Music Sector Review Appendices
Final Report for Creative Scotland
May 2013
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Contents
1. Appendix 1: Research Team and Steering Group 1
3. Appendix 2: Additional Tables and Charts 2
4. Appendix 3: Survey Findings 7
5. Appendix 4: Case Studies 32
6. Appendix 5: Youth Music Organisations 44
1. Appendix 1: Research Team and Steering Group
Research Team
The review was led by EKOS, in partnership with Nod Knowles Productions (NKP) and Judith Ackrill Associates (JAA). The team was:
Brian McLaren EKOS (Project Director) Nod Knowles NKP Judith Ackrill JAA Debbie Roberts EKOS Sarah Turnbull EKOS
Steering Group
The review was overseen by a Steering group with members drawn from across the spectrum of music in Scotland. It included:
Gary West University of Edinburgh and member of Creative Scotland Board (Chair) Caroline Parkinson Director of Creative Development, Creative Scotland Ian Smith Portfolio Manager, Music and Intellectual Property Martell Ollerenshaw Serious Music Professor Martin Cloonan University of Glasgow Professor Simon Frith University of Edinburgh Dave Francis Traditional Music Forum Stewart Henderson Chemikal Underground/ Scottish Music Industry Association Davie Scott University of the West of Scotland Mick Elliot Royal Scottish National Orchestra
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2. Appendix 2: Additional Tables and Charts
The section contains additional tables and charts referred to throughout the report.
Table 3.1: Creative Scotland funding to organisations hosting music events and performances, 2009/10
Number Number of of Number of Revenue Project Total Local authority venues events attendances Funding (£) Funding (£) Income (£) Aberdeenshire 1 54 4,517 8,750 1,500 188,542 Argyll & Bute 1 35 1,680 0 8,500 226,310 Edinburgh 8 237 330,149 2,726,076 300,149 16,542,422 Eilean Siar (Western Isles) 3 67 18,550 103,000 25,009 1,618,875 Glasgow 7 225 80,245 1,917,131 539,147 12,683,565 Highland 3 423 100,250 657,343 370,031 6,620,518 North Lanarkshire 1 27 3,763 124,899 0 637,400 Orkney Islands 1 27 9,405 84,000 4,999 474,178 Perth & Kinross 1 172 75,544 360,500 47,100 4,193,765 Shetland Islands 1 43 5,435 809,606 3,263,586 4,902,844 Stirling 2 153 10,256 479,815 13,000 2,220,254 Total 29 1,463 639,794 7,271,120 4,573,021 50,308,672
Source: Creative Scotland, Annual Returns 2009/10
Table 3.2: Investment in capital buildings by local authority, 2009/10
Local Authority Number of grants Total per LA % of total Glasgow 3 £7,488,150 36% Edinburgh 3 £6,006,433 29% Stirling 1 £3,100,000 15% Highlands 1 £2,305,000 11% Shetland Islands 1 £2,120,000 10% Scottish Borders 1 £1,593,343 8% Dundee City 1 £752,000 4% Dumfries and Galloway 1 £561,490 3% Total 12 £23,926,416 Source: Creative Scotland
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Table 3.3: Characteristics of Scottish adults attending music events (previous 12 months)
Music Genre Audience (most likely to attend) In full-time education, male, younger (less Rock and pop than 44 years) Living in rural areas, older, educated, Scottish traditional/Scottish folk music middle class Orchestral music Older, middle class, educated Jazz music Middle class, educated Opera/operetta Older and retired, educated Chamber music or recitals Middle class, educated Country and western music Male, older Culturally specific music BME groups Experimental/electronic music Younger Source: SAC, Taking Part in Scotland 2008
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Table 3.4: Music student participation by college and course, 2009/10
NB: the data below are sourced from the Infact database provided by the Scottish Funding Council (with adiiotnal data provided by UHI). However, feedback from the sector has indicated errors in the data, and the consultant team also has some concerns about the accuracy of the figures and the way in which courses are catagorised. In particular, it may be that students are included if they undertake a module in a music related subject as well as full courses,a nd eth verty hig number fo Adam Smith College reflects a single music event rather than students undertaking music courses. Nevertheless, the data shown below are those drawn directly from the SFC database and categorised under different course headings on the database.
Music Music Musical History/ Specf Music Instrument College Theory Kds/Cult Performance Tech Total Aberdeen College 0 0 226 0 226 Adam Smith College 0 0 1,644 83 1,727 Angus College 0 0 280 0 280 Anniesland College 0 0 0 49 49 Ayr College 0 0 87 5 92 Cardonald College 0 0 32 20 52 Clydebank College 0 0 29 10 39 Cumbernauld College 0 0 10 0 10 Dundee College 22 17 0 0 39 Edinburgh's Telford College 9 0 125 0 134 Forth Valley College 0 0 67 0 67 Glasgow Metropolitan 72 0 79 0 151 James Watt College of Further & Higher Education 0 8 196 169 373 Jewel and Esk College 25 0 102 145 272 Langside College 0 0 7 0 7 Lews Castle College 0 0 25 0 25 North Highland College 0 0 15 0 15 North Glasgow College 0 0 140 13 153 Perth College 0 0 45 0 45 Reid Kerr College 0 10 76 0 86 Sabhal Mor Ostaig 0 195 0 0 195 Shetland College of Further Education 0 0 7 6 13 Stevenson College Edinburgh 0 0 240 0 240
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Stow College 13 6 50 149 218 Total 141 236 3,482 649 4,508
Source: Infact Database (Scottish Funding Council)
Table 3.5: Student participation in music courses by University 2009/10 2010/11 Change The University of Aberdeen 130 140 +10 Edinburgh Napier University 285 270 -15 The University of Edinburgh 235 210 -25 The University of Glasgow 200 205 +5 The Royal Scottish Academy of Music and Drama 395 415 +20 The University of Strathclyde 115 95 -20 UHI 275 220 -55 The University of the West of Scotland 290 325 +35 Total Scotland 1,925 1,880 -45
Source: Higher Education Statistics Agency (HESA)
Table 3.6: Music courses in Scotland by university University Undergraduate Postgraduate University of MA Music; BMus Music MMus Music; MPhil/PhD Music Aberdeen Edinburgh Napier BMus Music; BA Music n/a University (Popular) University of BMus Music; BMus Music n/a Edinburgh (Technical) University of Electronics with Music; MA Composition (PgCert/PgDip) Glasgow Music, BMus Music Historically Informed Performance Practice) (MMus) Musicology (PgCert/PgDip) Popular Music (MLitt) Popular Music: Creative Practice (MLitt) Popular Music: Music Industries (MLitt) Sonic Arts (PgDip) The Royal BMus with Hons: Brass, MMus: Brass, Composition, Creative Conservatoire of Composition, Creative and and Contextual Studies, Jazz, Scotland Contextual Studies, Jazz, Keyboard, Timpani and Percussion, Keyboard, Timpani and Strings, Vocal Studies, Woodwind; ( formerly the Royal Percussion, Strings, Vocal MA Musical Theatre; MA Classical Scottish Academy of Studies, Woodwind; BEd and Contemporary Text ; PhD and Music and Drama) (Music) with Hons; BA MPhil (Scottish Music) with Hons University of BA Applied Music n/a Strathclyde UHI BA (Hon) Applied Music; HNC – Music Business; HNC Music; BSc (Hons)
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Audio Engineering; BA (Hons) Popular Music University of the BA (Hons) Commercial Music: Innovation and West of Scotland Music; Commercial Sound Entrepreneurship Production
Source: University websites
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3. Appendix 3: Survey Findings
This appendix presents findings from the online survey of individuals and organisations involved in the music sector in Scotland. A total of 256 responses were received, including:
60 from individuals (23%); and
196 from organisations (77%).
