A review of youth music and music education in Bristol January 2017
Commissioned by Contents 01 02 Foreword Summary and directions for the future
03 04 05 Introduction Music and Bristol Strategic review
06 07 08 Context Organisations Bristol Plays Music – in Bristol the role of the hub
08.1 Core roles 08.2 Extension roles
09 10 11 Areas of activity, Inclusion, needs Young musicians interest and and diversity operation 11.1 Youth voice, musical minds 10.1 Additional, special educational 11.2 Coaching and experience 09.1 Performance needs and disabilities with professionals 09.2 Genres 10.2 Inclusion 11.3 Music business and 09.3 Singing 10.3 Diversity career employment 09.4 Early years 10.4 Direction overall 11.4 Accreditation 09.5 In schools 09.6 Post 18 09.7 Ensembles
12 13 Providers and other issues In conclusion
12.1 Research 12.8 CPD, training, workforce 12.2 Pathways development 12.3 Information and 12.9 Geography, travel, transport communication 12.10 Resources 12.4 Relationships, 12.11 Finance, fundraising partnerships, consortia 12.12 Venues, promoters 12.5 Networking 12.13 Exporting Bristol’s 12.6 The workforce knowledge and skills 12.7 Training in higher education Foreword 01
I am delighted to be able to commend this Review of Youth Music and Music Education, which amply demonstrates the important role music plays in our city. Music is part of the city’s cultural and economic success and central to its future. Indeed, Bristol’s ongoing commitment to music education has recently been recognised nationally by the award of the Music Education Council Major Prize. Bristol prides itself on ensuring access to a high quality music education is available for all children and young people, and we are also mindful that this means utilising both formal and informal pathways and celebrating a wide range of music genres, styles and performance models. Music is the most democratic of cultural forms, and the most communal. It brings communities together, gives them purpose and shared goals. It can help to instil self-discipline, encourage ambition, drive aspiration and reward achievement.
This Review will help to cement Bristol’s reputation as England’s most musical city – a reputation which we are confident will continue for many years to come.
Cllr Estella Tincknell Cabinet Member for Culture, Events and Equalities Bristol City Council
3 Summary 02
This review and its directions for the future are presented as a broad overview after a lengthy process of consultation – a picture of the diverse activities, interests and needs of the young musicians of Bristol and the scope and variety of those who serve them.
It is produced for and shared with Whilst confirming considerable all of Bristol as a positive, unified appreciation for the work of the approach to youth music and music present, the review identifies areas The document concludes with education and the most effective and issues that will benefit from two overriding imperatives: ways of working in a city that is increased work and development Bristol will focus on supporting all already achieving a great deal. and provides advocacy and its young musicians in whatever encouragement for all of the city’s Set in the context of the establishment ways they wish and in whatever music leaders to continue, build and of the government funded Music parts of their musical journey. extend the opportunities they offer to Hub system – with the obligatory core Bristol’s organisations and every young Bristolian. and extension roles that Bristol Plays music leaders will form strong Music already achieves and extends The principle behind the review and partnerships, with those who even further – and in the current its recommended actions – set out as are most able taking their fair environment of change, competing Directions for the Future as summarised share of responsibility – and standards of assessment and financial below – is that it sees the provision and will commit to forging effective, constraint, the review deals with a activity in music from the perspective co-ordinated responses to range of musical and non-musical of the city’s children and young support music education but contingent issues. people, their needs and interests. across the full spectrum of the The review celebrates the strength The review is made at a point in time city’s schools and communities. and breadth of the Bristol music and its ideas and recommendations scene, the enthusiasm and talent of should not be static but should be its young musicians and the extensive revised and updated as the range of provision of support for them work progresses. from a highly committed network of organisations from both the Nod Knowles, NKP independent and public sectors.
4 Directions for the future 02
The Role Of The Hub Post 18 Diversity • Continue to explain and illustrate • Incorporate 18 to 25s in the work on • Encourage and develop diversity the roles and responsibilities of pathways and referral information. in the workforce. Bristol Plays Music as a Music • Continue to seek understanding of Education Hub to the wider Ensembles cultural attitudes and their relation education and public sector. • Support and nurture large and small to music and music- making environments. Performance ensembles of all (and mixed) genres. • Continue to build and publicise Inclusion, needs, diversity Young musicians, youth opportunities for musical voice, musical minds performances by and for young • Ensure that environments and musicians with venues and festivals ways of working are founded upon • As a first principle, place the young across the city. principles that will allow fully inclusive musician at the centre of the work. provision for all young musicians. • Incorporate a youth-centred Genres perspective in all staff induction. Additional and special • Continue to build programmes in • Ensure that a youth -centred which musicians from different spheres educational needs perspective is a clear part of the can explore each others’ music and and disabilities organisation’s values. experiment in playing together. • Prioritise the pursuit of ‘Inclusive’ • Factor capacity and resource for • Seek further contact with other Excellence’ through leadership youth-centred, youth-led activity youth arts providers to explore by A New Ambition for Inclusive into budgets and fundraising. potential collaborative opportunities Excellence and its partners. • Ensure the voices of young people for inter-disciplinary work. • Seek equal and permanent are heard from across the full sustainable status for inclusive range of music and musicians and Singing music-making by pursuing responded to appropriately. designation for Bristol as a DfE • Continue to develop the widest • Enable existing youth networks across funded Centre of Advanced range of singing opportunities and the city to connect with one another. partnership links with adult choirs Training for musicians for special educational needs and disabilities. and other providers. Coaching and experience • Address the needs of this practice with professionals Early Years in workforce development, physical access and musical equipment. • Continue to support and • Look to connect Early Years encourage highest level of providers in a network that feeds interaction between young into primary school access. Inclusion musicians and their professional • Undertake consistent research into coaches and mentors. In Schools the demographics of inclusion and disengagement in order to identify • Make every effort to regularly review other groups who could benefit Music business, career, and update school music plans. from access to music-making. employment • Encourage schools to explore the • Emphasise inclusive practice • Continue to develop relationships range of external opportunities for in workforce development with the music industry for guidance their pupils. through CPD and training for and work experience opportunities. • Consider the development of a long- complementary skills. • Encourage and increase links with term music log for young musicians. further and higher education.
5 Directions for the future 02
• Assist the families of young • Encourage other possible groupings • Explore the potential or viability of musicians to understand the scope (for example Early Years?) to a Bristol-wide, sustainable bursary and potential of a career in music. consider exploring the development or support fund. of consortia that may add value to • Explore opportunities for collective the sum of individual activities. Research fundraising or income generation. • Prioritise research into issues of Networking • Seek research and advocacy diversity and inclusion. Collaborate opportunities around the value to build consistently comparable • Plan, shape and inaugurate a of investment in youth music and and practically useful data. regular networking event to reach music education in Bristol. • Continue action research into the widest groups of professional • Advocate for arts and music the interests and progression of practitioners and organisations. education in schools. young musicians. Workforce development, • Consider the engagement or Venues, promoters appointment of a researcher(s) education, training, CPD • Continue and encourage further to conduct ongoing research • Support and nurture the workforce engagement by promoters and and identify areas of work and and advocate the value and venues with education and communities to approach with impact of their collective activity. new opportunities. young musicians. • Continue to broaden the scope of • Support and encourage Bristol CPD and training to encompass Pathways Music Trust in their transformation musical and non-musical skills and to a state of the art facility and an • Accumulate and map inclusive practice. organisation centred on music and comprehensive information on a • Follow a policy of broadening the young musicians. range of appropriate pathways diversity of the workforce. and referrals. • Learn from good examples of CPD Exporting Bristol’s • Seek to address whatever gaps may be apparent in those pathways, as practised in other markedly knowledge and skills diverse communities in the UK. including routes into the industry. • Within the sector’s network, and with other appropriate agencies Information and Geography, travel, for the development of skills communication Transport and opportunities for Bristol, explore the idea of collaborative • Explore options for overcoming • Differentiate the areas of advocacy, promotion of Bristol skills and the barriers to access for young trade information, directory and provision further afield. contact information and youth musicians of travel and transport. music networking information. Resources • Work together to find effective ways of collecting and disseminating • Make allowances in operating information and communicating and project budgets and with the target groups, to avoid fundraising for the acquisition and duplication of effort. renewal of resources, instruments and equipment. Relationships, partnerships, consortia Finance, fundraising • Continue to develop consortia • Advocate, where possible, for longer- and collaborations for 3rd Space term and more sustainable funding Music and A New Ambition For for ongoing programmes of work. Inclusive Excellence.
