap children, teachers and facilitator, and developed development of teachers. Teachers may not demonstrated a commitment to long term between the two42. greater confidence in their abilities to work in this identify the need for collaboration at the provision and support linked to policy context. They formed strong connections with beginning of a programme, indeed they may avoid development. If this is taken forward into the 4.6.2.Attitudes the children and were moved to see the way in it due to lack of confidence. For this reason, future, there are strong possibilities that the which music impacted positively on them. Their progressive levels of collaboration could be learning outcomes from the Vogler primary The musicians’ understanding of the value and interest in this area was complemented by their usefully structured in from the beginning, with curriculum support programme could be place of educational work changed over the experience as parents, which made them more support from a facilitator. It is important that the reinforced and applied to new musical scenarios course of the residency. Instead of seeing it as a aware of the needs of children.They developed a process does not become a negative experience in Sligo and beyond.40 distinct strand, separate from their work as greater understanding and regard for the specific resulting in any additional administrative burden professional performers, the musicians came to skills required for classroom-based work and an for participating teachers. Support and resources The increased skills and confidence among recognise it as an enhancement of their artistic awareness of the professional training needs of are required from the Department of Education teachers who participated in the Vogler primary development. One of the musicians described an musicians who intend to work in the classroom.

37 And vice-versa, as seen in Section 4.6 41 For background information on the Vogler Quartet see Section 3.3. 38 A Review of the Poetry Ireland Writers-In -Schools Scheme (p.114) - Poetry Ireland (2005).The researcher observes that some teachers were 42 Performance workshops were held in Sligo Institute of Technology and the model::niland, an arts centre in Sligo town. As well as speaking ‘afraid of writers’ and pointed out the negative implications with regard to effective partnership, collaboration and evaluation. about the general background to a particular composition, the musicians isolated specific elements of musical interest, then discussed and 39 Similar points have been made by teachers and principals involved in other schools based arts interventions. See A Review of the Poetry Ireland demonstrated them before performing the whole work. Writers in Schools Scheme- 2005 (p.86) and Red Lines Between the Fingers - A Review of the IMMA/ Breaking the Cycle Project - 2002 (p.68) 43 The link between educational work and artistic interpretation was even stronger in terms of their work in the performance workshops, where 40 The implications at national level are discussed in Section Five and again in the Conclusion detailed discussions caused them to play the relevant compositions in a ‘fresher, more convincing way.’

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4.6.3. Skills experienced very positive communications with these agencies and benefited from their From their experience on the programme, the support.44 musicians gained a range of skills and ideas related to music in the classroom. They learned the Flexibility regarding the issue of residency - For a importance of making music fun and keeping a number of reasons, full-time residence in Sligo class interested through active participation. In would not have been possible for the quartet the beginning they approached the work more so the option of regular extended visits made formally. They introduced their instruments and the residency feasible from their point of view. played five or six pieces of music, then gave the It kept things fresh, intense and focussed, with children some background to the period, the the quartet concentrating on fulfilling their composers etc. With the support of the commitments and the participants committed facilitator and the teachers, they changed their to preparing for their visits. There was no approach and brought the children into the time for anyone to grow sloppy or careless workshops as co-performers. They learned to about the work. use music-related games and to work with themes that cut across a range of subjects. They More specifically, in relation to the Vogler primary also learned to identify appropriate repertoire curriculum support programme, one key factor and adapt it, cutting it down to a manageable underpinned all of the rest: length in order to meet the needs of the children and keep their attention. The role of the facilitator - The facilitator’s input enabled the musicians to maximise their 4.6.4. Key factors for the musicians interaction with the children and the effectiveness Vogler Quartet, Music Education Facilitor,Aileen Donaher McGowan, McFirbis Centre, Enniscrone, 2000. of their collaboration with the teachers. Her Two key features underpinned the positive ongoing advice and support influenced their experience of the Vogler Quartet in all three understanding and practice in the classroom and aspects of the residency i.e. education, her well-structured music programme enabled instrumental tuition and performance. These them to intensify the impact of their visits. included: Particularly important was the way in which the The need for such training is emerging as an issue quartet has started working with primary school Support from Sligo County Council Arts Office facilitator encouraged and enabled all of the in institutions in Germany and members of the children in Germany.The musicians have initiated and Music Network - The support from the teachers, including those with less confidence, to quartet are keen to contribute their learning from a concert series for schools in Berlin and involved Arts Office and Music Network was a crucial deliver the programme between visits by the the curriculum support programme. themselves in festival programmes for school factor for the musicians across all three quartet,45 making the input of the musicians more children and young instrumentalists in both Berlin strands. From the beginning, the quartet effective and enjoyable. At a practical level, she As a result of their experience in Sligo, the and Hamburg.

44 While the musicians didn’t mention it themselves, it is important to note that funding from a third partner, the Arts Council, facilitated the provision of these important supports 45 The role of the facilitator was particularly important in ensuring continuity considering the Vogler Quartet were in residence on a structured visiting basis

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devised games and approaches, made effective between visits by the quartet added value to the suggestions about repertoire and researched work of the quartet and their practical advice and humorous, little-known facts about composers, for assistance helped the musicians to work use in the classroom. Her background as a local effectively in the classroom. Their authority was teacher and musician appeared to contribute to particularly welcome in the early days before the the high levels of support for the programme. musicians had formed relationships with the Her skills were an essential element for the children. Good communications and friendships musicians, one of whom described her as ‘the were encouraged by the organisation of an most brilliant person of all’. informal music evening at the start of the project.

a. Key elements - structure and content Collaboration - The advance preparation work carried out by teachers made the musicians’ Clarity - The programme was well thought out contact with the children more meaningful during and the roles of the musicians and the teachers workshops. Many teachers had musical skills and were clear. confidence but even those with less of a musical background contributed significantly. The The cross-curricular approach - Opportunities to members of the quartet acknowledged that they work across the curriculum introduced additional did not see the importance of collaborative creativity and enjoyment for the musicians as well planning at the beginning of the residency,but as the children. It created linkages between music learned its value through experience. and everything from bird watching to dance. Clustering - The clustering of schools for visits by Interaction - It was a new experience for the the quartet gave rise to a positive and creative quartet to have a high level of interaction with atmosphere, with teachers and children from the children but it was key to the success of the different schools collaborating musically. programme. The quartet enjoyed the mix of performing, watching the children perform and b. Key elements - delivery then playing music together. They drew energy from seeing the children gain in confidence and Relationships - Prior to the residency, the creativity throughout the process. musicians feared ‘fights’ with the teachers who might not welcome them into the classroom. Environment - Working in the primary schools was Instead they found the teachers supportive, generally successful; it provoked curiosity among helpful and crucial to the success of the project. other teachers and students who were not Their delivery of the programme in the periods directly involved.

Frank Reinecke (second violin),Vogler Quartet, making music with children from Rathcormac National School, 2002.

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of the programme, contributing significantly to its pedagogical skills on the basis of their experience 4.7.The support team 4.6.5. Future actions - the musicians’ responses sustainability. on the ground. Neither can it be assumed that teachers will volunteer to support and advise Over the course of the five-year residency a The musicians have committed to the Vogler The prioritisation of positive relationships by the musicians the way Sligo teachers did. Musicians number of musicians, composers, educationalists, Spring Festival in Drumcliffe for five years musicians echoes previous observations by require flexible forms of training and support that artists and administrators contributed their beyond the conclusion of the residency teachers and children, and reinforces the will take account of the different levels of skill and expertise to the Vogler primary curriculum (2005-2009), and are interested in maintaining importance of devising strategies to maximise experience they have in the classroom. support programme. For the purposes of this a relationship with Con Brio. In this context, direct contact and communications. It cannot be Opportunities to come together with teachers report, I have focussed on the experiences of two they see possibilities for maintaining a link assumed that either the artists or the teachers for a shared exploration of aims, objectives are members of the team: the facilitator, Aileen with at least some of the participating will prioritise such contact themselves initially; the also needed, along with mechanisms for skill Donagher McGowan47 and a guest composer, schools. Due to the small amount of time realisation of its value came as an important piece sharing. Elaine Agnew.48 available, they would see themselves playing a of learning for the Vogler Quartet. This is an small part in a broader music education aspect of the facilitator’s role that needs to be It is interesting to note the impact that programme. carefully planned and articulated so it is constantly educational work had on the artistic practice of directed towards fostering direct communication the Vogler Quartet and to reflect on whether between musicians and teachers, rather than such outcomes are sufficiently recognised and 4.6.6. Research commentary replacing it. valued among musicians, artists and arts organisations. Structures are needed to The collaborative and professional development It is interesting to note that the musicians’ learning encourage further reflection, dialogue and approach, which characterised the residency and outcomes were central to the success of the interaction between artists working in educational was central to the teachers’ positive experience programme, alongside the learning outcomes for settings and to monitor the artistic outcomes of of the Vogler primary curriculum support teachers and children. Their whole approach to their educational practice. It would be programme (as outlined in Section 4.5), also had educational work changed as a result and their particularly interesting to see dialogue of this kind clear advantages for the artists. It was of enjoyment was enhanced by the experience of informing professional music training courses as significant benefit to them to be able to combine interacting and collaborating. This reinforces the well as arts policy making bodies at local and skills with other professionals and to have joint value of the Mutual Learning Triangle (MLT) national level. rather than sole responsibility for making the model, which proposes that an effective arts programme work. As a result, the musicians’ intervention in a school setting is ‘…a symbiosis experience of working with children was more from which outcomes can only be truly maximised enjoyable and more effective. The role of the when all three parties are operating in the role of facilitator is clearly a crucial element in this regard. both learner and teacher.’ 46 Despite the positive Her focus on enabling the teachers to deliver the learning experiences of the Vogler Quartet, it music programme between visits maximised the cannot be assumed that all musicians will develop impact of the quartet’s input and was at the heart appropriate communication styles and