The survey has been written up separately for individuals and then for organisations. It should be noted that not every respondent answered each and every question, as such base numbers are provided along with the Tables and Figures included in the following pages.
3.1 Feedback from Individuals
Individuals that responded to the survey were categorised as freelancers or salaried musicians. Of the 60 responses from individuals, all indicated that they were freelancers.
Profile of Respondents
As shown in Table 4.1 on the next page, the most common nature of music-related activity undertaken by individuals was musician (47%), followed by songwriter/composer (18%) and professional services such as marketing, journalism, PR, etc (12%). The responses provided represented the individuals’ primary area of activity in this sector.
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Table 4.1: Nature of music-related activity
Musician 47%
Songwriter/composer 18%
Prof. services (e.g. legal, accounting, marketing, journalist, etc.) 12%
Education 5%
Artist management 5%
Music promoter 4%
Audience development 2%
Record producer/engineer 2%
DJ 2%
Orchestra 2%
Band/ensemble 2%
0% 5% 10% 15% 20% 25% 30% 35% 40% 45% 50%
N=57
The most common genre of music that individuals were involved in was traditional Scottish music (49%, 28 responses), followed by rock/pop and classical/chamber music (both 46%, 26 responses), Figure 3.2.
Table 4.2: Genre of music involved in
Traditional Scottish 49%
Pop/rock 46%
Classical/chamber 46%
Other 39%
Jazz 35%
Choral music 33%
World music 26%
0% 10% 20% 30% 40% 50%
N=57, multiple responses allowed
Review of the Music Sector: Creative Scotland - Appendices 8
“Other” genres of music identified were: acoustic, electronic, club/dance music, folk music, soul, hip-hop, musical theatre, and opera.
Individuals had worked in the music sector for varying lengths of time. This ranged from 18 months to a high of over 50 years. Table 4.3 provides a breakdown of duration worked in the music sector, with 60% having worked in the sector for over 10 years (with most over 15 years).
Table 4.3: Length of time worked in the music sector
43% 45% 40% 35% 30% 21% 25% 19% 17% 20% 15% 10% 5% 0% Between 1 and 5 Between 5 and Between 10 and Over 15 years years 10 years 15 years
N=53
Time Spent and Earnings
Table 4.4 provides a more detailed breakdown of average time spent by individuals per week on music-related activity.
It is evident that the majority of individuals spent most of their time on music-related activity, with over half reporting that they spend on average over 30 hours (54%) on this work, with a further 21% working between 20 and 30 hours in an average week. Time spent in an average week ranged from a low of 2 hours (the respondent was involved in amateur/voluntary music) to a high of seven days a week.
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Table 4.4: Time spent on music related activity
54% 60%
50%
40%
30% 21% 18% 20% 7% 10%
0% Up to 10 hours Between 10 and Between 20 and Over 30 hours 20 hours 30 hours
N=57
Table 4.5 provides a more detailed breakdown of total earnings from music in the last financial year.
Table 4.5: Earnings from music in the last year
£100k+ 2%
£75k-£99k 0%
£50k-£74k 2%
£40k-£49k 0%
£30k-£39k 4%
£20k-£29k 12%
£1k-£19k 68%
Zero 12%
0% 10% 20% 30% 40% 50% 60% 70%
Note: this table is reproduced in the main report text as Figure 7.3
N=57
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Annual earnings from music-related activity were generally low, with 81% (46 responses) earning less than £19,000 in the last financial year. Only four respondents reported earning over £30,000 in the past year (7%). For most individuals, music was the main source of income, with:
64% reporting that this was the case (37 responses); and
36% reporting that music was not their primary source of income (21 responses).
As reported above, over one-third reported that music related activity was not their primary source of income (36%). The most common primary sources of non-music related income identified were from other paid employment (e.g. consultancy, PR, in third sector, marketing, etc), or from investments and pension. 67% of these respondents (14) went on to indicate that there were involved in amateur/voluntary music activity.
Where individuals indicated that music was their primary source of income and for those that reported that they were involved in amateur/voluntary music activity (i.e. 51 individuals), respondents were asked to provide a breakdown of how their income was made up (e.g. grant income, performance fees, etc). Forty-seven individuals provided such a breakdown, as presented in Table 4.6. Income arising from performance fees and education/teaching work were the most commonly reported sources (both 72%).
Table 4.6: Sources of income
Source Number % Performance fees 34 72% Education/teaching work 34 72% Commissions 16 34% Royalties (CD/digital sales) 15 32% Grant income 12 26% Other 11 23% Royalties from publishing/ synchronisation (e.g. music for film, TV, games etc) 10 21% Recording session work fees 10 21% Fees for your own recordings (including advances) 5 11%
N=47
Note: this table is reproduced in the main report text as Figure 7.4
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Individuals reported, on average, generating over half of their income from other sources (54%), followed by:
performance fees – 46% of income;
education/ teaching work – 41% of income; and
commissions – 31% of income.
Almost all individuals reported generating income from within Scotland, with the number reporting income from outwith Scotland declining the more further afield:
48 reported income from within Scotland (96%);
33 reported income from the rest of the UK (66%); and
20 reported income from outwith the UK (international) (40%).
On average, total of 78% of income is generated within Scotland, 28% within the UK and, 16% outwith the UK.
For those that reported international income, key territories were primarily other EU countries, however a few reported America and Canada.
Other Activities Involved In
Just under two-thirds of individuals (63%, 38 responses) reported that they were also involved in other sub-sectors of the wider arts and cultural industries sector (in addition to music). For these individuals, the most common sub-sectors were theatre (66%, 25 responses) and visual arts (45%, 17 responses), Figure 4.6.