6 Introduction 03
This document – the review and its directions for the future – is deliberately presented as a broad overview. It aims to give a picture of the diverse interests and needs of the young musicians of Bristol and to embrace the scope and variety of the organisations and individuals involved in serving them.
And because music is such an It aims to be a positive statement, in all-pervading element in the lives response to the process of review and of individuals and the society in consultation, of a unified approach which they live, the review inevitably to youth music and music education, touches on issues far wider than helping to focus on the most effective just the concerns of how, what and ways of working in the city - deploying where to play. skills, addressing gaps and supporting music making in all its aspects. Although commissioned by Bristol Plays Music, the designated Music Education Hub for the city, this document is produced for and shared with all of Bristol, not just directed at the work of the Hub. It is a summary of what young musicians across the city and their music leaders and tutors are doing now and their ideas and aspirations for the activities that can continue to grow and flourish in future years.
7 Music and Bristol 04
Music is an essential part of people’s everyday lives. Since the invention of recording, then broadcasting and now the internet and digital transmission, it has been increasingly more possible – and more likely – for people to be immersed in and surrounded by music, accessing it as listeners whenever they want.
Participation in music – singing and Bristol has a wealth of clubs and playing – takes so many forms and it pubs and venues and of organisers can start from – and go forward in – willing to promote music in them – innumerable different directions. When and an equally diverse proliferation young people begin to take an interest of individuals and organisations in music it is not the study of a remote dedicated to providing opportunities or obscure subject – music is already and support for the city’s young there in their lives. And if they live in people who are drawn to music- Bristol they already have a head start. making for themselves.
Bristol has always been a city full of The inauguration of the Bristol Music music and music-makers. The city Trust and its re-development of the of Massive Attack, of Portishead; the Colston Hall not only as a venue city where Roni Size and Reprazent but a centre for music-making and leapt from the Basement Studio to the the home-base of the Bristol Music Mercury Music Prize; the city where Education Hub has provided a timely Andy Sheppard led the celebratory opportunity to set out future directions instrumentalists of Saxophone Massive; for music education and the support the city forever on the international of young musicians. But the process tour schedules of great artists and does not start with a blank page orchestras, from Duke Ellington to the – quite the reverse. It starts with an St Petersburg Philharmonic. inspiring array of activity and activists already engaged in some of the most diverse and forward-looking aspects of participation and music education.
8 Strategic review 05
What follows is a summing up of a series of consultations undertaken in the past two years under the aegis of Bristol Plays Music. Some of the work has been done by the Bristol Plays Music team, some by other experts from experienced cultural and music organisations including the Real Ideas Organisation, Sound Connections and the University of Bristol – and finally by Nod Knowles of NKP, who drew together all the strands of consultation and drafted this document.
The consultations have been extensive The directions are a template for and have explored the work and future activity built around the contributions of a wide range of excellent work already being done young music-makers and an equally across the city. They address some of wide range of educators. This review the actions that will benefit young covers these contributions but it is not musicians and their music-making by an audit, nor simply a list of who does filling gaps, making links, developing what. Some of the many organisations ideas and underpinning effective consulted are referenced or given operation. Overall the message is one as examples in the text but it is not of appreciation for the work of the the intention to name or detail the present and of encouragement to specific work of every one. continue, build and extend.
The review is strategic in that it concludes by outlining a number of broad directions and actions that work in youth music and music education can pursue in the future – with a view to supporting the Council’s initiative which will produce a document on ‘Bristol’s Cultural Future’.
9 Context 06
Before the inauguration of the government’s National Plan for Music and the establishment, in all 123 English local authorities, of a Music Education Hub, funded by DfE via Arts Council England, music tuition in Bristol was provided by a local authority music service. Providing peripatetic tutors and out-of-school activities and ensembles in music centres, the service was autonomous, complementing the work of class music teachers in the city’s schools.
Outside of this formal education understandably anxious about the schools and multi-academy clusters system a surprisingly wide range prospect of a funded, potentially – and the autonomy of school of organisations had established centralised ‘overseer’ of their planning (overlaid with requirements themselves as alternative non-formal otherwise independent work. At the of assessment and measurement) sector providers of music instruction same time, there may also have been means that liaison and coherent and participative opportunities in expectations of funding that could be engagement in project work with different styles – anything from the drawn down from this new body. schools can be complicated for Basement Studios based around independent non-formal providers – In the relatively short lifetime of youth service provision to choir and and even for the Hub. Bristol Plays Music, expectations and masterclass programmes such as relationships with schools and the Within the oversight of the Hub there those offered by St George’s. non-formal sector providers have are also differing requirements – There were links and liaisons between now settled considerably. BPM has those of DfE looking to measurable some of these various providers – but established its own structure and a standards whilst Arts Council no established umbrella organisation sound business plan and put in motion England, under DCMS, is more to bring them together in more – or joined in with – several initiatives concerned with issues such as structured collaborations or networks. in partnership with other providers. The access, outreach and inclusivity. ground is now far better prepared for The creation of the Music Education further joined-up, unified approaches Hub system, initially imposed by to youth music-making across the city. the National Plan for Music, was predicated on a more joined-up The Hub and all other providers, approach between the formal and however, are all affected by wider non-formal sectors and a more external circumstances. Cuts in public consistent approach across schools finances and in the availability of core and tuition services. At the outset and project funding present acute the Hub’s role and obligations challenges to organisations of any size. were not necessarily clear to those Added to which, constant change already working in music education in the requirements and priorities of – a common circumstance in most public and governmental agencies localities, not just Bristol. prompts uncertainty in providers and necessitates constant shifts in their Each Hub had to establish itself in own direction and planning. the particular circumstances of its local authority – and in Bristol the The formal school system, too, unusually large range of non-formal continues to change. The academy sector organisations may have been system – with its mix of sole-governing
10 Organisations in Bristol 07
Young people in Bristol are fortunate – there is a considerable number of organisations of various kinds offering opportunities to participate in music. Each functions differently, has different relationships or partnerships with others – and each organisation and project has differing objectives. Almost all are independent entities, with their own governance, management, finance and operational structure. Some have their own premises for activity – some share or are hosted by others or use available spaces as necessary.
There is a degree of strength and • Music as a pleasurable pursuit. This list of provision – plus the resilience in this broad pattern of provision covered by the Hub and • First/introductory access to independent providers – the overall Bristol’s schools – suggests a fine music-making. potential for provision is far less range of opportunities for families or vulnerable than if there were only • Music as a career. young people looking for musical one or two. As this review shows, experiences. The issues for them, • Music for social and personal the shared understandings and however, are the issues that this review engagement and development. connections that they can continue is charged with addressing: how they to make between them will prove the • Wellbeing and health. can access any of these opportunities; value of their multiplicity. how they can decide and follow their • Individual tuition. own path from one to another; and The organisational names and • Music in a specific genre. how can the providers ensure that project titles (of which there is a the web of opportunities they provide bewildering array) are not always • Music-making with disability is sufficiently extensive, cohesive and indicative of what they do – and or special needs. well-honed in order to serve as many of many (for example the Creative Youth • Instrumental training. Bristol’s younger generation as want to Network, with its range of creative be music-makers. arts and youth service provision) • Vocal training. have a brief wider than just music or • Specific age groups. The overriding principle, therefore, for music education. In addition, there any future direction, is to look at music are a number of national or regional • Ensemble playing and singing. provision from the perspective of the organisations from further afield (for • Recording, performing and the city’s children and young people, their instance, Urban Development or the music business. needs and interests. Bournemouth Symphony Orchestra) that have made connections or have • Music in multi-artform/multi- a brief to work with Bristol. disciplinary activity.
Roles and activities of these providers • Performance venues and and their projects, and their ways of performance opportunities. engaging with young people in music, • Masterclasses and interaction also differ widely but each can be with artist. characterised by at least one – and in the majority of cases by several – of these broad categories:
11 Bristol Plays Music – the role of the hub 08
As a relatively new institution in England, the Music Education Hub takes different shapes in different localities – but may not always be understood by the wider music education sector nor, more certainly, by parents and their children.