46 the arts-education interface: a mutual learning triangle? (2005) - National Foundation for Educational Research 47 The facilitator was first involved as a teacher/participant on the Vogler primary curriculum support programme. She took up the role of facilitator in 2001. For further information, see footnotes, Section 4.1 48 Elaine Agnew is a composer and experienced music animateur. She delivered a Composer-in-residence programme with five of the schools participating in the Vogler primary curriculum programme between January and April 2002

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4.7.1.The facilitator contributed to her decision to become involved Ongoing evaluation - the residency afforded The flexibility of the musicians - The musicians as a music trainer on the P.C.S.P.programme. opportunities to reflect, feed back and instigate demonstrated a willingness to learn from the 4.7.1.i.The impact changes at all stages of the programme. This teachers and the facilitator. They were keen to 4.7.1.ii. Key elements in the Vogler primary encouraged everybody involved to be more work effectively in the classroom even if they had Over the five years of the programme the curriculum support programme observant and more critical in evaluating content to change their approach. This openness and facilitator found that her approach to music in the and practice, and to learn from shortcomings as flexibility kept everybody enthusiastic about the classroom changed as she learned new skills and There is significant crossover in the key factors well as from strengths. programme and made the experience of became more creative in building linkages across identified by the facilitator, and those identified by collaboration increasingly positive. the curriculum. She became more observant and the teachers (see Section 4.5), although there are more critical in evaluating content and practice, slightly different reasons given for their For future reference, further emphasis could The teachers’ commitment - The programme was and more skilled in assessing and adapting importance. be placed on the formal revision and re- dependent on the commitment of the repertoire to meet the needs of the children and articulation of aims, objectives and roles on participating teachers and would not have teachers involved. She also became more a. Key elements - structure and content a regular, shared basis, regardless of how succeeded without it. There were demands on confident in communicating with the quartet and clear they are in the beginning. their time and they had to stretch themselves asking them to make changes in approach or Challenge - The introduction of a musical genre personally and professionally. They came to content where necessary. Recognising the that was unfamiliar intensified the impact on preparatory sessions voluntarily and put their educational and creative potential of teachers and created greater levels of change Timeframe - For the facilitator, embarking on the energy into promoting the programme among performance-based games and exercises, she built than could have been achieved with music that residency was like embarking on an unknown teachers and parents at their schools. up a varied collection, and learned to gauge their was more familiar. journey, with learning opportunities at every timing so that teachers and musicians could work stage. The extended timeframe allowed her (and out exactly how much could be covered in a The enabling approach - This was a key factor in all of the participants) to take risks, make mistakes workshop. maintaining the interest and enthusiasm of the and discover what worked most effectively. For teachers and in addressing issues of sustainability. example, the close link with the curriculum was The facilitator also developed an interest in not an integral element of the programme at the research and her ongoing exploration of The cross-curricular approach - In the context of beginning but evolved organically, as an effective performance based educational programmes at the teachers’ heavy work-load, it was essential to way to meet a range of needs. home and abroad49 informed the design and devise a programme that supported them in their delivery of the programme. planning and delivery of the curriculum across a b. Key elements - delivery range of subjects, rather than adding to their The impact of her experience as facilitator was work. Relationships - The process of facilitating good enhanced by an opportunity to undertake communication between the musicians and the academic research linked to the residency under teachers was vital so that each could bring their the auspices of Mary Immaculate College of specific and complementary skills to the Education, University of Limerick. It also classroom without distrust or discomfort.

49 The findings of the research were collated in a report entitled: Bringing live music to the classroom: exploring the benefits to teachers, musicians and students - A report on findings of comparative study of music initiatives - Aileen Donagher McGowan for Sligo County Council Arts Office (2004)

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c. Key elements - training and support: 4.7.1.iv. Research commentary educational programmes, but also by the trainers, programme was the introduction of a less familiar facilitators, mediators who inform their practice. musical genre that would not have been selected Training courses - Early training with Breda O’Shea One important piece of learning that emerged by the majority of teachers if they had been given and Elaine Agnew were pivotal in enabling the from the facilitator’s experience on the Vogler It is also interesting to note the issue of musical the choice. Some independence is required if the facilitator to develop new approaches to music in primary curriculum support programme was the challenge, which is raised by the facilitator, facilitator is to retain the freedom to inject the classroom. need to facilitate the musical progression of particularly in the context of collaborative elements of musical and educational challenge to teachers and children in a flexible way that allows planning, which is advocated by all stakeholders in live music programmes in schools, and this should Ongoing support - Contact with other members each individual to move forward at an different sections of this report. One of the key be borne in mind when collaborative planning of the creative and administrative support team appropriate pace. However, the issue of elements of the Vogler primary curriculum processes are being developed. facilitated ongoing opportunities for discussing progression is relevant to the support team too ideas and solving problems. and the experience of the facilitator illustrates the importance of having a strategy for professional progression at all levels. The facilitator was heavily 4.7.1.iii Future Actions - the facilitator’s response influenced by the early training sessions she attended as a teacher/ participator, which were A strategy for progression - Future live music delivered by Breda O’Shea and Elaine Agnew. programmes should be developed to build on These contributed to her ability to take on the the positive outcomes to date. They should role of facilitator where her advice and support incorporate progressive levels of musical informed all aspects of the collaborative music challenge for teachers and children, providing programme. She was facilitated to engage in them with opportunities to build on prior further research under the auspices of Mary learning and capitalise on the higher levels of Immaculate College of Education, University of confidence as they develop over time. Limerick, as part of her ongoing professional development. This strategy has been very Linkages with international models - Initial work effective in building local capacity and has has taken place identifying international contributed to the sustainability of the schools-based performance models. The next programme. It is important to note, however, step is to explore opportunities for contact that new approaches to collaborative music and and mutual learning. arts in educational settings are being developed on a constant basis, and the facilitator may have benefited from further exposure to emerging practice. Ongoing access to information, training and support in this area is needed not only by teachers and musicians involved in collaborative Childern dancing at a Vogler Quartet, Music Education Workshop, Riverstown Hall, 2003.

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4.7.2.The composer composer easier in terms of organisation and 4.7.2.iii. Research commentary arrangements of familiar melodies or planning and more satisfying in terms of the creative process. realising their own group composition. 4.7.2.i.The impact The clear connection between the composer’s Collaborations between artists across art forms The personalities of the musicians - The quartet educational work and artistic practice highlights would add further creative possibilities. As well as being a professional composer, Elaine members each had particular, diverse qualities the potential for learning that exists in this area. Agnew is experienced in working in educational and skills that made them suitable for education Facilitated reflection and discussion is needed 4.7.3.The Guth project contexts. While it is difficult to distinguish a work. Although Elaine did not work with them among artists not only to identify the linkages distinctive impact from her work on the primary directly in the curriculum support programme, between the two practices but to explore In the final year of the Vogler Quartet in Sligo curriculum programme50 in Sligo, she is very clear she witnessed them interacting with the children opportunities for further reciprocity. Residency (2003/2004), an important project was about the significance of education work in during two performances and worked alongside undertaken as a direct consequence of the Vogler general on her artistic practice. She is inspired by them in the community-based programme. She Imaginative interventions such as the Vogler residency. Guth, a traditional music programme, her educational contact with children, and by the found that they brought ‘something very special’ to primary curriculum programme can bring a was implemented in eight primary schools over a openness, imagination and humour they exhibit in their communications with children. diversity of artists to work on different strands of twenty week period with funding and other their work with her.They provide her with ‘a the same programme. Opportunities for artistic support from the Arts Council and Sligo County breath of fresh air’ at both a personal and an b. Key elements - resources collaboration between these artists would add to Council Arts Office. Guth is instructive in several artistic level. While it is difficult to pinpoint exact the creative experience and give rise to potential ways that are relevant to the current study. For points of crossover in her writing, she feels that Access to instruments during the composition for new directions and departures. The that reason and because of its close affiliation the child’s tendency to pare everything back to project - Having access to high quality percussion composer, Elaine Agnew, worked alone with the with the Vogler primary curriculum support the bare essentials may be reflected in the instruments during the composition workshops children and teachers, using percussion programme, it is treated in some detail in economy and clarity of her compositional work. and between visits, facilitated high levels of instruments. Collaboration with skilled Appendix One. participation and contributed significantly to the performers could have contributed a bass line, for 4.7.2.ii. Key elements in the Vogler primary quality of the contact between the composer and example, and this would have facilitated the curriculum support programme the children. composer to introduce sustained long notes, which would have enhanced the musical a. Key elements - delivery experience for all involved. It also would have shifted the focus more towards performance and The teachers’ application of learning - the this would have encouraged the children to composer’s experiences with the teachers and practice more between workshops. children were influenced positively by their involvement in the Vogler programme. Greater Added value could also be derived from the levels of interest, confidence and helpfulness were introduction of skill-sharing opportunities obvious among the teachers and greater skills in between artists. Performers could benefit from listening and participating were obvious among compositional training and support that would the children. This made the work of the enable them to lead children in making their own

50 Her work on the primary curriculum did not involve any degree of direct involvement with the Vogler Quartet

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Section Five - The experience of the organising partners

5.1.The context In more specific terms, it found that Sligo County Council Arts Office had established a While the focus of this report is on the developmental remit and been recognised as a curriculum support programme at primary level, key agency in defining local arts development. It the organising partners did not experience the also found that Music Network had gained a educational strand of the residency in isolation. greater understanding of local arts development Each agency had varying degrees of interest in and music education, and that its profile as an the performance and tuition strands, and expert agency in these areas had improved as a experienced numerous direct and indirect result. These outcomes are still relevant a year crossovers between them. As a result, the after the formal conclusion of the residency. In different strands of the residency are not some cases they have strengthened with the separated out in this section but are considered passage of time. Additional points worth noting as a whole. While there is a brief look at the in this regard include: ways in which outcomes have been sustained since the conclusion of the residency, this section Profile - The profile of all partner agencies focuses mainly on the learning that emerged with increased at local, national and international levels, regard to the planning and provision of long-term among arts communities, educationalists and the music interventions and the process of general public. Recognition at local level has been partnership. particularly valuable for both the local authority arts office and Music Network. The Arts Council, 5.2.The impact on the other hand, has found the increased profile among local authority arts officers 5.2.1. Practical outcomes beneficial at national level.