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Table 4.7 Other arts and cultural industries sub-sectors involved in
Theatre 66% Visual arts 45% Film 32% Dance 24% Other 21% Interactive media (web, apps etc) 21% Design 16% Television 13% Video 11% Publishing (books and magazines) 11%
0% 10% 20% 30% 40% 50% 60% 70%
N=38, multiple responses allowed
Note: this table is reproduced in the main report text as Figure 7.5
“Other” responses included public art commissions, literature, poetry, creative writing and festivals.
Music in Scotland
Around 43% of individuals considered the current health of the music sector in Scotland to be either strong or very strong (24 responses, Table 4.8), with a further third reporting that the sector was neither strong nor weak (18 responses).
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Tablee 4.8: Current health of the music sector in Scotland
39% 40%
35% 32%
30%
25%
20% 14% 15% 11% 10% 4% 5% 2%
0% Very strong Strong Neither/ Weak Very weak Don’t know nor
N= 57
Where individuals were positive about the current health of the sector, the most common reasons were that:
there is a good breadth and diversity of talent in the country;
reputation for high quality music (and accessibility);
growing number of musicians, including new talent coming on stream;
there is support for the sector in Scotland from the public sector (for both large and small operators);
much creativity in the sector, vibrancy, etc;
strong culture of live performance covering different genres; and
investment at an earlier stage (e.g. in schools) which encourages more people to get involved.
On the other hand, where individuals were less positive about the current health of the sector in Scotland, the most common reasons were that:
low incomes in the sector puts people off doing it full-time (or results in them moving elsewhere);
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lack of opportunities and support (people need to move away to London);
sector is underfunded – and perception that funding goes to the same organisations;
fragmented support networks for the sector;
smaller musicians are finding it more difficult to survive;
perceived value of musicians and musicianship is low;
parochial and short on ambition and opportunity;
lack of music education and awareness raising in schools;
attendances are reducing (people have less money to spend, etc).
The main strengths of the music sector in Scotland were identified as: plenty of live music venues (including open mic opportunities), strong and diverse talented musicians, songwriters and composers, strength of the traditional music scene (and indie, folk), healthy festival sector, participative arts/youth music, and funding from Creative Scotland.
The main areas of weakness within the sector were identified as: lack of funding support, a lack of specialist music departments that understand the international music scene (and how the industry works), lack of infrastructure, low income, lack of opportunities for musicians, too much emphasis on traditional (jazz and alternative music weaker), limited exposure to non-mainstream music, falling audiences (and audience development), and a growing pressure on music in schools (perceived as a luxury).
Individuals went on to rate a range of aspects of Scotland’s music sector and the findings are presented in Table 4.9.
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Table 4.9: Rating of different aspects of the music sector in Scotland
Neither Good/very good nor Poor/very Total good poor poor responses Music education (HE) 29 12 10 51 Community music 28 14 9 51 Amateur/voluntary sector 23 23 3 49 Venue infrastructure 20 21 10 51 Access to talent 20 19 11 50 Retail – digital 18 18 11 47 Studio infrastructure 18 23 5 46 Music education (FE) 16 18 17 51 Music education (schools) 15 18 19 52 Music sector umbrella/ representative bodies 15 18 17 50 Music education and outreach (informal) 14 22 14 50 Training for music professionals (e.g. CPD) 12 21 17 50 Lifelong learning in music 12 17 21 50 Retention of talent (within Scotland) 11 20 19 50 International opportunities 10 20 22 52 Media support - TV/ radio 10 16 23 49 Investment (public) 10 20 21 51 Touring infrastructure 9 29 12 50 Publishing 8 18 15 41 Audience development/engagement 8 29 14 51 Retail – physical 8 21 18 47 Label infrastructure 7 24 16 47 Investment (private) 4 18 28 50
The areas rated most highly (good/very good) were music education (Higher Education) community music, amateur/voluntary music, venue infrastructure and access to talent.
The aspects rated less favourably (poor/very poor) were investment (private and public), media support - TV/radio, international opportunities, and lifelong learning in music.
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Future Development
The top issues facing the music sector in Scotland were identified as:
funding – impact of reductions in public sector budgets; difficulties to retain talent within Scotland (or encourage other musicians into Scotland); limited support for live music; funding is typically awarded to a select few (recurring support); too much of Central Belt focus; more of a focus of funding on encouraging diversity in music (and supporting new music and talent); opportunities for a loan scheme; limited funding for specific areas (e.g. classical, schools);
music education - pressure on music education in schools; decline of music lessons in school; young people growing up with no interest in any form of live music; lack of exposure to live music; lack of structured development of music education from primary to secondary education; poor quality of music education in schools; greater encouragement of more youth music ensembles;
income and opportunity – here, feedback centre on difficulties for musicians to achieve a viable living; lack of decent pay; a lack of opportunities often results in musicians moving away from Scotland; opportunities to showcase homegrown talent is typically restricted to a select few; limited nurturing and supporting of talent – a lack of hands on development and support to help build the skills of young musicians; a need for greater encouragement and publicity to support new talent (and new ideas); and
audience development – growing and keeping audiences; greater education to make people aware of the wealth of Scottish music; encouraging more spaces to be used as venues; and the fact that this is becoming more important in light of growth in digital music.
When asked whether these issues are shared across all of the music industry in Scotland, the most common responses was “yes” (40%), with a further 15% indicating that the issues affected parts of the music sector in different ways (Table 4.10).
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Table 4.10: Extent to which these issues are shared across the music industry
Number % Yes 21 40% No 1 2% Some, but not all 14 27% Yes, but in different ways 8 15% Don’t know 8 15%
N=52
Suggestions for how the issues identified earlier could be addressed include:
strong commitment to the arts, including funding, from Government;
development of a strategy for developing and supporting the Scottish Music Sector (shared vision and amibition, clear goals, etc);
encouraging funding from other sources e.g. private sector, philanthropists, etc;
greater opportunities for smaller ventures and grassroots organisations to tap into funding support (including a broader focus than the Central Belt);
opportunities for networking and showcasing talent, international collaborations;
increasing opportunities for people (and children and young people in particular) to experience live music of all kinds;
setting of a national minimum fee, tax relief, seed funding, etc; and
provision of high quality music education from primary to secondary education – review of school curriculum, review of music qualifications (to ensure that the right skills to work in the sector are developed), opportunities for professional musicians to engage with schools .
Respondents were asked whose responsibility they though it was to implement theses changes the most cited responses were:
Creative Scotland (18 responses);
the Government (16 responses);
educational organisations/universities (7 responses);
local authorities (4 responses);
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musicians themselves (4 responses); and
it should be everyone’s responsibility (4 responses).