Under its place in the structure set 08.2 Extension roles • Working with every one of the out in the National Plan for Music schools in Bristol to produce their Education and its funding by Arts • Offer CPD to school staff, own bespoke annual music plan. particularly in supporting schools to Council England, the Hub’s roles deliver music in the curriculum. • Developing (and fundraising for) and obligations are defined in two the ‘A New Ambition for Inclusive parts: ‘core’ and ‘extension’. The • Provide an instrument loan service, Excellence’ programme working work involved can be undertaken with discounts or free provision for in depth with young people with by the Hub itself or be a mix of direct those on low incomes. special educational needs or provision and working in partnership • Provide access to large scale and disabilities, in partnership with to support provision by others. / or high quality music experiences other specialist providers. for pupils, working with professional 08.1 Core roles musicians and / or venues. This • The ‘Youth Voice’ consultative may include undertaking work project giving young musicians • Ensure that every child aged to publicise the opportunities centre-stage in the determination 5-18 has the opportunity to learn available to schools, parents/carers of future planning. a musical instrument (other and students. than voice) through whole-class • Producing the Curriculum for ensemble teaching programmes Bristol Plays Music, unique among Music for teachers in Bristol’s for ideally a year (but for a Hubs in its location in a major primary schools. minimum of a term) of weekly concert hall dedicated to music, has • Co-ordinating the 3rd Space Music tuition on the same instrument. developed a business plan and a consortium of independent providers programme that not only covers the • Provide opportunities to play in of support to ambitious young basis of these roles but extends them ensembles and to perform from musicians and songwriters outside far wider. The spirit of the National an early stage. the formal education system. Plan is just the starting point for the • Ensure that clear progression routes ambition to make Bristol a leader in • Supporting the Preludes scheme are available and affordable to all musical participation and education, of immersive whole school young people. in tandem and in direct partnerships instrumental education in classical with the city’s other providers. music in two Bristol schools (run by • Develop a singing strategy to the Bristol Ensemble in the spirit of In ensure that every pupil sings Currently the Hub provides the core roles via the services of its music centres Harmony/Sistema). regularly and that choirs and other and peripatetic tutors, supports a vocal ensembles are available in • Building structured networks for singing strategy, choirs and instrumental the area. primary teachers and secondary ensembles, the instrument loan service, school heads of music. continuing professional development (CPD) for teachers and tutors and • Introducing the Minute of performance opportunities at Colston Listening – available for free to all Hall and elsewhere. As comprehensive primary schools – in partnership a service as any Hub, this programme is with the London-based national just the basis for further more extensive organisation Sound and Music. activity. This includes:
12 Bristol Plays Music – the role of the hub 08
• Providing, via its umbilical link with the Bristol Plays Music has established a Bristol Music Trust and Colston Hall, a full suite of necessary regulatory and Action series of performance opportunities safeguarding policies. It is structured and the status of companies in as a subsidiary of Bristol Music Trust, Continue to explain and illustrate residence for the Bristol Youth supported by the Trust’s management the roles and responsibilities of Orchestra and Youth Choir. and administration and governed Bristol Plays Music as a Music • Setting up resources, space and by the Trust board with a Bristol Plays Education Hub to the wider tuition in Creative Music Technology Music advisory group as a sub- education and public sector. and other digital programmes. committee of the board.
• Delivering aspects of a wider cultural education agenda for Bristol schools.
• And training/CPD sessions open to all music leaders and educators.
13 Areas of activity, interest and operation 09
From the perspective of children and young people, the web of opportunities presented by schools, the Hub and independent providers is best described by the experiences that they can find and the ways through which they encounter them.
09.1 Performance The area of traditional and folk Action music is of growing interest for The Hub-supported youth orchestras young musicians across the UK but and choirs in schools and music Continue to build and publicise provision is not strong in Bristol. Bristol centres find opportunities to perform opportunities for musical Plays Music has begun to work in via their schools and Colston Hall. St performances by and for young partnership with the English Folk George’s similarly complements its musicians with venues and Dance and Song Society to develop education programme – for example festivals across the city. work in folk music, including with a with the Cosmos Choir and with new national folk ensemble. school choirs – with performances. Singing sessions and choirs take less The Bristol Jazz and Blues Festival gives obvious account of genres but within programme slots for young jazz groups, 09.2 Genres specific instrumental and ensemble including the Hub-supported Youth music (whether with small bands or Jazz Orchestra. However eclectic and exploratory young listeners and musicians are large orchestras) there are relatively Structured tuition programmes such – and however blurred and inter- few opportunities for young musicians as Knowle West Music Centre’s mingled musical genres have become to explore and experience other XLR course actively seek gigging – there are still some broad categories musical fields. opportunities for their members: and within which much of music education Interest in a specific musical genre or they join with others in the 3rd Space takes place. For example: the Preludes style should not be hindered or inhibited Music group to collectively provide immersive project takes classical – but there are obvious benefits in showcase stages (at events like the music as its initial standpoint; whereas offering young people the freedom to Harbourside Festival and Balloon the 3rd Space Music organisations find out about others if they wish. Fiesta) for young artists, indie bands such as Trinity, the Basement Studio or The Remix Orchestra Ensemble, for all and DJs. ACE (Aspiration, Creation, Elevation) comers, all genres and all instruments CIC focus on a range of music from The Sounds Inspiring Festival, drawing – which featured as part of Colston indie bands to hip-hop and rap. together performances in all aspects Hall’s previous education programme of youth music, has been a cross- The Young Composers Academy in – was one such opportunity and has Bristol event for two years and has partnership with New Music South in part been superceded by the been enthusiastically received, not West concentrates on new music and South Bristol Music Centre’s ‘Modern only celebrating the young musicians composition in the contemporary Orchestra’ – but there is room for more but providing the added benefits of classical tradition – and work with cross-fertilisation in musical styles for advocacy for youth music and the Sound And Music also focuses on young generation players. confirmation of collaborative efforts similar skills ; South West Music School The integration of music with other amongst provider organisations. offers a mix of styles; the Urban Artist disciplines – such as drama, as in Summer School offers a range of youth theatre work by Bristol Old urban music styles; and jazz workshops Vic – has not been a focus of this and jazz orchestras do just what they review but there are considerable say on the tin. opportunities for development with other performing art organisations in the city as partners.
14 Areas of activity, interest and operation 09
Bristol Plays Music embraces dance in Choirs proliferate in schools (38 its important inter-relationship with music schools participated in the 2016 Action and has hosted the Stages festival for summer concerts at the Colston young dancers at the Colston Hall – and Hall), in out-of-school groups such Continue to develop the also runs the Kinesis youth dance group. as the Hub’s MiniSingers or Cosmos widest range of singing Choir as supported by St George’s, opportunities for young people Programmes focusing on the music and in churches and many other and partnership links with adult business, especially by culturally broadly- community groups. choirs and other providers. based organisations like Knowle West Media Centre and Creative Youth There are various age groupings in Network, feature elements of film and youth choirs – but links to adult choirs video making. In general, however, provide a welcome pathway for young there is scope for more cross-disciplinary singers. The City of Bristol Choir and 09.4 Early years experiences to be offered. Bristol Youth Choir, for instance, have Although the framework for the Music shared performances. Bristol Choral Education Hubs is for school ages from Society’s apprentice scheme offers 5 to 19, initial experiences in music for
Actions opportunities for aspiring young singers children in their early years can be an and Bristol Plays Music has made links important foundation for later access. Continue to build programmes with the Society through that scheme The Preludes programme begins in in which musicians from different and through the ‘Ahoy’ project in primary reception classes and the spheres can explore each which over 350 Bristol children were Curriculum for Music also begins others’ music and experiment in able to sing and perform. playing together. at that point – can there be any Choirs and singing cover an unusually extension of these initiatives to reach Seek further contact with wide range of experiences and earlier years? other youth arts providers to repertoire. For example, the SouthSide St George’s host MiniBeats sessions explore potential collaborative Choir, like the city’s own Gurt Lush for under fives and also takes them opportunities for inter- open access choir, covers a range into schools for the younger primary disciplinary work. of popular music. The Hub can offer classes. The Bournemouth Symphony opportunities to collaborate on Orchestra is developing an early creating an opera (in partnership with years programme but has not yet Iford Opera) or on the Monteverdi extended it to Bristol. In general, this 09.3 Singing anniversary with the Monteverdi review has not encountered a great Choir. For Key Stage 1 children, annual The range and extent of activity deal of early years activity but it is singing days enable groups of schools amongst singers in Bristol – across all an area that should be of greater to focus on immersive opportunities for ages – appears to grow constantly. interest in the future. pupils to sing and hear one another. The city’s adult choirs – of which there is a profusion – are constantly CPD and training for teachers or choir refreshed by recruiting young singers, conductors takes various forms. The Action more and more of whom have Vocal Leadership course, for example, participated in school sessions and is aimed at building the vocal and Look to connect Early Years choirs – and learned the pleasure choral teaching skills of music co- providers in a network that feeds of singing – via the Hub’s activities, ordinators, whilst specialist professors into primary school access. nationally funded singing programmes from the Royal Academy of Music will and the past and present work of run an advanced choral conducting independent organisations such as course for Bristol teachers. Gathering Voices. The latter’s year- round specialities include, amongst other interests, a cappella work in new and world/roots music and the city-wide Festival of Song.