In the evaluation of the initial phases of the The development of valuable relationships - residency in 2003, it was found that partners Valuable relationships have been established both benefited from the: internally and externally. In many cases these - Combination of expertise in the relationships demonstrate potential for ongoing partnership group collaboration into the future. Internally, - Utilisation of learning for other strategic relationships between partner organisations have purposes specific to their own strengthened over time. Despite earlier organisations difficulties in communications and consistency,51 a - Development of a more sophisticated better understanding has developed between understanding of strategic partnership organisations, and individual partners expressed

51 See Vogler Quartet in Sligo - Evaluation Report - interactions (2003)

Vogler Quartet, Music Education Workshop, McFirbis Centre, Enniscrone, 2000.

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SECTION 5

enthusiasm for further opportunities for mutual County Council Arts Office and Music Network quality. It has created a basis from which the was organised on a structured visiting basis. Each learning and collaboration. The additional has already led to significant shifts in the planning different agencies can advocate for the inclusion residency partnership needs to examine its own educational expertise, which has been brought to and practice of live music in the classroom. The of educational aspects in other music and artists’ priorities and determine which elements are the partnership by the inclusion of Mary learning from early Music Network projects in residencies. central to their purpose, rather than applying an Immaculate College of Education, University of Dublin and Kerry influenced the structure of the inflexible template. Limerick, has been welcomed, as has the curriculum support programme in Sligo, which in The nature of artists’ residencies - Partner establishment of a research link with the turn, fed back into the Music Network study of organisations have come to see the nature of The development of flexible training provision - Department of Education and Science. local music education provision and Feasibility artists’ residencies as a subject for further Informed by learning from the Vogler residency Study report.52 interrogation. They have moved some way in and other arts education experiences in the past, Externally, positive relationships have been clarifying their current understanding of the partner organisations from both arts and cultivated at local level with teachers, musicians, An expanded vision of the role of touring musicians concept, identifying a small number of education sectors have acknowledged the promoters, and other stakeholders, leading to - The Vogler residency challenged thinking around fundamental elements, which characterised the pressing need for a range of flexible training increased levels of trust and the opening of some the role of professional touring musicians. It Sligo experience. These include: measures for musicians who engage in channels of communication that were previously placed the ensemble as a central resource around - a sustained professional collaboration collaborative education work. The partner closed. At international level, the key relationship which locally owned music education and between artists and a diversity of organisations are well placed to advocate and with the Vogler Quartet will continue to impact development programmes could develop. This groups, communities and organisations contribute to future provision from a range of on music planning and provision at all levels, with has raised new possibilities for the Arts Council, - a programme structured around local different angles. Music Network already has a opportunities to build on shared learning and Music Network, and Mary Immaculate College of needs and contributing to local capacity background in Continuing Professional experience. Valuable linkages were also formed Education, University of Limerick, all of which are - a means of introducing fresh, innovative Development training and mentoring for with a range of other Irish and international interested in exploring the implications at national ways of thinking about art and working musicians, while Mary Immaculate College of musicians and composers over the life of the level. with professional artists Education, University of Limerick provides full residency. time music education training. The Arts Council The further validation of the school as a legitimate Flexibility and time were the two key factors that has a funding relationship with clients engaged in 5.2.2. Learning outcomes site for art of a high quality - One distinguishing facilitated the effective implementation of these various forms of arts education training and has feature of the Vogler residency, was the fact that it elements in Sligo. While the issue of time prioritised training for artists involved in this area For agencies concerned with the issues of policy offered children access to the same high quality requires little illustration, it is interesting to note of work in its recent draft strategy.53 and practice, perhaps the most important performance as was offered to the concert-going how the issue of flexibility underpinned the outcomes related to changes or developments in public. Schools based performances and process from the start. For example, it was thinking and the way in which new learning has workshops were accorded similar value to those envisaged that the members of the quartet would been acknowledged and applied, or can be in more conventional arts settings. For the take up full-time residence in Sligo as part of their applied in the future. Examples of this include: organising partners, the positive outcomes of this contract, but it transpired that this would not approach have reinforced the validation of work for them. In the context of the main aims The planning and provision of live music in schools as legitimate sites for collaboration with and objectives of the Sligo residency, this was not education - The ongoing link between Sligo professional artists, including artists of exceptional an insurmountable difficulty, and their ‘residence’

52 A National System of Local Music Education Services - Report of a Feasibility Study - Music Network (2003) 53 In Partnership for the Arts - Draft Strategy (2005),The Arts Council prioritises a partnership approach to ‘target resources at further collaboration between the arts and school communities including professional development and training opportunities for artists and key personnel in arts organisations and the development of a mentoring programme for artists and facilitation of dialogue and exchange between those working in the field.’

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SECTION 5

A regular updating of skills is required, whether - management of the process and the musicians choose to work in schools as a resources required to undertake this 5.3. Future actions fundamental part of their artistic practice, or task whether they are engaged more sporadically. As - research and development period Based on their experiences of the residency At national level, the partners will collaborate well as formal training courses for professional - structures that facilitate ongoing and the findings of this and other related pieces in exploring practical opportunities to: musicians, partner organisations have observed communication and evaluation including of research, the partners plan to channel their - consolidate the learning at local level the need for further opportunities for: clarification of: enhanced understandings of education and in Sligo - skill-sharing and mentoring among - timeframe local music development into arts and - further the relationship with the musicians - representation education policies at local and national level. Department of Education and Science - facilitated critical reflection among - decision making - disseminate the learning at local, musicians - roles and responsibilities At local level, Sligo County Council will draw national and international levels - skill-sharing between musicians and - funding up proposals for policy backed provision, which - identify options for adaptability and teachers - planning, evaluation and dissemination will emphasise further structured linkages with transferability - the sharing of artistic and educational processes local music resources and will call for - explore opportunities to build on understandings and approaches between - procedures to address any difficulties participation by all who can contribute to the shared knowledge and expertise in - musicians and teachers that may arise music development process in the future. order to design (a) training course(s) - the ongoing gathering and dissemination Opportunities exist to strengthen existing links that will sustain the interface between of up to date information relating to An example of the way in which the learning has with the Sligo Academy of Music, Con Brio, the musicians/artists and educators collaborative practice among musicians, been acknowledged and applied in one of the model::niland arts centre in Sligo town and the - review and develop the Vogler Partner teachers, trainers, facilitators and partner organisations can be found in the Sligo Early Music Ensemble, and to explore Steering Group structure and mediators emerging Arts Council Strategy,54 which identifies possibilities for future collaboration with key processes to maximise effective 55 partnership as central to its way of working in the agencies such as the Sligo Education Centre collaboration into the future A clearer understanding of partnership and what it future. The experience of participating in the (including the cuiditheori/ P.C.S.P) and Sligo entails - The experience of working in partnership Vogler partnership contributed to this significant VEC. over a number of years has generated learning change in approach. Arts Council representatives not just with regard to residencies and music recall that participation was particularly education and development, but also with regard challenging in the beginning as it represented an to the nature of partnership itself. invitation to move beyond their traditional roles Representatives of partner organisations identified of funding and monitoring, and take a role in an increased understanding of the process of problem-solving and learning. The value of this working together and an increased value on the: process became increasingly apparent over the - clear articulation of the rationale, years. purpose, strategy, aims and objectives of the partnership

54 Partnership for the Arts - Draft Strategy - The Arts Council (2005) 55 An interesting framework for partnership collaboration can be found from in Red Lines Between the Fingers - A Review of the IMMA/ Breaking the Cycle Project p. 99 - 104 (2003) - IMMA

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Section Six - Conclusion

The Vogler Quartet in Sligo Evaluation Report facilitated networking emerged repeatedly in (2003) concluded with the observation that ‘It is interviews with different stakeholders who see rare that one is invited to evaluate a project where collaboration as ‘a good thing’, but who remain the outcome is so positive’. From the feedback of unclear as to how to make it happen and, in stakeholders one year after the residency formally some cases, nervous about time and resources it concluded, it would appear that not only have the would involve. Nonetheless, it is instructive to main positive outcomes been sustained but that reflect on the way in which the provision of the local music infrastructure, which was carefully instrumental tuition significantly enhanced the built up over the five years of the residency, is positive musical experience of the Vogler primary now ripe for further development. From the curriculum support programme for a small outset, the Vogler Quartet in Sligo Residency was number of children attending classes at Sligo planned and implemented in a long-term Academy of Music. It was unfortunate that such developmental context and it is important that tuition was not available to all of the children the conclusion of the Vogler residency is seen as a participating in the programme due to the lack of further step along this path rather than the end a locally accessible or peripatetic instrumental of the journey. tuition scheme covering the county. This was a missed opportunity that could be usefully In music education, the residency paved the way addressed in future curriculum support towards the integration of live music performance programmes. in the primary curriculum. ‘Vogler teachers’ now represent an important music resource in the Much of the success of the Vogler primary county but further support is required if they are curriculum support programme can be attributed to build on the enthusiasm, confidence, to the way in which the residency operated at knowledge and skills they acquired, and ultimately two distinct levels, fostering a sense of local to share these skills with their peers. In particular ownership within a larger context of policy and they require access to a diversity of live music provision at national level. The Vogler Partners programmes of high artistic and pedagogical Steering Group is well placed to build on positive quality incorporating integrated resources, training outcomes of the programme by capitalising on a and support from a facilitator/ team of facilitators. range of emerging opportunities at local, national and international level. For example, the Teachers also require support to develop development of structured links between schools structured links with the other two strands in the and local music resources in Sligo will take place residency programme i.e. performance and, more against a national backdrop where the issue of particularly, instrumental tuition. The need for instrumental tuition provision is currently on the

Tim Vogler (first violin),Vogler Quartet, Music Education Workshop, St. Brendan’s National School, Cartron, 1999.