Respondents were asked what are the three most important things that Creative Sector could do, the three most cited answers were to:
1. provide greater financial assistance and funding streams (37%, 18 responses);
2. establish collaborations and networks (internationally and nationally) to provide support from professional organisations/bodies to for new/up and coming artists, smaller organisations and individuals along with larger organisations (20%, 10 responses); and
3. advertise/ promote the (voluntary) music sector to a wider audience (18%, 9 responses).
Final Comments
A total of twelve respondents chose to provide a final comment, with six of those providing negative comments such as the structure of the music sector needs to be change as it is not working; projects that are supported by Creative Scotland are not necessarily the projects most in need; there is a lot of talent within the music sector in Scotland however the potential is rarely fulfilled.
Other respondents chose to comment on the importance of the music sector within Scotland, and several provided suggestions for improvement such as focus needs to be on the whole of Scotland and not focused solely on Edinburgh; the music sector infrastructure needs to be improved to allow for future growth and development; a greater appreciation of all genres is needed; and Creative Scotland needs a strategy in place to make music more accessible for children from non-musical backgrounds.
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3.2 Feedback from Organisations
Profile of Respondents
The organisations that responded to the survey were involved in music-related activity in a wide variety of ways, although two were most commonly reported – education and musician (19% and 13% respectively). Table 4.11 provides a breakdown of activity by primary area of activity.
Table 4.11: Primary area of music-related activity
Education 19% Other 15% Musician 13% Music/arts festival 6% Music venue 6% Music development organisation 5% Music promoter 5% Band/ ensemble 4% Producer 4% Songwriter/composer 3% Record label 3% Public agency 3% Broadcasting 2% Recording studio 2% Agency 2% Professional services (e.g. legal, accounting etc.) 2% Audience development 1% Retailer (instruments and equipment) 1% Music publisher 1% Manufacturing 1% Record producer/engineer 1% Orchestra 1% Artist management 1%
0% 2% 4% 6% 8% 10% 12% 14% 16% 18% 20%
N=193
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Some15% reported “other” activity – in a number of cases this was where organisations felt they worked across a number of activities and did not select one primary music-related activity. In other cases, the most common activities were Trade Unions and other membership organisations (for performers), local authorities, those involved in theatre, music journalism, and those involved in more community music-related activities (for example, for those with a disability youth groups, etc).
Table 4.12 illustrates the genres of music organisations were involved in. Here, the most frequently reported genres were traditional Scottish music (61%, 115 responses) and pop/rock music (54%, 102 responses).
Table 4.12 Genre(s) of music involved in
Traditional Scottish 61%
Pop/rock 54%
World music 42%
Classical/chamber 40%
Other 35%
Jazz 35%
Choral music 23%
0% 10% 20% 30% 40% 50% 60% 70%
N=188, multiple responses allowed
Where “other” was selected, this included genres such as contemporary, electronic, musical theatre, dance music, sonic arts, folk, acoustic, western swing, reggae, funk, soul, samba band, country, swing band, pipe band, blues, opera, hip-hop, Americana, etc.
Charity and not-for-profit organisations were the most common type of organisation to respond to the survey (26%), followed by sole traders and education and community music organisations (17% and 14% respectively), Table 4.13.
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Table 4.13: Type of business or organisation
Charity/not-for-profit 26%
Sole Trader 17%
Education/community music organisation 15%
Private Limited company 14%
Other 11%
Part-time/ occasional activity (e.g. source of 8% supplementary income)
Amateur/voluntary organisation 6%
Partnership 2%
Public Limited Company 2%
0% 5% 10% 15% 20% 25% 30%
N=196
The “other” category was primarily made up of local authorities, Trade Unions, trusts, community interest companies, economic development agencies.
When Established and Staffing
Just over half of the organisations have been established for over ten years, with most for over 15 years (52%). A quarter were fairly new organisations having been established for less than five years (Tablee 4.14).
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Table 4.14: When organisation was established
42% 45% 40% 35% 25% 30% 23% 25% 20% 10% 15% 10% 5% 0% Between 1 and 5 Between 5 and Between 10 and Over 15 years years 10 years 15 years
N=168
Almost 90% of organisations reported that they employed staff either on a full or part-time basis (87%, 171 responses), with most being micro businesses with less than ten FTEs:
132 have less than ten FTEs (77%);
24 have between 11 and 50 FTEs (14%); and
15 have over 50 FTEs (9%)1.
In addition, three-quarters of organisations reported that they used freelance or session workers.
Almost 60% of organisations had volunteers who helped out (58%, 111 responses). Where this was quantified, it can be seen that:
49 had less than ten volunteers;
35 had between 11 and 50 volunteers; and
12 had over 50 volunteers.
1 This is slightly skewed by responses from larger organisations including local authorities.
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Turnover
While a spread of annual turnover ranges were provided, the most common reported turnover band was less than £49,000 (plus a further 12% who reported no turnover in the last financial year (Table 4.15). Twenty organisations reported turnover of over £1 in the last year (12%).
Table 4.15: Turnover in the last financial year
£5m+ 4%
£2.5m-£4.99m 2%
£1m-£2.49m 6%
£500k-£999k 3%
£250k-£499k 8%
£100k-£249k 14%
£50k-£99k 10%
£1k-£49k 41%
Zero 12%
0% 5% 10% 15% 20% 25% 30% 35% 40% 45%
N=165
Note: this table is reproduced in the main report text as Figure 4.2
Where organisations reported turnover an attempt was made to provide a breakdown of how their income was made up (e.g. grant income, ticket sales, etc).
A total of 121 organisations provided such a breakdown, with grant income and ticket sales the most common sources of income provided (50% and 49% of organisations reported these sources), Table 4.16.
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Table 4.16: Sources of income
Source Number % Grant income 60 50% Ticket sales 59 49% Other 50 41% Fundraising (trusts, foundations, individual donations etc) 43 36% Performance fees 30 25% Sales of merchandise 29 24% Ancillary income (e.g. bars, catering) 20 17% Sales of recorded music (physical) 16 13% Commercial sponsorship 16 13% Sales of recorded music (digital) 15 12% Royalties 13 11% Subscriptions 12 10% Commissioned music 8 7% Music publishing income (licensing) 6 5% Recording fees (including advances) 4 3% Synchronisation (e.g. music for film, TV, games etc) 2 2%
N=121
On average, organisations reported to generate the highest amount of income from the following sources:
other – 53% of income
grant income – 48% of income
subscriptions – 39% of income; and
ticket sales – 35% of income.
149 organisations indicated where their income is generated, as with individuals almost all organisations reported at least some income generated in Scotland:
146 reported income from within Scotland (98%);
49 reported income from the rest of the UK (33%); and
42 reported income from outwith the UK (international) (28%).