15 Areas of activity, interest and operation 09
09.5 In Schools El Sistema-like programmes in the UK. university or commercial music The initial detailed evaluation of the courses such those run in Bristol by With timetables full to bursting and project demonstrates it promoting BIMM, Access To Music or Dbs. For the complex variations of organisation well-being, confidence and interest those not wanting to pursue formal and budgets under the academy and increased engagement with education or a career in music (and system, the work of liaising with and schools and learning. The programme also perhaps those who want to but providing musical opportunities for is inevitably expensive and would are not yet ready or able to do so) the school pupils is difficult, even for the need to rely on sustainable financing opportunities are less evident. Hub. The individual school music to be able to carry on for several years Trinity and other non-formal education plans, however, have in order to maximise its value and organisations can accommodate been able to begin to tabulate the derive in-depth, long term evaluation them on some of their programmes number and mix of pupils, their needs, and results. demographics and set an outline of but the transition out of ‘youth’ into action for their work in music. Within schools pupils have a adulthood has only ad hoc pathways. handbook – a record of their activity These plans can also help refer and progress, helping them and teachers to other provision that teachers to keep track of the work Action may be appropriate for their pupils, they have undertaken. Would a wider including the Hub’s ‘menu’ of activities record of an individual’s musical Incorporate 18 to 25s in the and the opportunities afforded by, activity, in and out of school – a diary work on pathways and for example, ‘A New Ambition for or log of all their musical experiences referral information. Inclusive Excellence’ programme or – be of use to them or their mentors in the Creative Youth Network. The issue projecting other potential pathways of concern is whether the Hub has and opportunities elsewhere? sufficient time and resource to be 09.7 Ensembles able to work with schools on annual updates of the plans. Actions Children and young people have access to a range of ensembles and School pupils have access to and choirs, rehearsing after school and insights into another range of musical Make every effort to regularly weekends, at the city’s music centres, activities when organisations outside review and update school co-ordinated by Bristol Plays Music the formal education sector have the music plans. in Southmead, Henbury, Withywood ability to be hosted or contracted Consider the development of and (for choirs) Cotham. According by their school. As a few examples: a long-term music log for to their current level of ability, musical Knowle West Media Centre has run young musicians. interest and age group the choice ‘taster’ sessions in local schools to is wide – from wind bands and demonstrate the attractions of the Encourage schools to concert orchestras to jazz bands and XLR course; Bristol Jazz and Blues explore the range of external percussion groups. Festival have piloted swing band opportunities for their pupils. performances in schools; St George’s Younger children have access to and others offer contact with visiting the Cosmos Choir – a longstanding artists and the MiniBeats series; project run by St George’s in liaison Bournemouth Symphony Orchestra 09.6 Post 18 with schools in the south of Bristol – or the MiniSingers choir run by Bristol musicians can work with exam and The majority of organisations in the Plays Music in the city centre. grade pupils, as can the Young non-formal sector do not put rigid Composers Academy partners. age limits on their participants – but Bristol Plays Music’s South Bristol Music The Bristol Ensemble’s leadership people in the 18-25 age group are Centre is home to the Bristol Modern of the Preludes programme – of moving out of school and towards the Orchestra (a mixed instrument, mixed immersive music education for entire upper limits of the general perception genre project) and the Southside years – is the first experiment of its kind of ‘youth’. Some move on to further or Choir which focuses on pop, rock, in Bristol and one of the few such higher education – to conservatoire, world and gospel music.
16 Areas of activity, interest and operation 09
Bristol Plays Music is also working closely with the South West Open Action Youth Orchestra to build inclusive ensemble opportunities for those Support and nurture large with special needs or disabilities, and small ensembles of all particularly using custom-made (and mixed) genres. digital instruments.
17 Inclusion, needs and diversity 10
All children and young people should be able to access opportunities to develop their artistic excellence, regardless of background or circumstances and those facing the biggest barriers often require the most support. The use of new technologies and innovative approaches to music making has begun to demonstrate how many of these barriers are easily surmountable, provided that the learning environment is suitably equipped and that the workforce is both highly-skilled and representative of the diversity of the learners.
10.01 Additional and Orchestras) that OpenUp Music work There are particular issues around with in special schools in the area increasing access for young people in special educational and has a strong emphasis on the these areas, which Bristol Plays Music needs and disabilities development of techniques and and its partners clearly identify – some equipment for those with restrictions of which cut across many other areas No-one knows better than those on movement (such as eye-operated within this review: directly involved that the categories music software). • These various projects are funded of ‘Special Educational Needs and Drake Music established the Absorbed in the short term – but need to find Disability’ and ‘Cared-for Children’ by Sound project as an open access long-term sustainability in order to cover such a broad spectrum of drop-in session in which young people develop and maximise their benefit. people – and recognising the huge with particular needs can access variations in needs, abilities and • Physical access to premises is not and explore musical technology in interests is critical in the work of always conducive. secure areas at Colston Hall. They the organisations that offer have accumulated a resource of such • Special equipment and instruments musical opportunities. equipment stored in Henleaze. As are often needed – and these Bristol Plays Music’s ‘A New Ambition with other providers in this area, Drake resources need to be developed for Inclusive Excellence’ is a three year work in mainstream schools as well as and a stock accumulated. project (funded in the main by the designated special schools. • Affordable and available transport National Foundation for Youth Music) Several other providers such as is generally needed to bring those that brings together opportunities for Live Music Now and MiniBeats offer with specific mobility needs to young people with different needs particular sessions to special needs resourced and accessible spaces. in music by embracing and helping groups and schools. to develop the scope and work of In pursuit of inclusion – a ‘level playing organisations, such as OpenUp Music, Through ‘A New Ambition’, Bristol field’ – for young people with particular already focusing on them. Plays Music is also developing specific needs, there are other concerns that music opportunities for children in Bristol-based OpenUp Music is an Bristol Plays Music and its partners in ‘A care, in liaison with the range of innovator in the field and their South New Ambition’ are working to address. people and organisations formally West Open Youth Orchestra is set up The music education workforce – music engaged in this area, including to empower the young musicians to leaders, teachers, organisers – need The Hope virtual school and other lead the ensemble, with no imposed the insight, skills and techniques to be providers in the youth services. aesthetic from the organisers. The able to work as effectively with young Orchestra is building with members from people with specific needs as with small musical groups (Open School more conventionally able pupils.