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SECTION 6

agenda of a number of key agencies in the areas development of future models of provision at The recently produced Arts Council Draft Consolidation will depend on harnessing support of music/arts and education. A recent Feasibility national level. Strategy58 also provides an interesting context for on the ground and at policy-making level. It will Study published by Music Network proposed the the consolidation of the learning from Vogler require the continued commitment of the Vogler creation of a national system of Local Music In the context of this research, which highlights primary curriculum support programme59. There Partners Steering Group, which can draw on a Education Services56 that would be ‘publicly the need for further specialised training for is a resonance between the discussion of issues of deep pool of information, experience and supported, socially inclusive, community focused, of musicians interested in working in educational quality, professional training, funding and resources at home and abroad, and the further high quality, to complement the teaching and settings, it is interesting to note Music Network’s resourcing in the Arts Council document and the development of a close working relationship with learning of music in the classroom.’ The Arts commitment to the further development of learning that has emerged from the Sligo the Department of Education and Science. With Council has committed to advocate for full Continuing Professional Development training and experience. The potential for future cross- such support and commitment, the Vogler implementation of this system and the mentoring opportunities. Collaboration in this fertilisation of ideas and the utilisation of local primary curriculum support programme has the Department of Education and Science has area could give rise to mutual learning and experience in informing national policy is potential to develop into an effective and enabling approved pilot programmes for County Donegal resource building57 at all levels, with valuable considerable and the Arts Council’s emerging role mechanism for bringing live music performance and the cities of Dublin and Limerick. Such a experience and resources to be found among as advocate could help facilitate the necessary into schools and informing arts education policy system could underpin the further development the members of the Vogler primary curriculum dialogue at government level. and practice, not just in Sligo but across the of the Vogler primary curriculum support support team,The Arts Council and Mary country. programme in Sligo and would create Immaculate College of Education, University Overall, the Vogler primary curriculum support opportunities for shared learning in the of Limerick. programme benefited from a long term To this end, it is hoped that the present research developmental approach that emphasised report, especially the findings and analysis of the capacity building at local level and drew on cross- Vogler primary curriculum support programme in sectoral expertise at national level. It is important Section Four, will inform future policy and practice that the learning is consolidated and effectively both locally and nationally. disseminated over the coming years in order to influence future planning and provision. Issues of adaptability and transferability will require further exploration in order to distinguish genre-specific issues and strategies from those that apply across a range of genres and art forms in the classroom. The analysis of the Guth project (see Appendix One) is particularly interesting in this regard as it illustrates the benefits of transferring learning from one project to another without the need for slavish repetition.

Mother and child enjoying a Vogler Quartet, Music Education Workshop, Riverstown Hall, 2001.

56 A National System of Local Music Education Services - Report of a Feasibility Study - Music Network (2003). At local level, the report proposes 58 Partnership for the Arts - Draft Strategy (2005) - The Arts Council the establishment of partnerships under the auspices of the City/County Development Boards with members from local statutory agencies as 59 The Arts Council is also working in partnership on an arts education document entitled ‘Towards Best Practice’. It is hoped that the research well as those representing education, arts and community interests, with key service-delivery roles performed by VECs and Education Centres. into the Vogler primary curriculum support programme can feed into this work. 57 Besides providing informal training and support for the members of the Vogler Quartet, Aileen Donagher McGowan highlighted an interesting model of training for musicians in France in her report for Sligo County Council Arts Office: Bringing Live Music to the Classroom: Exploring the benefits to teachers, musicians and students - A report on findings of comparative study of music initiatives (2004). This model offers a full-time two year course to trained professional musicians and equips them to work in collaboration with teachers in schools

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Appendices Appendix One

Appendix One and Appendix Two contain details Appendix Five contains a list of literature The Guth60 project with Colm O’Donnell The Guth project was notable for the way in of two different education programmes that were consulted in the course of the research. which it incorporated many of the successful designed and delivered during the Vogler Quartet 1.1.A comparative approach features of the Vogler programme in a traditional in Sligo Residency. They are comparative in intent Appendix Six contains a list of the participants in music context, focussing particularly on voice and look at: the research process. This brief exploration of the Guth project focuses work and bodhrán/ percussion and using on the similarities and contrasts with the Vogler traditional songs and folklore as resource material. • The impact of the Guth Project, a Appendix Seven outlines the research brief. primary curriculum support programme. It retained the curriculum support programme programme delivered in primary schools structure with teachers delivering elements of the by traditional singer and musician Colm Appendix Eight illustrates the spread of primary 1.2. Background programme between visits by the musician. O’Donnell, and the elements that schools that participated in the programme by contributed to its most successful way of a map of County Sligo. The Guth project arose as a direct consequence While the Vogler primary curriculum support outcomes of the Vogler Quartet in Sligo Residency. It was facilitator contributed to the programme, she did • The impact of the Vogler Second initiated by traditional singer and musician Colm not have a central role and the traditional music Level Programme and the factors O’Donnell in collaboration with two teachers project did not incorporate formal training for underpinning its more successful from the Vogler primary curriculum support teachers or the provision of resource packs.The elements, with a particular focus on the programme who were keen to explore a similar projects also differed in terms of duration and learning that emerged for the different approach to traditional music in the primary frequency of the artists’ visits. The Guth project stakeholders involved classroom. Following conversations with these took place over one academic year with children teachers, Colm approached Sligo County Council participating in artist-led workshops every week Appendix Three and Appendix Four contain a Arts Office for support and the Guth project was over a single ten-week period. In comparison, the brief overview of the instrumental tuition and devised using structures and learning from the Vogler primary curriculum support programme performance strands of the residency by way of Vogler experience. The facilitator from the took place over a five-year period61 with the context for the Vogler primary curriculum primary curriculum support programme children participating in artist-led workshops just programme. These appendices describe the main contributed to the planning process and advised twice a year, and teachers delivering the ways in which the residency continues to impact the Colm with regard to classroom practice and programme in between times. on the areas of instrumental tuition and the development of appropriate resources. With performance in Sligo, one year after its conclusion. support from Sligo County Council Arts Office, a 1.3.The impact of the Guth project on Proposals for the future are also included. successful application was made for Arts Council the children funding and a twenty-week traditional music programme was implemented in eight schools In terms of attitudes, the children enjoyed the around the county in the academic year exposure to live music and song in the classroom 2003/2004. and built very positive relationships with the musician. Teachers described how the children felt ‘safe, confident and free’ to express themselves

60 Guth is the Irish word for ‘voice’. 61 While some children took part in the programme every year over the five year period, others participated for shorter periods