On average organisations generate the majority of their income within Scotland, (88% of their income within Scotland), 22% with the UK and 22% outwith the UK.
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For those that reported international income, key territories were other EU countries, America, Canada, Australia, China and the Middle East.
Other Activities Involved In
Around three-quarters of organisations (76%, 149 responses) reported that they were also involved in other sub-sectors of the wider arts and cultural industries sector (in addition to music). For these organisations, the most common sub-sectors were theatre (46%, 68 responses) and dance (44%, 66 responses), Table 4.17.
Table 4.17: Other arts and cultural industries sub-sectors involved in
Theatre 46% Dance 44% Visual arts 36% Film 32% Video 28% Interactive media (web, apps etc) 26% Other 24% Publishing (books and magazines) 23% Design 22% Television 17% Computer games 7%
0% 10% 20% 30% 40% 50%
N=149, multiple responses allowed
“Other” responses included: radio/internet radio, outdoor events/ competitions/ festivals, literature, poetry, comedy, academic research, storytelling, sculpture, exhibition design, fashion, and heritage.
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Music in Scotland
Organisations were more positive about the current health of the music sector in Scotland than individuals (56% compared with 43% reported earlier), Table 4.18.
Table 4.18: Current health of the music sector in Scotland
60% 50% 50%
40%
30% 25%
20% 12% 10% 6% 3% 4%
0% Very strong Strong Neither/nor Weak Very weak Don’t know
N=189
Where respondents reported that the sector was strong/ very strong, explanations included that:
there is a substantial pool of talented musicians/artists within Scotland providing unique and diverse music;
there is sufficient venues, gigs, festivals, events within Scotland;
the music scene is very active and continues to flourish with many more new up and coming performers, many of which are able be successful;
Youth Music Initiative provides beneficial support and funding to the sector.
Where organisations were less positive about the current health of the music sector in Scotland, common responses were that:
support /funding is often music genre dependent and the “less mainstream/ popular” genres get overlooked;
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education is suffering as a result of a lack of investment/funding and poor and outdated curriculum; and
lack/ reduction of venues (most noticeably within Edinburgh there is a lack of medium sized venues).
Respondents were asked to comment on what they believed to be the strengths of the music sector within Scotland, the most cited responses included:
there is a vast variety and quality of talent available in Scotland;
there is great pride/support and demand for traditional music;
musicians and performers have great creativity allowing for a diverse sector
Respondents were also asked to comment on what they believed to be the main weaknesses of the music sector, the most cited responses were:
the limited amount of funding available combined with the high level of dependency of the music sector on the public sector;
the substantially reduced(ing) number of venues available for events/performance/rehearsal/recording space;
the lack of cohesion amongst the music sector and poor networking, seen as “every man for himself” instead of sharing information and collaborating; and
the reduced provision/quality of musical education within school.
Organisations were then asked to rate different aspects of Scotland’s music sector and the findings are presented in Table 4.19.
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Table 4.19: Rating of different aspects of the music sector in Scotland
Neither Good/very good nor Poor/very Total good poor poor responses Community music 74 45 32 151 Amateur/ voluntary sector 73 55 18 146 Music education (HE) 62 50 33 145 Music education (schools) 57 42 59 158 Venue infrastructure 56 58 39 153 Music education (FE) 51 53 42 146 Music education and outreach (informal) 49 67 35 151 Access to talent 55 57 29 141 Studio infrastructure 45 61 21 127 Touring infrastructure 44 58 44 146 Audience development/ engagement 42 65 44 151 Music sector umbrella/ representative bodies 40 55 50 145 Retail – digital 38 64 20 122 Retention of talent (within Scotland) 38 54 54 146 Training for music professionals (e.g. CPD) 38 58 46 142 International opportunities 37 57 49 143 Lifelong learning in music 37 53 50 140 Investment (public) 37 47 65 149 Media support - TV/radio 35 42 65 142 Retail – physical 24 56 45 125 Label infrastructure 20 63 40 123 Publishing 20 60 42 122 Investment (private) 15 45 78 138
Aspects rated most positively include: community music, amateur/ voluntary music, music education (HE and schools) and venue infrastructure – good/ very good ratings ranging from 36% to 50% (for these aspects).
No individual aspect was rated good/ very good above 50%.
On the other hand, aspects of the sector rated less positively include: investment (private), publishing, label infrastructure, and retail (physical) and media support (TV/radio) – poor/very poor ratings ranging from 33% to 57% (for these aspects).
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Future Development
Respondents were asked what they believed the top three issues facing the music sector are, respondents reported:
1. availability of funding;
2. the provision of music within schools (education), allowing children the ability to access skills/training; and
3. the reduction of venues of all sizes (especially medium sized venues) to host events, performances etc.
When asked whether these issues are shared across all of the music industry in Scotland, the most common response was “yes” (32%), with a further 16% indicating that the issues affected parts of the music sector in different ways.
Table 4.20: Extent to which these issues are shared across the music industry
Number % Yes 56 32% No 10 6% Some, but not all 43 25% Yes, but in different ways 28 16% Don’t know 36 21%
N=173
Respondents were asked who’s responsibility it was to carry out these activities the two most cited responses were Creative Scotland (29%, 39 responses) and the (Scottish) Government (22%, 30 responses). Other commonly cited responses included:
a combination organisations e.g. FE, HE, Scottish Enterprise, Music Union, Creative Scotland, BBC etc;
everyone involved in the music sector so play a role (6%, 8 responses);
local councils (5%, 7 responses);
higher and further education (4%, 5 responses).
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Organisations were asked to comment on the three most important things they believe Creative Scotland should be focusing on, the three most cited responses were:
1. provide adequate funding for all genres of music to help the sector remain sustainable (53 responses);
2. continue to provide music education within school, encouraging all ages and abilities to participate (16 responses);
3. support venues - help small venues to remain sustainable, promotion of existing venues and encourage new venues to open (15 responses); and to support the international promotion of Scottish music (15 responses).
Respondents were asked to provide any additional comments: seventeen respondents chose to provide positive comments including:
Creative Scotland provides a valuable service/keep up the good work (8 responses); and
Scotland has a lot of talent as well as passion and ambition for music (3 responses).
A total of twelve respondents commented negatively including:
music education within Scotland is poor (2 responses); and
larger organisations receive more support and investment than the smaller organisations and have too much power within the sector (2 responses).
Fourteen provided suggestion which reiterated previously stated suggestions including provide more funding opportunities for the whole sector, support new grass root projects and Creative Scotland should have more direct engagement with the sector.
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4. Appendix 4: Case Studies
This section contains further details on a series of case studies of specific initiatives referred to in the main report.