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Pathways of progression for these and can provide safe and conducive elements that are shared with some young musicians – including environments in which young people of the providers but need to be part engagement with other kinds of music can find opportunities to develop of an inclusive training for the whole groups and tutors and mixed ability musical and personal skills. music education workforce. or inclusive ensembles – are not easy The focus of these providers is musical to find. And attitudes about their – and often looks at aspects of the playing abilities and assessments of Actions music business, and usually music their achievement need to be more from the indie/rock/urban spectrum. carefully considered – rather than Undertake consistent research Their young musicians often come to the simplistic and possibly patronising into the demographics of them via referrals from other musicians appreciation that sometimes occurs inclusion and disengagement and their peers but some also arrive for their ‘overcoming difficulties’. in order to identify other groups by referral because of disaffection who could benefit from access or issues that put them as risk such to music-making. Actions as homelessness, mental health or substance abuse. Emphasise inclusive practice in workforce development Prioritise the pursuit of Inclusive A common approach amongst the by CPD and training for Excellence inclusion through 3rd Space Music providers is to focus complementary skills. leadership by ‘A New Ambition’ on personal empowerment and and its partners. development of the individual young person – in their skills, confidence, Seek equal and permanent social relationships, as well as their sustainable status for inclusive musical progress. music-making by pursuing 10.03 Diversity designation for Bristol as a DfE Within scarce financial resources Bristol is a modern, multi-cultural funded Centre for Advanced (often relying on short-term funding) city. It is estimated, for example, that Training for special educational and dedicated but limited personnel, within Knowle West Media Centre’s needs and disabilities. these providers have considerable catchment area in south Bristol there knowledge about their young Address the needs of this are as many as thirty distinct cultural musicians and ways of working practice in workforce communities. Research indicates with them – but there is insufficient development, physical access that as many as 21% of pupils in collective data to be able to and musical equipment. Bristol schools have first languages accurately identify a further range of other than English – the highest such people who might benefit from similar proportion in the South West. provision. Data on the demographics of class, ethnicity, gender and Schools, the Hub and non-formal 10.02 Inclusion community – and their current music providers deal with young people engagement – may exist in part across from all communities and have an Although they are of concern to all these organisations and the formal increasing need to understand them educators, the organisations in Bristol’s sector of schools and Hub, but are not in terms of language and culture. 3rd Space Music consortium (which consistent or comprehensive. Some non-formal organisations take comprises ACE CIC, Trinity, Basement on specific projects – for example Studio, Creative Youth Network and Addressing social inclusivity in music, with young people in refugee Knowle West Media Centre) have as with special needs, requires a communities, engaged with by often given priority to those young range of skills amongst music leaders Creative Youth Network or by St people who are less engaged with and tutors that extend beyond George’s via the Lorraine Ayensu formal education or in other ways musical training. Understanding Refugee Arts (LARA) organisation. are harder to reach or at risk. Whilst psychological issues; skills such as this is not their sole purpose, they conflict resolution; and insight into the Music can be a positive meeting have well-developed links with youth particularities of different community place across cultures but, especially service providers and other agencies groups and cultures – these are all initially, young people like any other
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age group will go to places where music-making and gender education, they feel comfortable. ACE CIC’s that are not widely understood by open access evening sessions music educators and therefore inhibit provide such a space at their St the offer of appropriate opportunities Paul’s premises – in two separate for their young people. sessions, one for 6 to 11 years olds and another for ages 11 to 16. The uptake for this mix of mentoring, individual Actions exploration of music-making (in particular with digital technology) and Encourage and develop listening to and sharing other music is, diversity in the workforce. in the majority but not exclusively, by Continue to seek understanding young black people from the area. of cultural attitudes and their The younger age sessions, interestingly, relation to music and music- draw a wider ethnic mix. making environments. As musicians who themselves were mentored and developed their skills as music leaders, the founders of ACE CIC provide support and whatever 10.04 Direction overall progression routes pathways they The essential aim for all providers of can for their attendees, including music-making and music education signposting the way to further and for young people – whatever the higher education courses. needs, background or circumstances The Asian Arts Agency, a national of any of those young people might organisation supported by Arts be – must be to remove barriers and Council England, undertakes some inhibitions and make access and of its education work in Bristol, achievement available to all. And including projects on bhangra and rather than view this aim in terms masterclasses in Indian classical of actions that remove or negate problems, it is far better to suggest a music. Together with ACE CIC and wholly positive approach: to adopt the African dance and drumming a set of principles, approaches and organization DMAC, Asian Arts are one methods within all activity that, from of the three Bristol companies whose the outset, allow every person to take music leaders are from the diverse part in whatever they wish. communities that they represent.
Diversity in the music workforce is another element that can help Action broaden the reach of music education into other communities. Ensure that environments and As well as simple representation, this ways of working are founded diversity will also help with insights upon principles that will allow into and understanding of Bristol’s fully inclusive provision for all different communities in order to offer young musicians. appropriate musical activity or the circumstances in which it takes place. The Somali and some other Muslim communities, for example, embrace cultural attitudes to, for example,
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When young people are encouraged to be more active in their learning, they are more likely to feel empowered and progression is tangibly improved. A creative learning environment which provides opportunities to showcase talent, gain industry experience, connect with the local music scene, and which makes explicit links between school, college, university, and industry activity is more likely to enable aspiring music professionals to plot their own course and reach their full potential.
11.01 Youth voice, • Networking: online and/or face What the initial consultation proved, musical minds to face, to meet with other artists, however, was that best practice producers, promoters and like- amongst providers is endorsed Bristol Plays Music’s long-standing minded people from across Bristol. by their young musicians. These project partnership with Sound elements include the opportunity for • Safe spaces: with supportive Connections (and the latter’s youth- musicians to follow self-determined and knowledgeable staff; where led Wired4Sound) – the ‘Musical mentoring on a 1:1 basis could take paths (within a structured Minds: Have Your Say’ consultation place alongside the opportunity programme); the value of peer-to- – has exemplified the Hub’s to gain advice and guidance from peer mentoring; inclusion of advice determination to put young musicians industry professionals. and mentoring from professionals and their interests at the heart of its and hands on experience; and joint work. Along with many of the other • Opportunities: to have a say, take a performance opportunities. providers already mentioned (such as lead or produce events and projects, It also proves the importance of the Creative Youth Network who also with an emphasis on enterprise and providers resisting the temptation empower young people in decision professional development. to be ‘territorial’ or possessive of the making) the Hub’s aim has been to The Musical Minds consultation has young people on their programmes: focus on the development of the drawn on the interest of active young thinking of where a musician needed individual young person, in this case musicians, mainly from the indie/rock/ to be in their best interest rather than by bringing groups of young musicians urban sector and the participants in seeing them as ‘ours’ and perhaps – in the age group 16 to 25) together 3rd Space Music projects. Much of inhibiting them from moving on. to hear their views on what matters to the demand they have expressed them in their musical journey. It also indicates that young in detail focusses on mentoring and musicians, with support from In one way the message coming training in music industry career skills providers but freedom to find their from the musicians has been simple: – e.g. stage presence, PR, publishing, own perspective, will be essential “let’s move from consultation to work experience in the music business as contributors to future planning action”. Young people are pleased to etc – which suggests that there may and persuasive ‘ambassadors’ in be consulted but want to be doing be other groups of musicians who advocating for the benefits and something and making their own would have a different perspective opportunities of music education. networks and musical community. Their according to the kind of musical final consultation ‘wish list’ has been activity in which they are involved. summarised as: It is also reasonable to assume that other age groups might have different perspectives on what they want and need from music-making.
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can undertake section coaching for Each project defines its own coverage Actions their opposite numbers in the Bristol of industry issues and most feature Youth Orchestra. professionals from the industry as tutors As a first principle, place the or session leaders at some point. The Regular high level coaching is young musician at the centre list of topics covered is a long one, available through the Bristol Centre for of the work. which can be summarised as: Young Musicians – a Bristol Plays Music Take note of the Music partnership with Bristol Cathedral Industry insights into social Minds conclusions and Choir School and the Guildhall media, online platforms, labels, recommendations, in particular: School of Music & Drama using publishing, PR, image, marketing, Incorporate a youth-centred facilities at Bristol Cathedral Choir studio and production, booking, perspective in all staff induction. School. Regular sessions with visiting stagecraft, songwriting and business professionals are complemented by development. To these may be Ensure that a youth -centred coaching from Guildhall students. added the contingent skills of film and perspective is a clear part of the video, photography and design. organisation’s values. The independently run Bristol Pre- Bristol-based providers – e.g. Knowle Factor capacity and resource for Conservatoire school offers high West Media Centre and Trinity – have youth-centred, youth-led activity level coaching for advanced young links for their young people with further into budgets and fundraising. musicians in jazz, classical and small ensemble work. education course providers such as Ensure the voices of young Access To Music. people are heard from – across various age groups and across Action Autonomy and enterprise are the full range of music and attractive elements in programmes such as those run by Creative Youth musicians – and responded Continue to support and to appropriately. Network. Young musicians manage a encourage the highest level record label – Temple Records – via Enable existing youth networks of interaction between young a steering group of 16 to 25-years across the city to connect with musicians and professional olds, selecting and signing artists and one another. musicians, coaches and mentors. setting out a programme of support from recording to release and sales.
As well as this kind of peer support 11.02 Coaching 11.03 Music business and mentoring, young people seek direct experience working alongside and experience with and career employment professionals in the music sector. This professionals As the review shows, there is a range is harder to attain and relationships Concert halls – and other of opportunities for young musicians between the full-scale industry and performance venues like Trinity – are interested in the music industry in youth sector organisations are an area able to bring visiting performing its various aspects and in music as that most of the providers suggest artists together with young musicians a career. Aside from the training need to be better developed. There whenever possible, for masterclass directed at potential conservatoire have, however, been some good sessions or even ‘meet and greet/ students, the 3rd Space Music examples, including opportunities in Q&A’. Project mentoring in some organisations all have industry liaison with the BBC. programmes will be by professional elements in their programmes. In preparing people for a career in performers, songwriters, producers etc. In addition Bristol Plays Music hosts music, the emphasis by providers is More extended contact and coaching short-course or summer-school likely to be on the reality for most from professionals is also organized with programmes in partnership with musicians of a portfolio of work – playing, teaching, producing players from visiting orchestras. Both national providers – including etc – rather than the occasional the London Symphony Orchestra and Frequencies with Youth and Music and the Bournemouth Symphony Orchestra, opportunity for stardom. They also see the Urban Artist Summer School with whilst visiting Colston Hall, training and education in music as Urban Development.