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APPENDIX 1

and contribute to the workshops. They found the brought them to a point where they were practice improved. He gained a greater awareness contributions and responses from all material funny and enjoyable, and rich for confident and assured in collaborating with a of different learning styles and the importance of children regardless of musical or interpretation. The project appeared to have a professional musician in this way. setting an appropriate and inclusive pace. With learning abilities particularly powerful impact on a small number of support from the teachers and the facilitator, he - strong, positive relationships between children with special needs, some of whom were 1.5.The impact on the musician gained skills in adapting performance to the needs the teachers and the musician wary of participation at first, but who gained of the music curriculum and expanding its - the shared delivery of the programme, significant levels of confidence and pride in their In terms of attitudes, Colm enjoyed the contact reference to a range of other subjects. which gave teachers responsibility musical abilities. with the children and the teachers. He for the preparation of material particularly enjoyed the creativity exhibited by the 1.6. Key factors influencing the success between visits In terms of knowledge and skills, the children children and grew more confident in his ability to of the project - the support and advice of the teachers learned songs in English and Irish and improved facilitate that creativity. He became more aware and their sharing of appropriate their skills and confidence in performance. They of the importance of pedagogical skills and more In terms of content and structure: pedagogical approaches with the learned to lilt and to play the bodhrán and the enthusiastic about developing such skills. Over - ideas from the Vogler programme, musician spoons. They composed a group song with other the course of the project, he grew to value two- particularly the use of themes and cross- - the advice of the facilitator and her schools, and developed an understanding of way communication and collaboration with curricular approaches, which were easily support in recording the resource CD rhythm and scansion. They also studied the teachers. Colm’s interest in working with children and effectively applied historical and social contexts in which the songs increase as a result of his experience. He is due - the principle of inclusion of all children In terms of resources: were written and developed, exploring additional to take up a new role as Composer-in-residence regardless of musical ability - The production of a CD with songs elements of geography, art, and environmental in the Coleman Irish Music Centre in Gurteen - collaborative planning between teachers from the programme studies. Some children, who discovered abilities in where he will work with children attending music and musician which gave rise to - Sheets of music and words drawn up by areas such as lyric writing and lilting, have classes in a programme that will be informed by additional ideas for enhancing the the musician, with suggestions for successfully maintained and developed these Guth. educational potential of traditional variations, accompaniments etc. interests beyond the Guth project. performance In terms of knowledge and skills, Colm discovered - the wide-ranging repertoire of songs 1.4.The impact on the teachers the importance of identifying suitable repertoire and stories and adapting it where necessary. His ability to Teachers from the Vogler residency built on their select songs that were rich in educational In terms of delivery: experience and applied their prior learning during potential increased over the year. Songs that - the regularity of contact between the the Guth project. For those already familiar with employed imagery and symbolism to tell their children/ teachers and the musician who traditional music, it was an opportunity to be stories were found to be particularly effective in visited weekly over a ten week period more adventurous and creative, as they could stimulating the interpretive powers of the - the musician’s ‘gentle and easy manner’, apply the ideas with more confidence. Some children. He developed a greater understanding which created a positive learning were involved in the planning process. They felt of children and their reactions to different musical atmosphere their experience in the Vogler programme had stimuli, and his classroom management and - the musician’s ability to elicit

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1.7. Future actions: Networking at organisational level - Links are promote music education work as an option needed between performance related agencies for traditional musicians as well as for musicians Incorporate more structured R+ D time for Some element of agreement with the school and those involved in education. Music from other genres. musicians - Increased attention to research and would provide clarification of the support and organisations should be involved in order to development could have contributed further to resources expected during the residency. the success of the Guth programme. The musician did not recognise the importance of Documentation of the artist’s experience - Again, this until after the residency ended. If planning in hindsight, Colm regretted the lack of 1.7. Research commentary: cities around the world. They learned a similar programme in the future, for example, documentation of his experience. In future elements of German history and geography he would schedule in a visit to the National projects, documentation should be prioritised in It is interesting to note that the same key factors and were exposed to a new musical culture. Traditional Music Archive in order to research order to contribute to dialogue with other of good relationships, shared delivery and clear, In contrast, Colm O’Donnell connected them repertoire. traditional singers and musicians interested in appropriate communications underpinned the to the history, geography and musical culture working with schools. success of the Guth project, within the that was all around them, but which often Incorporate the advantages of working by ear - framework of a well structured programme went unnoticed. It would appear that Children with literacy difficulties can be Attention to budget/ numbers of schools - Due to featuring high quality music performance linked nationality and culture are issues of central facilitated to participate in workshops where the commitment of the Arts Office to address directly to the curriculum and backed up with importance, but only insofar as they are the focus is on listening and repeating, rather educational needs across a wide spectrum user-friendly resources. integrated into the learning process, regardless than on written lyrics or notation, and Colm including geographical spread, there was a lot of of their particularities. believed that all of the children would better travelling from school to school. The actual It is also worth noting a small number of remember the songs in this way. level of budget and the time required for such significant differences, some of which added to Regularity of visits - A system of weekly visits projects could be recorded and used to inform the experience, some of which lessened the to participating schools was effective in The inclusion of voice work and bodhrán/ future interventions. impact and some of which were equally valid, just strengthening the positive relationships percussion - Voice work and bodhrán/ different. between musician, the children and teachers, percussion provide flexible, effective and Opportunities for networking among musicians and facilitating communication. It also enjoyable entry points to the traditional arts, involved in education - Learning could be shared Issues of nationality and culture - It is interesting provided focus and continuity. While all of and can be easily supplemented by the if musicians were facilitated to come together to note the many successes of both these positive effects were present in the introduction of other instruments. to pool ideas and experiences, and explore the programmes, despite the differences in musical Vogler programme, they could have been development of resources. However, genres, cultures and traditions. Each brought stronger with more frequent direct contact The need for commitment from participating networking events are more likely to be distinct points of interest and educational between the musicians and the schools.62 schools - The musical experience was more effective in the context of employment potential for the children. Their interest in the positive for children in schools where there opportunities, otherwise musicians will not have Vogler Quartet, stemmed partly from their Working by ear vs. notation - There were was a clear commitment to the programme. time to participate. curiosity about life in Germany, and the life of differences of opinion with regard to the professional touring musicians who played in advantages and disadvantages of working by

62 In general, the Vogler Quartet visited schools twice in the year.

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APPENDIX 1 Appendix Two

ear as opposed to incorporating notation. The Vogler Second Level School 2.3.The context Perhaps the only conclusion that can be drawn Programme is that there is room for both and neither The teachers who were interviewed described should be neglected. The Guth project was 2.1.A comparative approach their schools as being ‘musically starved’ before particularly strong in terms of inclusion, and the residency. They had no tradition of having the focus on aural work contributed to this. This is a brief exploration of the Vogler musicians or composers in residence and very However, the project missed out on programme at second level and the key factors little priority was given to music. The very fact of opportunities to link with notation, as underpinning its more successful elements. It being included in the Vogler Residency was proposed in the music curriculum. It could be focuses mainly on the similarities and contrasts important for this reason. It created more of a done creatively, putting the experience of with the programme at primary level. For this focus on music in the school and provided music making first, then extrapolating the reason, it is relevant to acknowledge from the parents with an opportunity to see their children notation from the experience. The full outset that the secondary programme did not performing alongside the quartet in the final year. support of a facilitator may be needed in this provide as positive an experience, and that levels regard. of energy and enthusiasm were lower among the 2.4.The impact on the children64 teachers, musicians and facilitator interviewed, Back-up resources - While the music sheets despite the positive outcomes for students. Issues In terms of attitudes, the students enjoyed the and CD were found to be useful, the Guth of communications, time, skills, environment and contact with the members of the quartet and the project suffered from the lack of an organised the sharing of responsibilities underpinned many facilitator who designed and helped deliver the music pack. This would have supported of the difficulties experienced. programme. They enjoyed the performances in teachers more in their planning and delivery of the classroom and were exposed a range of the programme between visits, and which 2.2.An evolving programme music they would not normally hear, including would have encouraged them to sustain the many 19th and 20th century works that were not work after the residency finished. The first striking similarity with the primary on the curriculum. In terms of relationships, they programme was the flexibility of the structure, particularly enjoyed the interaction with the The level of contact with a facilitator - There which incorporated a number of changes in facilitator, whom they perceived as ‘a bit different’ was significantly less input with the facilitator in direction and delivery, on the basis of ongoing and ‘a bit funky’. Their enthusiasm for music in the Guth project, which limited the application evaluation. After three years of focusing on general was increased. I spoke to two teachers, of all of the areas of learning from the Vogler transition year students, the programme shifted its who worked with first year classes on the programme. attention to students at either end of the junior programme and both reported ‘a dramatic and senior cycles, and for a number of reasons63 change’ in the numbers wanting to do music in the programme delivery team welcomed this second year. In one school, they found change. The impact, as outlined below, refers to themselves in the unusual position of having to the effects of the programme in final two years. curb the numbers for music due to a lack of space.65

63 See Vogler Quartet in Sligo - Evaluation Report (2003) - interactions 64 No direct meetings took place with second level school students. Findings relating to the experiences of the students are based on observations made by teachers. 65 The Vogler programme can claim a significant contribution to this phenomenon but not exclusive credit. There may be a multitude of factors including the pre-existing interests of the individual children involved.

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APPENDIX 2

In terms of knowledge and skills development, the 2.6. Key factors underpinning the more 2.7. Learning from the experience approaches. The final requirement may not be programme impacted positively on the students’ successful elements of the programme necessary if working closely with a facilitator who knowledge of composers and recognition of The scope of this research does not allow for a is also a skilled educationalist, however their repertoire and their ability to differentiate The structure and content of the programme, detailed analysis of the key factors underpinning collaboration will only be effective if the musicians between stringed instruments in a piece of music. which included: the second level programme. However, some fully understand and value that role, and establish It also contributed to an improvement in their - Exposure to live music by professional valuable points of learning were recorded that an agreed working method. performance skills. At Leaving Certificate level, it musicians in the classroom setting could inform practice and provision in the future. contributed to their understanding of particular - Opportunities for collaborative Members of the second level delivery team Flexibility of repertoire - Musicians need to be performance techniques, which were on the performance between musicians observed the following areas that should be flexible with regard to repertoire. Many students curriculum but which were merely theoretical and students addressed in future interventions in secondary at second level will require diversity if they are to before being demonstrated by the quartet. - Encouragement of the students’ schools. It is interesting to note that many of the stay interested, while the facilitator will require creativity learning outcomes reflect practices that were music that can be linked to specific elements of 2.5.The impact on the delivery team - Links with the curriculum implemented at primary level. the curriculum, around which they can plan (the teachers, the facilitator and the (where they occurred)66 exercises or activities. musicians) - Engaging content The point of introduction - It is very late to - A non-competitive focus introduce students to a new genre of music for Diversity of instrumentation - While focussing on In contrast with the team at primary level, it was the first time at second level. Live music should one particular musical form or arrangement, a difficult for the teachers, the facilitator or the The delivery of the programme, which included: be introduced as early as possible, preferably at programme should have the flexibility to musicians to identify the impact of the - The combined delivery of the the beginning of primary school, and work its way introduce other instruments or genres at different programme on their own attitudes, skills or programme by the facilitator and the up into the secondary school system. points and in different ways. approaches.The second level teachers teachers in advance of visits by the commented that they had been exposed to more quartet Skills in communication and pedagogy - The focus The quality of relationships within the delivery live music in the classroom and beyond as a result - The employment of a skilled on interaction is just as important at second level team - The development of friendly, positive of the programme. At least one teacher attended educationalist to act as facilitator as it is at primary, but may be more difficult to working relationships between teachers, some Vogler concerts in the model::niland arts - The development of a good relationship achieve. The students themselves may be at a facilitators and musicians cannot be taken for centre in Sligo town with her students. Teachers between the facilitator and the students point in their lives where they feel awkward granted. Structured opportunities are required to also played more string quartet repertoire in the - The focus on collaborative performance about active participation, and the emphasis on build such relationships, without which effective classroom. However, the main impact on them in the final year exam results may also limit opportunities. As a collaboration is difficult. (and on all members of the delivery team) was result, the comparative value of artistic skills, the learning of lessons that would impact on their The design and provision of relevant resources communication skills and educational skills should Communications - Effective internal practice in the future. including: be weighed carefully when selecting musicians. communications are essential within the delivery - A resource pack with a CD, programme Musicians require advanced communication skills, team, and mechanisms are needed to ensure notes etc. a genuine liking for working with teenagers, and clarity and shared understandings from the outset. an understanding of appropriate pedagogical Mechanisms are also required to deal with