Case Study 1: Showcase Scotland at Celtic Connections
Showcase Scotland at Celtic Connections focuses on Scottish traditional music and its target is traditional music professionals from around the world. Over five days during the Celtic Connections festival in Glasgow they have access to (public) gigs by selected Scottish artists. There is a trade fair, receptions and networking events within the five days and the Showcase Scotland organisers supply contact information on the featured artists, agents, delegates and other relevant organisations.
According to detailed research, the 200 delegates in 2011 represented 20 countries and the combined audiences in their festivals and venues totalled 2.3 million people. On average each delegate booked four Scottish artists from the showcase in the subsequent year and the artists’ estimated earnings from those bookings alone measured as much as £2.2 million.
Showcase Scotland has become so well-regarded that in recent years other overseas agencies - such as the Catalan, Norwegian and Nova Scotia music export organisations - have been invited to be partners in the showcase and present a selection of their own artists. In 2013, England will be the featured guest country.
Aside from the direct impact on Scottish artists, Showcase Scotland has developed an international reputation as one of the world’s key places for traditional music professionals to meet, network and share information. This is highly beneficial to Scottish artists outwith the showcase programme, through peer-to-peer recommendations, re-bookings and contact making.
The value of the event also crosses into several other categories of international activity: cultural representation and tourism attraction through the continued profile and good report that Scotland and Glasgow get from the succession of international
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delegates; and networking and intercultural dialogue, initiated by Scotland and in Scotland for the rest of the world to share.
The showcase is in its 14th year in 2012. It was begun by the Scottish Arts Council, British Council Scotland and the Celtic Connections team - and has been supported by various public agencies over recent years - and regularly by CS and HIE. Its organisation is handled by an independent specialist company, Active Events.
Case Study 2: Bookbug Song and Rhyme Sessions - report to Creative Scotland – October 2011
In the past 4 years we have trained 457 staff, with the result that 12,608 Sessions now take place across Scotland every year, with a total annual audience of 331,558. This is from a baseline in 2007-8 of 3,404 sessions for 15,128 children and parents. This represents a staggering 2092% increase in audience and 270% increase in the number of sessions for this period, as a direct result of our training. A total of 598,085 parents and children have attended Bookbug Song and Rhyme sessions over the course of these four years.
Bookbug Sessions are designed to emphasise the message of our bookgifting packs – to encourage parents to cuddle, read, talk and sing to their children at home. Each session consists of simple songs and rhymes and accompanying actions which are easy for parents to repeat at home. Every session starts and finishes with a reading of a picture book. Our packs, gifted free to every baby, toddler, 3- and 5-year-old in Scotland, contain high quality picture books and resources (e.g. baby-music CDs and parent guide). This means every home has the necessary material to replicate some or all of a Bookbug Session with their children at home.
The benefits of attending a Bookbug Session, including improving children’s mental and physical development, encouraging bonding between parents and children and better preparing children for nursery and school, have been proved through independent evaluation of the programme, parent feedback and external research outlined in appendix 1 of this document.
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The majority of Bookbug Sessions currently take place at local libraries.
Train the Trainer Programme 2011-2012
The Train the Trainer programme was devised with Creative Scotland to enable local authority staff to pass on Bookbug Session Leader Training to other professionals within their authority. [It encompassed]:
Three 2-day training days undertaken in Edinburgh, Glasgow and Aberdeen; 38 trainees from 27 local authorities (Highland, Moray, Clackmannanshire, Falkirk, Dumfries & Galloway and North Lanarkshire not participated); 7 Early Years Music & Story Specialists recruited to support trainers in 2 days training .At present, there are 20 Bookbug Session Leader training days planned in local authorities with an approximate attendance of 178 trainee Leaders. We estimate that this training will result in an additional 400 sessions taking place nationally for an additional audience of 10,000 parents and children.
Case Study 3: An example: school music groups in Orkney
1. Stromness Academy String Group
2. Stromness Academy Choir
3. Stromness Academy Samba Group
4. Kirkwall Grammar School Orchestra
5. Kirkwall Grammar School Senior Choir
6. Kirkwall Grammar School Junior Girls Choir
7. Kirkwall Grammar School Wind Band
8. Kirkwall Grammar School Big Band
9. Kirkwall Grammar School Junior Traditional Fiddle Group
10. Kirkwall Grammar School, Hadhirgaan (Traditional Music Group)
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11. St Andrews Fiddle Club
12. St Andrews School Band
13. St Andrews Guitar Club
14. St Andrews Choir
15. St Andrews P6 Music Group
16. St Andrews P7 Music Group
17. St Andrews P5 Chimes Group
18. St Andrews P5 Whistle Group
19. Papdale Orchestra
20. Papdale Steel Bands
21. Papdale Brass Band
22. Papdale Senior Choir
23. Papdale Junior Choir
24. Papdale Percussion Group/Samba Band
25. Glaitness Choir
26. Glaitness Whistle Group
27. Stromness Primary Choir
28. Sanday Fiddle Club
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Case Study 4: Orkney Traditional Music Project
The Orkney Traditional Music Project in its present form was started in 1998 to provide tuition in accordions. Shortly thereafter, fiddle classes were added and OTMP currently provides five fiddle classes and four accordion classes on Saturday mornings in Kirkwall Town Hall. OTMP is presently teaching 135 pupils who are charged £2 for each hour-long lesson. There are three terms of ten weeks of classes per year.
OTMP resident tutors are Elizabeth Duncan (Musical Director), Diane Kelday, and Susan Webbfiddles) and Nicky Palmer and Ellen Grieve (accordions). Visiting tutors are brought in on a regular basis to augment normal tuition.
Concerts are held during the year and groups of pupils play at many local functions; Tall Ships, Royal Visits, St Magnus Festival, Orkney Folk Festival and County Show. Lunchtime concerts are held in the Cathedral every Saturday during May and June.
Weekly classes are held at Kirkwall Community Centre. In August each year there is a four-day Summer School, which is held at Orkney College, East Road, Kirkwall. Visiting tutors in 2011 were Ian Lowthian and Ishbel Borland (accordion) and Eunice Henderson and Kristan Harvey (fiddle).
OTMP was voted Community Project of the Year in the BBC Alba Scottish Traditional Music Award 2010. OTMP is generally self-funded but does appreciate occasional support from sponsors including, the Scottish Fiddle Orchestra, Talisman Energy, Flotta Oil Terminal and Northlink Ferries.
Case Study 5: Celtic Connections education programme
Celtic Connections firmly believes in encouraging Scottish children to enjoy their cultural heritage, which is why one of the key aspects of the festival is the hugely successful Education Programme. This comprises a set of childrens’ workshops,
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concerts and tutorials dedicated to nurturing an awareness of traditional Scottish music.