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an aid to employability in any other 11.4 Accreditation field of work, given the importance of Actions creativity and discipline that a good Within several programmes young musicians (from 11 years upwards) can musician must learn. Continue to develop choose to work for Arts Awards credits. relationships with the music It is often the case that families and Optional and through three stages of industry for guidance and work others concerned with a young achievement (Bronze, Silver and Gold) experience opportunities. person’s future do not have insights the process is self-motivated and helps into the music industry and what a Encourage and increase to build a portfolio of work and achieve career might entail. There may be links with further and higher standards equivalent to GCSE and opportunities to help aspiring musicians education. A levels. Arts Award providers include with information and insights for their Assist the families of young Creative Youth Network and their families about career prospects.in musicians to understand the partners at the Station and St George’s. scope and potential of a St George’s is also designated by the career in music. Childrens’ University as a Learning.
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In the preceding section this review gives a flavour of the admirable scale and scope of available opportunities for young musicians (or potential musicians) in the city – whilst also indicating directions for the future to build on these achievements.
In the course of the various including their requirements for consultations, issues and ideas signposting and referrals. A consistent ...Continue action research into have emerged that have a general accumulation of case studies the interests and progression of relevance across the sector, and tracking young people’s progress and young musicians. which also indicate achievements pathways would be equally instructive. Consider the engagement or and future potential. Outputs, outcomes and appointment of a researcher(s) measurements of the results of to conduct ongoing research 12.1 Research programmes and activities are and identify areas of work and This review has gathered a great notoriously difficult to judge or communities to approach with deal of information and ideas from benchmark given the diversity of new opportunities. across the sector – but it has not activity and interest in the sector. been a mapping or auditing exercise. Where such information is being Organisers have a range of evaluative gathered – or is required by funders and statistical information about their and other agencies – there would be 12.2 Pathways work and the young people they work value in some kind of consistency of with. Accumulated and analysed, approach that providers could share. Progression routes, or pathways, this information might provide other along which young musicians can In terms of advocacy for the sector indications for future directions travel to follow their skills and interests as a whole, a full audit of all music or evidence upon which to build in music are not necessarily vertical programmes. Where data is collected, education and youth music in Bristol but may vary in direction according some agreement on standard and would undoubtedly provide strong to those interests. Progression for consistent methodologies would arguments for support. many people is not purely about achievement – but about individual enable organisations to share and Research and mapping exercises are interests, needs, satisfaction. combine their findings. most usefully carried out by specialists: In cultural communities or particular with their commitment to music Throughout this review a number groups of young people where take up education the universities of Bristol of music leaders, organisers and of music opportunities is anecdotally and the West of England young musicians have suggested more limited – and here issues of might provide these skills. that whilst there are routes and next inclusivity and diversity are distinctly steps to which they can refer or be highlighted – focused auditing and referred, a comprehensive ‘map’ and research would give providers more Actions information on other programmes accurate insight to where the specific and (appropriate) opportunities is not gaps lay and into appropriate ways in Prioritise research into issues of immediately available. diversity and inclusion. which to address them. Bristol Plays Music’s website is The Musical Minds consultation has Collaborate to build consistently brimming with information on been a successful process of ‘action comparable and practically programmes and projects – and research’ – and suggests the value useful data. each of the music centres and non-formal providers have their own of ongoing research into the needs Cont... and inclinations of young musicians, referral contacts. Between them the
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organisations in the 3rd Space Music information and communication consortium have been able to create Actions activities across the sector could be a more organic set of contacts and broken down in terms of the kinds of referrals for those musicians they are Accumulate and map information and the various targets, e.g.: dealing with, so the picture is well comprehensive information on a • Advocacy – the messages underway in that area of activity. range of appropriate pathways about music education in Bristol. But not enough people have the and referrals Opportunities are needed to get full picture. Ironically it may be the messages out to Bristol and further Seek to address whatever gaps unusually rich and diversified array afield, to touch and hopefully may be apparent in those of providers and programmes in influence those not directly pathways, including routes into involved in the musical structures Bristol that account for this lack of the industry comprehensive information. The next and environments and to raise the step may be to draw together details profile of musical opportunities – perhaps available via an online • ‘Trade’ information – for teachers, resource – of the styles, approaches 12.3 Information and leaders, organisers – including and overall aims of each provider communication such things as insights into current and project so that teachers and funding trends, changes in music leaders can help their musicians The issues of research and pathways public policy, training and CPD navigate more confidently towards are both concerned with collection opportunities, network events, connections that are right for them. and dissemination of information and exchanging ideas. can be interlinked. But there are other In terms of school progression, the • Directory and contact information channels of communication that are – for parents, carers, outside Hub has in place transition reports for currently providing information of agencies, young people and also children from primary to secondary various kinds. sector providers, with basic details schools. Within the school music plans of individuals and organisations in would it also possible for Hub staff to Bristol Plays Music’s website is packed Bristol and what they offer guide teachers toward the range of with necessary information about their out-of-school and non-formal sector own and related projects and the • Youth music networking programmes that might best suit some Bristol Plays Music monthly newsletter information, ideas, information and of their pupils? is similarly extensive. Almost all the opportunities for and by young providers have websites with varying musicians themselves. Initial referrals to non-formal providers amounts of information and their own Although this, or variations of it, might come from many sides and from email lists. St George’s, for instance, also be the ideal, the realities are that much outside of the music sector – from produce their own schools newsletter. of the information overlaps and no youth service and health agencies for single organisation has the capacity Regular communication and the example. Can providers collectively to co-ordinate such an extensive constant gathering and updating develop a simple signposting system to communication spectrum. But through of information is a labour-intensive assist these agencies and their young discussion and collaboration, further people to find the most appropriate and time-consuming activity and, of progress may be possible. place to begin? Is there a similar need necessity, the prodigious amount of to help guide parents and families and information to be circulated is often the young musicians themselves? bundled together although parts of Action it may only be applicable to different If the information as described could target groups. So, for instance, an item Work together to find effective be brought together, it might also about CPD courses for music teachers ways of collectively collecting serve to inform various organisers may be in the same news file as an and disseminating information about where they could find – or, if appeal for funding donations or an and communicating with not available, might want to build – encouragement for young musicians the target groups, to avoid links with other programmes to aid to take up a specific performance duplication of effort progression for their musicians. opportunity. Ideally, the store of
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12.4 Relationships, the school sector and non-formal sector further more structured liaison with, for partnerships, consortia organisations, such as with the Bristol example, Bristol Pre-Conservatoire, the Ensemble and the schools adopting Bournemouth Symphony Orchestra So many of the programmes and the Preludes immersive project; with and London Symphony Orchestra projects for youth music across organisations from outside Bristol that or Tomorrow’s Warriors? At the other (and beyond) Bristol are run as, or have something else to add to the age extreme, is there a reason for involve, partnerships between two mix – e.g. with Urban Development for early years and primary first-access or more providers – and almost the Urban Artist course or the London providers (formal and non-formal) all providers also have a set of Symphony Orchestra; and as a co- to group together to achieve more occasional or informal relationships ordinating partner for newly-formed coverage? with others. Charting them all – and consortia on different focal areas – 3rd Collective liaison or action, rather than the complex web that they weave Space Music and ‘A New Ambition for actual consortia, might also be of use between one another – would be Inclusive Excellence’. in terms of links with organisations and as time consuming and detailed As an example of the latter, the 3rd agencies outside of Bristol or outside as researching a prolific artist’s Space Music consortium members are of youth music, such as (as notional discography. clear that the added-value that they examples) Royal Welsh College of Organisations appreciate the now offer in terms of collective activity Music, National Youth Jazz Collective, ‘collective impact’ approach. and referrals for their young musicians the youth service, headteachers’ The value of various partnerships has come about through a fairly associations, arts council officers, is to enhance and extend the lengthy process of exploring just how Musicians’ Union, broadcasters etc. opportunities available to young to work together, with the Hub not Similarly, would there be benefit in musicians and they are created leading but co-ordinating as an equal collective sharing of information and with that aim in view, on the basis of