66 Links to the curriculum were more tenuous than in the primary programme. There was some disagreement regarding the degree of importance of the link to the curriculum as opposed to the importance of providing the students with a positive musical experience

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APPENDIX 2

communication breakdown or instances of conflicting expectations. This need may be 2.8. Future Actions obvious in relation to teachers and musicians, but it is equally important that the role of the Overall, the members of the delivery team Some practical suggestions for structure and facilitator is fully understood and agreed and that would like to see: delivery include: responsibilities are clearly articulated and shared - A follow up to the Vogler programme out among the team. A progressive programme of live music in schools incorporating wood wind and brass that would start in primary schools and work - Additional modules incorporating a The level of commitment from the school - Schools its way up through the system into secondary range of genres and styles, especially need to make a commitment to ensure the schools over a number of years. In the interim, less accessible forms such as opera, necessary level of resources is supplied and however, second level schools should not be gospel and jazz maintained throughout long term programmes. ignored. Proposals for interim measures - Performance events with elements of While turnover of staff may be inevitable, the include: discussion and opportunities for school should commit to identifying and briefing students to interact musically with the alternative staff members, honouring agreements Structured links to existing music resources - performers around time-tabling, providing musical and other Connections with local individuals, groups and - Performance programmes that offer resources as required, and ensuring an organisations such as Con Brio, the the schools good value for money appropriately hospitable environment for music model::niland arts centre, other music making. The point was made that young people promoters, Sligo Academy of Music and local will not consider music as something valuable, musicians could create opportunities for special or beautiful if they are uncomfortable or second level students to experience live music cold during workshops. in the classroom and other suitable venues. Such interventions need to be structured specifically around the needs of the second level students and should incorporate the elements of learning outlined in Section Four.

Participant,Vogler Quartet, Master Class Programme, Sligo Academy of Music, Model and Niland, 2002.

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APPENDIX 2 Appendix Three

2.9. Research commentary: A Brief Look at the Instrumental Tuition for S.A.M. altered and expanded; initiatives Strand of the Vogler Quartet in Sligo such as pre-instrumental courses, master While some similarities existed between the Residency classes and the development of an instrument Vogler programme at second level and its bank were given greater priority. primary counterpart, a number of fundamental 3.1. Impact • Parents and children developed a greater differences contributed to the difficulties level of interest and enthusiasm for classical/ experienced by teachers, musicians and by the A full account of the tuition strand can be found chamber music due to the input of the Vogler facilitator. At second level, these included: in the Evaluation Report (2003)68. In this short Quartet. As a result, S.A.M.’s role in providing - A focus on programme delivery rather overview, there is an emphasis on the current instrumental tuition was accorded greater than on enabling state of classical instrumental tuition in Sligo with value. Some of the ongoing benefits69 in this - Poorer communications and a lack of particular reference to the Sligo Academy of regard include: shared understandings between Music (S.A.M.), rather than any detailed - Increased levels of interest in instrumental teachers, musicians and facilitator retrospective. The purpose of this is to provide tuition (particularly strings); S.A.M. now - Less developed relationships between an indication of the music infrastructure that has caters for three hundred and fifty all stakeholders been built in Sligo over the last six years, the students. - A tenuous link to the curriculum significant contribution made by the Vogler - Increased levels of interest and ability in - A lack of scope for cross-curricular work Quartet in Sligo Residency in this regard, and the ensemble playing; ten young quartets and - Pressure from the second level timetable opportunities that now exist for further an orchestra involving fifty-three children - A lack of priority on music at second development. have been established with children from level (except as a potential source nine years of age upwards. of points) In brief, S.A.M. put forward proposals for the - A greater sense of community has - The point of entry at which students provision of locally-based instrumental tuition developed within S.A.M. Parents have were encountering unfamiliar music during the period in which the Arts Office was grown to value the social side of music- - The musicians’ lack of affinity with considering the establishment of a long-term making as much as the learning of an teenagers67 music residency for the county. The ensuing instrument. They are now more Vogler Quartet in Sligo residency contributed to enthusiastic, supportive and willing to a range of positive outcomes in relation to bring children to practice on Sundays, pay changes in attitude, perception, knowledge and skills fees and attend concerts as required among the organisers, children and parents - Increased performance opportunities have involved in S.A.M. emerged for the students as the profile of S.A.M. has grown • The founder of the Academy was facilitated to research best practice in Stephan Forck (cello) Vogler Quartet, performing Ireland and beyond and as a result the vision for children in St. Brendan’s National School, 2000.

67 The lack of pedagogical skills was mentioned in relation to the second level programme. However the same factors applied in the primary 68 Vogler Quartet in Sligo - Evaluation Report (2003) - interactions level programme initially but any difficulties were overcome. The lack of mutual affinity between the musicians and the teenagers in the second 69 Based on research carried out in May/ June 2005 level programme is one possible reason why these skills were not developed to the same degree at this level.

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APPENDIX 3

• S.A.M. has also put more sustainable with the Irish Association of Youth Orchestras structures in place. It is now a registered (IAYO). The IAYO ran summer schools in 3.2. Future actions charity with a board. It has developed a Sligo during the Vogler Spring Festival for two vision of itself as a locally owned regional years running. It also runs bi-annual Continued contact between S.A.M. and the Vogler Links between S.A.M. and the performance resource rather than a private business orchestral workshops in the North-West and Quartet programme concern has discussed possibilities with S.A.M. for the Opportunities to create effective linkages with As demand for music tuition expands, so too • S.A.M. has built valuable links not only with establishment of a North-West Youth members of the Vogler Quartet will continue does the need to attract and maintain high- the members of the Vogler Quartet, but also Orchestra. to increase as the skills and abilities of the quality music teachers in Sligo, and performance young quartets develop over time. In the short opportunities for locally based musicians would term, S.A.M. would like to incorporate a provide an additional incentive for teachers to specially designed workshop and/ or settle in the area. Stronger links with Con Brio performance by the Vogler Quartet into future would be particularly useful in this regard and Sligo summer schools (in collaboration with the could give rise to a mutually beneficial IAYO) during upcoming Vogler Spring Festivals. relationship as S.A.M. could tap into the The establishment of open master-classes increasing number of parents who have a would also benefit the children and would growing interest in chamber/ classical music and represent an effective marriage of tuition and who represent a potential music audience. performance. Advanced tuition Links between S.A.M. and the education Sligo Early Music Ensemble (SEME) would also programme like to see advanced music tuition and master- S.A.M. would like to be integrated into any classes developed in conjunction with local future curriculum support programmes in the promoters. schools. It currently employs thirteen trained musicians who could be utilised in providing: Networking - Instrumental tuition Facilitated networking opportunities are - Performance (both by tutors and needed to support groups and organisations by students) involved in tuition and performance to share - Curriculum support information and explore possibilities for further - Live music programme development collaboration.While the Vogler Quartet in Sligo (based on specific needs of schools, Residency broke down some barriers in this teachers and students and including regard, difficulties still exist and support is elements of training and resource required. Niamh Crowley conducting the Junior Orchestra, Sligo Academy of Music, Sligo County Hall, 2002. development)