Throughout the festival, pupils and teachers are given the opportunity to attend one of the free concerts for schools at The Glasgow Royal Concert Hall. These feature performances by professional celtic, traditional and world music artists, allowing many children to enjoy their first experience of live music.
Since 1999 over 170,000 children from all over Scotland (including pupils from over 70% of schools in Glasgow) have benefited from the Education Programme.
In addition to the concerts, a series of taster workshops are run in schools, with professional celtic musicians introducing a variety of traditional means of expression to children, including Scots song, storytelling, Scots and Irish stepdance, and instrumental tuition featuring Celtic instruments, tin whistle, bodhran, fiddle and clarsach. These run throughout the festival in January, and continue throughout the year, ensuring the continued development of awareness of Scottish tradition in schools.
These workshops are delivered free of charge, and are completely inclusive, involving young people with special needs and those who have English as a second language.
Case Study 6: SCO Connect - education and outreach programme
Bear Hunt - for early years - a series of mini musical adventures uses the classic children's story
Primary School Residency in Preston Street Primary School for the whole school year of 2011/12.
Musical Mondays with gallery educators and musicians, pupils compose responses to a painting
Supersonic: SCO Brass - project for upper primary school (P6-7) with composer Alasdair Nicolson
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iCompose a national composition competition which invites adults, pupils and teachers
Masterworks 2012 studying classics and contemporary music for Standard and Highers students
Work Experience: placement opportunities for secondary school pupils over 16 years old.
Bring Your Class to a Concert for teachers to bring classes to 70 SCO Season concerts
Exploring Music two evening courses with the University of Edinburgh Open Studies
Comparing Notes informal and in-depth discussion groups based around a series of four concerts. St Andrews and Fife Community Orchestra (StAFCO) conducted by Gillian Craig
SCO Chorus - sing with the Chorus, currently recruiting new members
Scrapers & Tooters - two day course for amateur musicians with SCO members
Operantics St Andrews 2 day course with amateur instrumentalists and singers with the SCO
Wind Farm Edinburgh two day course for amateur wind players with SCO musicians
Can a Painting Make a Sound? family workshops with the SCO and National Galleries of Scotland
Big Night Out events designed for young people who are interested in arts and culture
St Abbs Music Project SCO Connect working alongside The National Trust for Scotland
Re-Connect - revisiting the SCO’s 26 year history of education & outreach
Big Ears, Little Ears informal concerts for parents and young babies across Scotland
Inspiring Change partnership with Scottish Opera, Motherwell College & Scottish Prison Service
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Case Study 7: Economic impact of Fèisean nan Ghàidheal
HIE Area Scotland HIE Area Scotland ftes ftes Earnings (£) Earnings (£) (1) FnG Staff 11 11 305,000 305,000 (2) Fèisean Staffing 18 18.5 280,000 295,000 (3) Fèisean Tutors 13.5 17.5 285,000 370,000 (4) Other Fèisean-related Project, 4.5 5.5 100,000 130,000 Training and Miscellaneous Staff (5) Indirect Employment (FnG spending) 1.5 2.5 30,000 55,000 (6) Induced Employment from (1)-(5) 9.5 16.5 190,000 330,000 (7) Youth Music Initiative 6 6.5 175,000 185,000 (8) Blas* 8 9 185,000 205,000 (9) Drama Activities 2 2 50,000 50,000 (10) Cèilidh Trails & Showcases* 6 8 120,000 160,000 (11) Songwriting & Collecting Projects 1 1 15,000 15,000 (12) Other Fèisean Impacts 4 5 80,000 100,000 ** Including tourism impacts TOTALS 85 103 1,815,000 2,200,000
From the Economic Impact Assessment report by Steve Westbrook for HIE 2012
Case Study 8: A YMI example - Scottish Borders
A representative set of examples of YMI projects would fill another entire report but the following case study - lifted from the 2007 independently produced review of the first three years of the YMI - gives a brief flavour of the impact of the YMI on one out of 32 areas of the country.
Scottish Borders
Formula Funding
There has been a very high level of diversity between the genres or project types implemented by the Scottish Borders Council as a result of its formula funding allocation. In the first 3 years of the initiative the following was achieved:
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Year 1
The appointment of instrumental instructors in guitar, violin and cello.
A concert by instructors was held in all rural primary schools
A jazz saxophone day was delivered
Year 2
The Instructor posts were maintained and increased in FTE
A Traditional/World music officer was appointed.
300 new pupils from upper primaries were offered music instruction.
There were visits, by at least one instructor, to all rural primaries schools
Guitar tuition was widened to include Galashiels Academy
Visiting artist workshops were held by traditional music groups from the UK and Africa.
A showcase event, combining workshops and a short concert, was attended by pupils from throughout the region.
A jazz guitar day was delivered
A series of traditional song workshops were held in rural primary schools
Penny whistles were bought for every pupil at Coldstream Primary School.
‘Rock kits’ were purchased for secondary schools.
Bagpipes were purchased for Selkirk School of Traditional Music.
Year 3
The Instructor and Traditional / World posts were maintained.
A Traditional/World song development officer was appointed
A Guitar instructor was appointed
200 additional pupils started to learn instruments
Links were formed with other organisations including Trash/Jam/SBCO and The Border Gaitherin.
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6 music CST’s (Curriculum Support Teachers) undertook training by NYCOS.
A CPD course in Traditional song was organised.
Choirs were set up in Tweeddale and Hawick.
A Drum kit workshop was organised
Visiting artist workshops were held by traditional music groups from Newfoundland and Cuba.
Networking visits to see Celtic Connections in Glasgow and African Soul Rebels at the Sage Gateshead were organised for staff from Scottish Borders Council and linked organisations through the ‘crosscurrent’ project
P6 Targets
Their P6 target projects were called ‘Play On’, ‘Sing Up’, ‘Saxophone Day’, ‘Traditional Music and Step Classes’, ‘Fiddle Classes’, ‘Christine Kydd Song Making Workshops’, ‘Drum Day’ and ‘Cross-current’ which were enhanced by the (non-YMI funded) work of Primary Music Specialists.
Informal Sector Funding
In year 2, Trade Africa 2000 Plus received a small grant. After applying for £5,000 the project was granted £4,500 to go towards the cost of Zambian musicians visiting the Scottish Borders to offer workshops and concerts involving local high schools.
In year 2, St Ronan’s Silver band was awarded a small grant of the full amount requested (£4,600). This well established band recently had undergone rejuvenation with an emphasis on Youth Development and the money went towards the cost of appointing a Youth Development Coordinator for 2 years in order to develop a youth band to feed into the main band.