partner. Patience and the steady advice around regulatory obligations compatibility and mutual ambitions resolve to build mutual understanding – for example DBS checks and between providers. The profusion and and personal relationships has paid safeguarding policies? diversity of Bristol’s scene for youth off – recognising the strengths and music make relationship forming abilities of one another in the course and partnership working the more of that process has resulted in the Actions possible and there is no set formula development of a strong consortium that each should follow, nor is there programme in which resources can Continue to develop consortia an imperative to form partnerships for be shared and territorial tendencies and collaborations for 3rd Space their own sake. put aside. Music and ‘A New Ambition’ However, this review indicates three Aside from partnership working ‘A New Encourage other possible main points in terms of partnership Ambition’, for example, underlines the groupings (for example Early work: the role of the Hub; the possibilities of fundraising for collective Years?) to consider exploring the strength and potential of appropriate activity on a large scale. development of consortia that consortia; and areas where more Consortia – or more extended may add value to the sum of partnership, consortia and collective relationships – may not always be individual activities work may be of use. the key to better provision for young The Hub system was devised to try musicians – and the need to be and bring together the various strands generated by providers themselves, of youth music and music education not imposed from outside or above available in each local authority, in – but they might be explored in both formal and non-formal sectors. certain areas. The Guildhall School of Bristol Plays Music has achieved more Music is collaborating with the Bristol than most Hubs in making so many new Centre for Young Musicians working links and partnerships and supporting with highly talented instrumentalists. those that already existed: between Would there be benefits in exploring
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12.5 Networking Finding the right modus operandi are essential to the viable operation for a network event would need to of much of the community, arts, Primary and secondary music encompass answers to these and education and not-for-profit based teachers now meet in their own other questions – but the interest is work of the sector. (separate) networks, enabled by clearly there to begin. Bristol Plays Music. They have the In the course of this review consultees opportunity to liaise with the Hub’s have constantly emphasised the value services and share ideas, experiences, Action not only of the skilled work and time of information etc. the youth music workforce, both paid and voluntary, but also of the high level Plan, shape and inaugurate a Consortia and partnerships obviously of sheer commitment and service they regular networking event to reach meet and some tap into networks give to supporting young musicians. the widest groups of professional outside Bristol or youth music. But Given the financial and many other practitioners and organisations whilst there have been wider pressures that the music leaders and consultative meetings at the outset educators have to deal with in order of this review process – and prior to to make their activity happen – aside (and early on in) the establishment 12.6 The workforce from the actual musical work – they are of the Hub a Bristol Music Education to be complimented and encouraged Partnership had been convened – Across the wide spectrum of music at every opportunity. The old dictum there is not currently a network or education and youth music provision was never truer than in youth music meeting structure that encompasses – in the formal school sector and work: “no one is in this for the money…” all those active in the sector as the informal sector’s independent Music leaders also agree that providers, teachers or music leaders. organisations – there is an equally wide opportunities to meet one another spectrum of teachers, tutors, mentors This review discovered a clear and share ideas and experiences and administrators. Work patterns consensus – almost everyone (as well as more extensive sharing of and hours of work and other working consulted agreed that a regular working practices) are beneficial not conditions are of course very varied networking meeting – perhaps only to their individual work but to according to the various kinds of activity. once or twice a year – would be of a positive sense of collective action substantial benefit. It would serve for As with the sector in general, there is no and the reaffirmation of the value exchanging ideas and information, collected data on the full extent of the of their commitment. Networking making new contacts and renewing numbers of providers and the scope and partnership events, along with others, hearing about other areas of their work, although the Hub holds CPD and training, are elements of of work and research in the sector information on the tutors and teaching this review that can support and from Bristol and further afield – and sessions that they provide directly. If the encourage music leaders in this way. providing the stimulus for collective full range of information on provision discussion of issues, plans and actions and providers could be identified and 12.7 Training in to continue to raise the standards of quantified as part of a future research higher education what can be achieved for Bristol’s programme, it is likely that the volume young musicians. of people involved and hours of Both universities in Bristol contribute Several issues were raised that would activity delivered would give the sector not only to training future teachers need to be addressed to make a significant material for advocacy. and musicians but to work in the city’s youth music sector. The network/conference a success: The sector also relies on the work of University of the West of England Who would lead and administer willing volunteers – parents and others (UWE) is collaborating with Bristol it? Who would set the agenda committed to the value of music and Plays Music in (amongst other things) and the programme? It must be education, helping to run workshops, the development of a BA in Music comprehensive, so schools and youth ensembles and choirs, concerts focussing on music education. teachers should be as involved as and the governing bodies of many non-formal sector music leaders. of the organisations involved. These The University of Bristol’s Graduate When and where should it be held? numbers are also unquantified but School of Education and the leaders
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of their PGCE course in music have CPD strand – The Inclusive Practitioner leaders in Bristol is low. So, to an extent, undertaken research into music – is designed to work with teachers is the incidence of leaders from BME teaching in the city for Bristol Plays and music leaders on an approach and other minority communities. Over Music and trainee teachers on the that takes full account of the differing time, the broadening of the workforce course are involved in practical abilities and capacities of young is an important aim endorsed across activities such as the primary people and deals with all young the sector. musicians in an inclusive, rather than orchestral days. The other element of workforce separatist, manner. development – recognised by the 12.8 CPD, training, There is an appetite in both the formal Musical Minds initiative and already workforce development and non-formal sectors for CPD and put into practise by the Bristol Music training – despite the limitations that Trust – is embedding the principles One of the Hub’s set roles is to timetable, workload and budget and understandings of working with provide CPD for teachers within the sometimes impose. There is also an young people across the rest of a formal education sector. Building this appetite for the extension of the workforce which doesn’t necessarily programme of over 25 events per content to address some of the deal directly with them. Bristol Music annum has also enabled Bristol Plays wider issues that music leaders may Trust, for example, has involved such Music to extend the CPD opportunities encounter with young people and the ideas in wider staff training sessions. to peripatetic music tutors and music knowledge and skills that are needed leaders/practitioners across the non- to meet them. These include, for formal sector. Although there is no instance, an understanding of people Actions requirement for CPD activity to be with conditions such as ADHD, anxiety formally recognised, Bristol or depression; or the circumstances Support and nurture the workforce and advocate the Plays Music has ensured that all of of young people at risk in terms of value and impact of their its CPD packages are put through homelessness, or substance abuse. collective activity. the necessary certification process, CPD could mirror training of the kind ensuring an appropriate level of that a youth worker might have – to Continue to broaden the scope of quality and content. deal with these kinds of issues and CPD and training to encompass acquire skills such as conflict resolution. musical and non-musical skills and A training course is being introduced It could also look to other disciplines – inclusive practice. – leading to a Certificate for Music not just in the arts but in, for example, Educators – that is designed to Follow a policy of broadening sports education, to explore any useful support musicians and leaders who the diversity of the workforce. comparative approaches. may be working at present without a Learn from good examples of CPD formal teaching qualification. As mentioned elsewhere in this review, as practised in other markedly issues of diversity are important For non-music-specialist teachers diverse communities in the UK. areas of concern for schools as in primary schools the CPD process well as the non-formal, especially includes the rolling out of Bristol Plays given the changing composition of Music’s Curriculum for Music and local populations and catchment the developing use of the Minute of areas. There is a clear need for CPD 12.9 Geography, Listening package in collaboration which will give insights and better travel, transport with Sound and Music. understanding of different cultural The City of Bristol local authority communities and their attitudes to Aside from these and other specifics spreads out over a very wide area and/or needs in music. of teaching techniques and materials, and for some children and young Bristol Plays Music’s CPD programme Whilst issues of inclusion and diversity people – and their parents and carers has also begun to address wider issues are important for the teachers and – there may be barriers of cost and of the kind outlined in this review. In leaders, they are also an issue in terms transport links which inhibit them from relation to the approaches embodied of the composition of the workforce. reaching particular music destinations. in the ‘A New Ambition’ programme, a The incidence of disabled music Several of the providers – including
28 Providers and other issues 12