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Appendix Four

A Brief Look at the Performance Strand • With the support of the residency, Con Brio • Since the conclusion of the residency, linkages of the Vogler Quartet in Sligo Residency harnessed the growing awareness and between local organisations with an interest in enthusiasm for chamber/ classical music, promotion have been further developed 41.The impact building an audience who are described as through a series of informal music events that ‘educated and sophisticated’ by the promoter. were initiated by SEME in collaboration with A full account of the performance strand can be Based on the observations of a key member Con Brio and the model::niland. S.A.M. has found in the interactions evaluation report of Con Brio, Sligo audiences generally also been involved as performers. These (2003)70. This appendix presents a brief overview compare favourably with audiences elsewhere events have taken place in the afternoon and of the current situation rather than any detailed for chamber/ classical music, both in terms of have targeted parents and children very retrospective. It looks at the Vogler Spring numbers and levels of music appreciation. successfully. Festival and presents feedback from other local • The residency provided Con Brio with access promoters and performance based organisations to musicians of exceptional quality over a five- such as Con Brio, the Sligo Early Music Ensemble year period, putting positive pressure on the 4.2. Future Actions and the model::niland arts centre. promoter to sustain a high level of musical quality throughout its annual programme and Continued contact with the Vogler Quartet family groups, and incorporating In brief, the Vogler Quartet in Sligo Residency so meet the raised expectations of its Local promoters would like to continue performances by local professional, semi- provided increased exposure to chamber/classical audiences. working with the Vogler Quartet through the professional and amateur musicians music, resulting in increased awareness, enthusiasm • The residency also gave Con Brio an annual Spring Festival and possibly a second including teacher and student ensembles and expectations of artistic quality. opportunity to develop a more professional annual visit in collaboration with Con Brio from S.A.M. approach to promotion with the benefits of • More research into existing audiences for • The residency gave rise to a new annual practical and artistic advice from Sligo County Further audience-building measures chamber music/ classical music, in order to chamber music festival,The Vogler Spring Council Arts Office, Music Network, and the Local promoter groups would like to see explore issues of sustainability and Festival, which takes place in Drumcliffe. Vogler Quartet. The group also received further measures taken to maintain and further possibilities for crossover to other genres Over the five years of the residency, the financial support, which helped to keep ticket build audiences for chamber/ classical music long-term collaborative music plan festival became well established as part of the prices reasonably low. A representative of the and other non-commercial genres. These national and international chamber music group described Con Brio as a ‘slick operation’ include: The drawing up of a long-term music plan for calendar, attracting high quality performers that has developed considerable knowledge • More opportunities for well-designed Sligo would enable all musicians, music and composers and ever-increasing audiences and skill in the area of music promotion. educational inputs related to high-quality organisations and teachers to contribute to from Ireland and abroad. It helped to musical performances, aimed at deepening local music development in different ways and establish Sligo as a recognised location for the musical experience of the audience would give each individual/ organisation a set of 71 classical/ chamber music and contributed to across a range of non-commercial genres clear, shared aims and objectives towards which the audience building work of Con Brio. • Clear strategies for reaching young people they could work. including support for informal music afternoons (as initiated by SEME), targeting

70 Vogler Quartet in Sligo - Evaluation Report (2003) - interactions 71 One interviewee suggested that it would be beneficial to focus on a particular genre for a period of time in order to maximise the impact (as happened in the Vogler Quartet in Sligo Residency)

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Appendix Five Appendix Six

Research literature Participants in the research process

1. Vogler Quartet in Sligo - Evaluation Report; 8. Data from research in progress into the Primary school teachers: - Frank Reinecke interactions (June 2003) impact of the Vogler primary curriculum Anne-Marie Breheny, Ardkeerin NS, Riverstown - Tim Vogler programme; Aileen Donagher McGowan for Heather Norris, Carbury NS, Sligo town 2. The Brightening Air - County Sligo Arts Plan Mary Immaculate College of Education, Martin Enright, Coolbock NS, Riverstown Musician - The Guth Project 2002 - 2005; Sligo County Council (2002) University of Limerick (2005) Suzanne Donnelly, Coolbock NS, Riverstown Colm O’Donnell - Traditional musician/ singer Philomena O’Connor, SN Molaise, Grange 3. A report on the evaluation of the pilot public 9. Primary Music Curriculum; Government of Mary Mullaney, Owenbeg NS Second level school teachers art programme Placing Art by the Public Art Ireland (1999) Catherine Murphy, SN Realt na Mara, Rossespoint Rosario Heaney McGriel, Ballymote Coláiste Steering Group; Sligo County Council and Sligo Marie Lavin, St. Joseph’s NS, Kilmactranny Mhuire Borough Council (2002) 10. The MEND Report - A review of Music Sinead Gallagher, St. Patrick’s NS, Calry Fiona McQuillan, Sligo Ursuline College Education in Ireland, incorporating the Final Grace Mulligan, Scoil Chriost Rí Enniscrone 4. A report by the Public Art Strategy Group on Report of the Music Education National Debate Seamus McCormack, Scoil Naomh Treasa, Education Resource Organisations the future application of the Per Cent for Art (MEND phase III); Frank Heneghan (2001) Ballintogher Lorna Gault, Sligo Education Centre Scheme by the Sligo Local Authorities; Sligo Elaine McHugh, Sooey NS County Council and Sligo Borough Council 11. Deaf Ears? A Report on the Provision of Promoters, music performance groups/ arts (2002) Music Education in Irish Schools; Donald Primary school children resource organisations Herron/ The Arts Council (1985) Children from a range of classes in Ardkeerin NS Luisa McConville, Con Brio 5. Art Best Placed - Sligo Local Authorities Riverstown, Carbury NS, Sligo town, Coolbock Aoife Flynn, model::niland Public Art Plan; Sligo County Council (2004) 12. Partnership for the Arts - Draft Strategy; NS Riverstown and Scoil Chriost R›, Enniscrone Rod Alston, Sligo Early Music Ensemble The Arts Council (2005) 6. A National System of Local Music Education Members of the support team who worked Representatives of partner organisations at Services - Report of a Feasibility Study; Music 13. A Review of the Poetry Ireland Writers in with teachers and musicians at primary and steering group level Network (2003) Schools Scheme; Anne Gallagher (2004) secondary level Sarah Bannan, Arts Council Aileen Donagher McGowan (facilitator, Lorraine Comer, Arts Council 7. Bringing Live Music to the Classroom: 14. Red Lines Between The Fingers - A Review of primary level) Jan Hinde, Arts Council Exploring the Benefits to Teachers, Musicians the IMMA Breaking the Cycle Project (2002); Elaine Agnew (composer) Dr. John O’Flynn, Mary Immaculate College of and Students. A report on findings of a Eibhlin Campbell and Anne Gallagher Caroline Wynne (facilitator at secondary level) Education, University of Limerick comparative study of music initiatives; Aileen Deirdre McCrea, Music Network Donagher McGowan for Sligo County 15. the arts-education interface: a mutual learning Musicians Mary McAuliffe, Sligo County Council Arts Office Council Arts Office (2004) triangle?; Harland, Lord, Stott, Kinder, Lamont Members of the Vogler Quartet Rhona Feely, Sligo County Council Arts Office and Ashworth/ the National Federation of - Stefan Fehlandt Educational Research (2005) - Stephan Forck Martin Drury - Consultant to the Vogler Partner Steering Group

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Appendix Seven

Research Brief The research will examine the characteristics, Curriculum Support aspect of VQR, the instructive for future practice. Such practice and outcomes of the residency, with researcher will be expected to examine aspects observations to be informed by analysis of Introduction particular focus on the music curriculum support of all three strands as discrete areas of activity VQR as well as by research and evaluations The Vogler Partners Steering Group (VPSG)72 programme, leading to an analysis of its and especially their inter-relation, taking account undertaken around similar projects and wishes to engage a researcher to undertake a achievements and shortcomings, with such of both programme actions in the three strands programmes elsewhere (see item 2 above). study of key aspects of the Vogler Quartet in findings offered in a fashion that would assist and organisational actions by all partners. Sligo Residency Programme (1999-2004).The planning and provision by key agencies, local and Research Focus researcher will be guided during the research national, with particular reference to the fields of The researcher will be expected to examine all A central element of VQR was the Curriculum process by the VPSG which has retained the music education initiatives involving professional existing materials (a document archive exists) and Support programme, designed to engage the services of an independent facilitator to further musicians and of music development in a local to undertake new independent research as Quartet as a resource and catalyst for music support the research process.The research is arts context. outlined below. As part of or parallel to the curriculum support in a number of Sligo primary funded by a grant from the Research and research, the VQR project will need to be schools.The VPSG is interested in a detailed Development Committee of the Department of VQR was conceived as an action research project contextualised by positioning it within the wider examination of this area of VQR, consistent with Education. A central but not exclusive focus of and the researcher can be confident of a landscape of local arts development and arts / the research task outlined above, and with due the research will be the education strand of the responsiveness to the research discipline. music education initiatives. cognisance of the inter-relationship between the Vogler Quartet Residency (VQR), particularly that Curriculum Support programme and the pertaining to curriculum support at primary Background Research Task Instrumental Tuition and Performance aspects of school level. The researcher will have access to a range of 1. Examine all aspects of VQR through existing the residency. It is to be noted that the primary documentary and evaluation73 materials that exist and new research.74 education aspect of VQR has been already the Purpose of research already and that provide a detailed sense of the 2. Establish VQR within a wider context both focus of research. VQR represented a sustained investment by a purpose, nature and actuality of the Vogler nationally and internationally.75 range of partners, national and local, who remain Quartet Residency (VQR).The residency was 3. Undertake a detailed review and analysis of committed to learning from the residency so as distinguished by a number of features, most the education strand of VQR, concentrating to inform their own policy and provision and to especially by its being planned and organised to especially (but not exclusively) on the promote good practice generally in local arts address three related strands of activity: Curriculum Support programme. development and arts education work, especially performance; music education; and instrumental 4. Undertake a detailed review and analysis of in the discipline of music. Accordingly the tuition. In addition, the residency needs to be the intersections between the three strands governing spirit of this research is one of genuine understood as having distinctive organisational of the VQR programme, most especially of enquiry: what does VQR have to teach us? characteristics: the result of a significant inter- the intersections between the education agency partnership, replicated at local level by strand and those in performance and The main purpose of the research is to considerable interaction by a range of interested instrumental tuition. undertake a detailed analysis of aspects of VQR parties. 5. Drawing on the research and analysis outlined that, without being prescriptive, offers clear in 1 - 4 above, offer a series of observations insights designed to inform policy and practice. While the research will give precedence to the and insights that are designed to be

72 The partners are the Arts Council; Mary Immaculate College of Education, University of Limerick; Music Network; Sligo Arts Office / Sligo 74 A formal evaluation and a number of pieces of research pertaining to VQR are in existence. Such work and indeed this new piece of research County Council. are considered by VPSG as constituent elements of the VQR Programme which was always conceived of as an action research project. 73 Vogler Quartet in Sligo: Evaluation Report (interactions, June 2003) 75 The scope of this contextualising is a matter yet to be determined.The VPSG will provide advice and assistance in this regard.