In year 2, Innerleithen Folk Festival was awarded a small grant of £1,900 after applying for £2,500 towards the cost of a weekly creative music group for primary school children to tie in with festival activities.
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Case Study 9: Some YMI Achievements
YMI has generated the first ever National Youth Music Strategy and has encouraged local planning to take place in all 32 local authorities
All of Scotland’s 681,573 schoolchildren now have access to one year’s free music tuition by the end of P6
Young people have had a wider range of musical experiences in the formal sector as provision has widened considerably - particularly in singing, traditional music, rock and pop music, piping and brass bands, and, to an extent, in jazz, improvisation and ‘world’ musics.
YMI has had the effect of opening some formerly limited parts of the formal sector to a far wider range of different approaches in music education
Opportunities have opened up for imaginative local authorities, instrumental services and schools to explore new projects and approaches - and in the informal sector new thinking and new projects have been able to grow - as, for example, the ABC Music programme of creative music making.
The scale of music work in primary education has increased, due to the P6 target but also to many other opportunities prompted by YMI
Opportunities to experience music have been opened up across the country for pre-school children through Bookbug/Rhymetimes and similar initiatives.
Young people’s opinions and experiences are being heard - and they have been provided with greater access to music making and a wider range of musical experiences with the expansion of informal sector organisations and projects in previously under-represented areas - such as rock, pop, DJ-ing, brass bands, piping and jazz.
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YMI support has encouraged national youth music organisations to develop and expand as centres of excellence for young talent - and as development organisations to assist with expertise in the formal and informal sectors
CPD opportunities (in teaching approaches and in other genres) have been extended, for musicians wanting to teach, for instrumental tutors and for class teachers
YMI has assisted youth music projects of all kinds to access the skills and specialisms of musicians and music organisations - and has created many new employment opportunities in the music sector.
Partnerships and collaborations have blossomed, especially between formal and informal organisations - and with other sectors such as health, youth services, sports, social services etc.
YMI has funded and/or stimulated a wide range of detailed research and documentation to add to the knowledge and understanding of the sector: examples include TMF’s Traditional Music and the Primary Classroom, Pathways to Music with Young Scot, the evaluation of MMS’ members work with young people, ABO’s Live the Experience Scotland mapping orchestral work for children, SJF’s Strategic Review of Jazz Education
Three has been considerable mapping of provision done in and by local authorities; and evaluation of YMI funded projects has built up a valuable store of experience and documentation
17 YMFs have now been established to connect and network providers in local areas
And the team created to manage the YMI has become a valuable resource as a development agency with a national remit.
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5. Appendix 5: National Youth Music Organisations
NYBBS
The National Youth Brass Band of Scotland appears to be the oldest - established in 1958 by the Scottish Amateur Music Association and recently taken over and run as part of the SBBA. The NYBBS - which is not publicly funded - runs a summer course for its members and tours and performs in Scotland and occasionally abroad.
The appointment of a Development Manager for the SBBA, funded on a yearly project basis by YMI, has led to a youth band programme which has seen the number of local youth brass bands in Scotland rise from 6 in 2006 to over 60.
NYOS and NYJOS
The National Youth Orchestra of Scotland began in 1979 as a single symphony orchestra, then expanding to embrace a separate younger Children’s Orchestra and a senior Camerata, all performing and participating in holiday courses. In common with all the national youth groups it is financed through subscriptions and fundraising and received public funding first through the Scottish Office which was then, on devolution, passed to the SAC and now CS - as an FX and now on annual project funding.
In the late 1990s NYOS expanded further into running a national youth jazz orchestra -NYJOS - and in recent years has added a younger jazz Access group and a senior jazz Collective. The other groups now in the portfolio are a String orchestra and NYOS Futures which concentrates on contemporary chamber music.
NYOS and NYJOS have expanded their activities into broader development work across the country, running a mix of workshops and other activities for young musicians in many localities and with various partners including local authorities and individual schools. Some of this work has been funded by YMI project grants.
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NYCOS
The National Youth Choir of Scotland began in 1996 and now runs a series of national choirs: The National Youth Choir of Scotland - for singers aged 16 – 24 years; the NYCOS Chamber Choir (a subset of the full choir); the NYCOS Training Choir for singers aged 16 - 19 years; the NYCOS National Boys Choir for singers aged 10 –16 years, structured in three sections: Junior Corps, NBC, Changed Voices; and the NYCOS National Girls Choir for singers aged 12 - 16 years.
NYCOS operates much as the other national ensembles - in its own words: “Membership for all NYCOS National Choirs is granted by annual audition and is open to singers who are born, resident or studying in Scotland. The basis of the choirs' activities stems from a residential course where time is split between individual vocal coaching, musicanship sessions and sectional and full rehearsals.”
NYCOS has grown rapidly as a development organisation, especially after the inception of the YMI, running many youth music projects and CPD training programmes. Across the country it has established 15 Area choirs and the Mini Music Makers early years programme. NYCOS is currently funded by CS as an FO.
NYPB
The National Youth Pipe Band - for pipers and drummers aged from 10 to 25 years - was launched in 2002 by the National Piping Centre (and continues to be run as one of the Centre’s projects). Supported at the outset by a Lottery award, the band has performed and toured extensively in Scotland and overseas and a second Development band has been established.
NYPB is not, like many other youth pipe bands, a competitive band but aims to perform classic and new work for the band format. It is engaged on a substantial programme of development and outreach work that takes in schools, local authorities, piping societies and other pipe bands. NYPB receives annual project funding from CS via the YMI.
Fèisean nan Gàidheal
Apart from piping, Scotland’s indigenous traditional music does not operate on set- piece large ensemble basis like the other music represented above. Fèisean nan Gàidheal (FnG), however, has established itself as a national development agency
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for Gaelic music amongst young people. The growth of the Gaelic cultural and language movement in the Western Isles and Highlands was led in music by the first few feisean - local hubs of music tuition for young people, predominantly run by volunteers with paid musician/tutors.
The connected small groups grew into the FnG network in 1991, which is now a robust central umbrella organisation representing 44 autonomous local feisean serving over 6,300 young people.
FnG has been given devolved authority from Creative Scotland to disperse the pool of funds for music tuition to the individual feisean and other pooled funding to support the rapidly expanding young people’s performance programmes such as the Ceilidh Trails. It co-ordinates a number of common interests on behalf of the membership (child protection clearances, for instance, for all adults working with the young people) and supports and advises the individual feisean on their development.
FnG organises training for musician/tutors and also runs a substantial programme of CPD for teachers and other in-school work in formal education for local authorities.
FnG is core funded as an FO by CS, and by HIE, Bord na Gaidhlig and Highland Council - and much of the development work for which they are contracted is funded via YMI funds granted to local authorities.
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