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APPENDIX 7

While what follows is not intended to be (6) tracking (albeit retrospectively) the Vogler (12) the characteristics, good and bad, of VQR value of VQR, inclusive of any changes to exhaustive, the VPSG has identified as potential Quartet’s attitude, understanding and [e.g. issues of musical quality; of genre; of ongoing provision of music or for music in research issues: behaviour vis a vis such work in schools teaching-mediation-communication capacity; Sligo resulting from the residency prior to, during and subsequent to the of timeframe; of nationality] and the (19) an ‘organisational analysis’ (roles; (1) the place of music in the participating residency, inclusive of their analysis of implications as to the qualities critical to any responsibilities; resourcing; implementation) schools during 2004-05, the first year after achievements / shortcomings and future musical resource or programme that of VQR, at both strategic partnership level the residency and how that place differs (if observations about future needs. Attention might be central to a sustained curriculum and on-the-ground, inclusive of at all) from the place of music prior to or should be paid to the influence of the support intervention characteristics and behaviours that were during VQR education work on the artists’ (changing) (13) the interaction of VQR Education with successful and on shortcomings and how (2) the experience of participant-teachers in perceptions of themselves as artists and of Instrumental Tuition and Performance these might inform the planning of any terms of their confidence and competence the nature of their work programmes: achievements, shortcomings, future such initiatives as teachers of the (new) music curriculum (7) the nature and significance of the role of the opportunities (3) the experience of participant-teachers in various ‘intermediaries’ facilitating contact (14) observations concerning the congruent and respect of PCSP (Music) - the official between teachers, children and the Vogler competing claims and needs of ‘education’ Department of Education in-service training Quartet work and broader ‘local arts development’ programme designed to equip teachers to (8) the nature of the musical experiences work and the implications for future policy deliver the new primary (music) curriculum. offered in terms of musical genre and range and provision (The experience of VQR participants might of ‘participation’ and the value / significance / (15) the investment of resources (money, time, usefully be contrasted with the experience ‘appropriateness’ of the exceptional (by administrative support, space, training of teachers who did not participate in the international standards) quality of the allocations) made by the various partners in VQR Curriculum Support programme) musicianship of VQ the education aspect of VQR and the (4) the observations (general and specific to (9) the nature and range of teaching and sustainability of such investment on an their own professional development needs) learning styles, broadly defined ongoing basis of participant-teachers in relation to the (10) the training / professional development (16) the observations of other potential partners impact of VQR, inclusive of their needs of musicians and teachers so as to (e.g. Sligo Education Centre; Co. Sligo VEC) observations / recommendations concerning work as fellow-professionals in a concerning VQR and any future such future similar initiatives in terms of design, collaborative fashion, with possible particular programmes with an education dimension delivery, resources and general ‘capacity observations on the implications for (17) the resource (widely-defined) and inter- building’ classically-trained musicians of working in organisational implications, at both local and (5) the observations of secondary school school and other community settings national level, of sustained and widespread teachers who had direct contact with VQR (11) outcomes [across a range of criteria] for the provision of such curriculum support and / or whose class intake included school and wider community (as indicated, programmes students from primary schools where VQR for example by the principal / non- (18) the observations of key music and arts education work occurred participating teachers / the parents’ council) providers in Sligo concerning the impact and

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APPENDIX 7 Appendix Eight

Map of County Sligo with listing of participating schools

Research Fields In addition to the desk-based research of the extant VQR materials and the wider literature review referred to above, the researcher will be expected to undertake field research exploring the issues outlined above. As the numbers of people involved are relatively small, and all concerned are committed to the process, it is expected that the field research will be conducted via face-to-face interviews and addressed to:

(i) artists (principally the Vogler Quartet members) (ii) primary schools (participating teachers; other staff; principals; parents; secondary music teachers whose intake has included children from primary schools involved in the VQR) (iii) facilitators (curriculum co-ordinator and trainers incl. PCSP) (iv) Sligo Academy of Music (v) key local music partners (Con Brio; Sligo Early Music Ensemble) (vi) Sligo Arts Office (vii) Key Personnel in related projects or programmes NORTH SLIGO WEST SLIGO S. N. Molaise, Grange, Co. Sligo S. N.Asicus., Strandhill, Co. Sligo (viii) Vogler Partners Steering Group Rathcormack N.S. Co.Sligo Enniscrone N.S., Enniscrone, Co. Sligo S.N. Realt Na Mara, Rosses Point, Co. Sligo Killeenduff N.S., Easkey, Co.Sligo Leaffoney N.S., Kilglass, Co. Sligo SOUTH SLIGO Owenbeg N.S., Culleens P.O.,Via Ballina, Sligo Moylough N.S.,Tubbercurry, Co. Sligo Convent of Jesus & Mary, Enniscrone, Post Primary, Co. Sligo Castlerock N.S.,Aclare, Co. Sligo Carn N.S., Gurteen, Co. Sligo SLIGO TOWN Sooey N.S., Sooey,Via Boyle, Co. Sligo Carbury N.S.,The Mall, Sligo St Michael's N.S., Cloonacool, St. Brendan’s, N.S., Cartron, Sligo Thumbs up from one of the childern arriving for a Tubbercurry, Co. Sligo Gael Scoil, Chnoc na Ri, Sligeach Vogler Quartet, Music Education Workshop, St Joseph's N.S., Kilmactranny, Calry N.S., Sligo Riverstown, 2003. Via Boyle, Co. Sligo Convent of Mercy, Post Primary, Sligo Convent N.S., Ballymote, Co. Sligo Ursuline Convent, Post Primary, Sligo Colaiste Mhuire, Ballymote, Post Primary, Co. Sligo Grammar School, Post Primary, Sligo St. Mary’s College, Ballisodare, Post Primary, Co. Sligo St.Attracta’s Community School,Tubbercurry, Co. Sligo

EAST SLIGO Scoil Naomh Treasa, Ballintogher, Co. Sligo Coolbock N.S., Riverstown,Via Boyle, Co. Sligo Ardkeerin N.S., Riverstown, Co. Sligo

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Appendix Nine

Sligo Arts Office wishes to acknowledge the commitment and support of all the teachers who participated in the Vogler Quartet, Music Education Residency Programme at Primary and Post Primary Levels.

List of Participating Teachers:

Primary Post Primary Evelyn Brady: Killeenduff NS, Easkey Rosario Heaney McGriel, Music Teacher, Lavinna Bray: Owenbeg NS Colaiste Mhuire, Ballymote, Co. Sligo Anne Marie Breheny: Ardkeerin NS, Riverstown Taryn Smith, Head of Transition, Brian Cahill: Moylough NS,Tubbercurry St Mary's College, Ballisodare, Co. Sligo Doris Clement: Leaffoney NS, Kilglass Fiona McQuillan, Music Teacher, Ursuline College, Sligo Suzanne Donnelly & Martin Enright: Siobhan Hall, Music Teacher, Mercy College, Sligo Coolbock NS, Riverstown Keith O'Donnell, Music Teacher, Grammar School, Sligo Catherine Forde: Killeenduff NS, Easky Miriam McDonald, Music Teacher, St Attracta's Anne Gallagher: Gael Scoil, Chnoc na Ri Community School,Tubbercurry, Co. Sligo Sinead Gallagher: Calry NS, Sligo Marie Johnson, Music Teacher, Colaiste Mhuire, Patricia Gawley: Castlerock, Aclare Ballymote, Co. Sligo Dearbhla Gill: SN Realt Na Mara, Rosses Point Margo Henry, Music Teacher, Grammar School, Sligo Maura Gilligan: Calry NS, Sligo Marie Moore, Music Teacher, Convent of Jesus & Mary, Camilla Harvey: SN Molaise, Grange Enniscone, Co. Sligo Marie Lavin: St Joseph's NS, Kilmactranny; Seamus McCormack: Scoil Naomh Treasa, Ballintogher Elaine McHugh: Sooey NS Ann McIntyre: St Michael's NS, Cloonacool Francis Moran: Ardkeerin NS, Riverstown; Mary Mullaney: Owenbeg NS, Culleens P.O. Grace Mulligan: Enniscrone NS Catherine Murphy: SN Realt Na Mara, Rosses Point Myrtle Nairn: Leaffoney NS, Kilglass Gina Ní Loinsigh: Gael Scoil, Chnoc na Ri Heather Norris: Carbury NS,The Mall Philomena O'Connor: SN Molaise, Grange Shane O'Meara: Carn NS, Gurteen Margaret Prior; Rathcormac, NS Sr. Mary Richardson:Tubbercurry Convent NS Anne Ruane: SN Asicus, Strandhill Yvonne Sheils: Gael Scoil, Chnoc na Ri Ruth Sweeney: Scoil Naomh Treasa, Ballintogher

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