Bristol Music Trust’s Colston Hall itself Music have a full range of hundreds 12.11 Finance, fundraising – are in central locations but Bristol of instruments on loan to schools for Plays Music’s music centres, although whole class teaching, to pupils for There is no bigger issue in the arts, each has a different musical emphasis, individual practise, to looked after in the public sector, in education cover much of the council’s territory. children taking up playing and to and in the not-for-profit third sector Some of the non-formal providers take those young musicians who need than securing funds and sustaining their activity out across the area but particular expensive or difficult to programmes of work. It is not possible equipment and resources are based obtain instruments such as bassoon or here to analyse the financial situation in their central premises. double bass. for youth music and music education in Bristol in such a multifarious pattern Knowle West Media Centre is an Drake Music has a stock of customised of providers, or to sum it up in simple exception in its location but it still instruments and equipment that terms (except to say that everyone finds it necessary to assist some XLR can be brought into use for those would like to have more cash and participants to travel into its premises with physical or other special needs. flexible budgets!). This review can, by helping them with taxi fares OpenUp Music indicates that to be however, point to the unsurprising (drawn from its project funds). fully inclusive there is a need to be list of issues that recurred most often It is important to note that young people able to devise, invent and make during the consultations. with particular needs of care or mobility music-making equipment and will always require more extensive instruments that give particular access Bristol City Council, despite the transport arrangements, wherever their to particular music makers according burden of costs and cuts that they music sessions are located. to their condition. are required to bear as a local authority, give valuable support to Although Bristol’s transport links are Bristol Plays Music has digital technology well outside the remit or competence equipment in the Colston Hall for its a whole range of arts, music and of this review, it appears that the new work in and out of schools with the youth organisations – an essential MetroBus may help a little with some Conductive Music, Beat Lab and tablet- underpinning of provision. travel-to-music issues. Whether an based, primary age Touch programmes. Where organisations are also regularly idea mooted during the consultation ACE CIC confirms that the use of their core funded (as national portfolio – the acquisition and operation of digital equipment is an increasingly organisations) by Arts Council England a ‘music bus’ dedicated to ferrying important and fast route to engaging – as are Bristol Music Trust with St young players around the city – is a young people in initial music making George’s, Asian Arts Agency and possibility, is a subject, perhaps, for and experimentation thereafter. Knowle West Media Centre – they further consideration. There is no complete audit or have some degree of additional database of what is available across stability. And the Arts Council England Action the city but most providers will be Hub funding is the basis for a lot of aware of what kit can be found and Bristol Plays Music’s core work. where. The most important point is Explore options for overcoming Organisations with a wider brief, that renewal and accumulation of the barriers to access for young such as Creative Youth Network, instruments and equipment is vital if the musicians of travel and transport. may be funded or contracted as an range and scope of current activity is outsourced provider – for a range of to be maintained, let alone increased. youth work in which music is included. Some can earn a part of their income 12.10 Resources Action by hiring out space or equipment, or, like ACE CIC, providing contracted Over a long period Bristol organisers – services to supplement their funded such as the 3rd Space Music members Make allowances in operating music work. – have done well in acquiring and and project budgets and accumulating instruments, back-line, fundraising for the acquisition, But every organisation still needs to DJing and recording equipment sharing and renewal of resources, raise other funds and earn income to and digital music technology, for instruments and equipment support the range and extent of its use on their premises. Bristol Plays programmes. A few have the staffing
29 Providers and other issues 12
capacity to employ fundraisers – The range of potential funding sources in advocacy – or some potential might which usually also means that their for various kinds of music work is wide emerge for collective fundraising using income targets and needs are also – incorporating everything from local some (or all?) of the figures as a match much higher – but the majority of trust funds to European Union schemes for funding being sought. the youth music providers have to (although the latter must now be in work on fundraising alongside the doubt) but the competition for grants co-ordination of their music activities. is increasingly severe as public sector Actions Some, like ACE CIC, do not have sources continue to diminish or are fulltime staff even for their core work. withdrawn. Advocate, where possible, for longer-term and more Schools, each managing their Bursaries, free places, minimal fees – sustainable funding for ongoing own budget, have widely varying all methods of improving access for programmes of work. allocations for music, which impacts young musicians from low income on the extent of the services they backgrounds are in play in some form Explore the potential or viability can secure from the Hub as well as in Bristol as elsewhere – but there is no of a Bristol-wide, sustainable the kind of projects they may want overall pattern or system or rationale bursary or support fund. to contract in from non-formal sector apart from the generosity of the Explore opportunities for providers. By the same token, each of providers and their ability to make the collective fundraising or the providers have to make individual budgets balance. income generation. approaches and negotiations with The project-funded nature of so schools rather than assuming a Seek research and advocacy much of the work of the organisations standard pattern. opportunities around the value covered by this review is a real threat of investment in youth music At the time of writing there are to sustainability and development. and music education in Bristol. indications that under severe financial Almost all project funding is short-term pressures some schools may have to – lasting two or three years at the very Advocate for arts and music cut arts and music budgets drastically most – and the schemes and criteria education in schools. or possibly altogether. In these cases of project funding agencies change (and in general) there is a need to regularly, very often looking for new advocate consistently for the value and or different approaches to fund and positive impact of music and the arts in thus often inhibiting applications 12.12 Venues, promoters education and personal development. for the simple continuation of a The valuable links between successful project. As a consequence, The Hub’s charges across all its performance venues and promoters organisations with one clear aim and activities to schools and for music and schools and all manner of other purpose or a core programme that centre sessions are modest – and youth music projects have appeared they would prefer to continue will some activities are offered free of in various contexts in this review. often have to change their direction charge or with bursaries, to give Masterclasses, coaching and meeting or distort their focus in order to at least access to those unable to meet the with visiting artists; the chance for continue to do music work. cost – all of which is subsidised by the young choirs, ensembles and bands core grant from Arts Council England. To an extent this situation has to perform on concert hall or festival The Hub ‘passport’ giving a young become the norm – but nevertheless stages; venues hosting choirs and person access to all Bristol Plays Music it is a constant threat to long-term ensembles in residence; and venues out-of-school activities for two terms sustainability and growth in the sector. running their own educational for a flat fee of £75 is a particularly programmes both as outreach or in Looking across the wealth of activity in attractive proposition. the venue itself – every instance is Bristol, the financial investment in youth a welcome opportunity and Bristol But major new initiatives such as ‘A music work is undoubtedly substantial. provides many of them. New Ambition’ can only be supported There is no overall audit or totalling of by high levels of fundraising from the turnover and financial value of the In order to capitalise on these agencies such as the National work – but this might be a useful piece relationships with younger generation Foundation for Youth Music. of research. The results could be used musicians, and attract them to the
30 Providers and other issues 12
venues and festivals as audiences as Bristol has the opportunity to well as performers and pupils, some Actions consolidate its place as a field leader of the practises currently in place and a centre of good and diverse could successfully be extended. One Continue and encourage further practice. It would require further is to extend the planning times for engagement by promoters and advocacy; careful assurance of the connecting performance programmes venues with education and validity of what was being offered with educational activity of the kind young musicians. out; the use of the kinds of information described above. Although not or directory described elsewhere in Support and encourage Bristol always possible, having discussions this review; and careful collaborative Music Trust in their transformation with performers as early as possible in management to ensure that it was not to a state of the art facility and advance may maximise the opportunity weakening or disenfranchising any of an organisation centred on for their working with young musicians the city’s partner organisations. But it music and young musicians. when the concert day arrives. might be a fitting ambition. Secondly, within the realistic potential of the city’s performance venues and Action promoters, could more promoters be encouraged to engage with 2.13 Exporting Bristol’s education providers? knowledge and skills Within the sector’s network, and with other appropriate agencies Bristol’s young musicians are the As the review shows, and in contrast for the development of skills musical opinion formers and leaders to many areas of England, Bristol is and opportunities for Bristol, of the future, so is it possible to extend home to an unusually extensive pool explore the idea of collaborative the practise of some promoters and of musicians and organisations with promotion of Bristol skills and devise some kind of wider scheme skills and experience in education provision further afield. to attract more young musicians as and youth music. The Hub, and audiences to concert and gigs so that alongside the Hub, its partners and they can experience the widest range collaborative projects, have been of live music for themselves? recognised regionally and nationally As the home of Bristol Plays Music, as being amongst the front runners in Bristol Music Trust is undertaking a their field of work. major redevelopment of Bristol’s – the In their different ways, projects such west of England’s – biggest concert as Preludes, ‘A New Ambition for hall. More than just a rebuilding Inclusive Excellence’ and 3rd Space project, it is projected to be a Music are exploring and testing fresh transformation – and placing young ways of working and good practice. musicians and youth music work at the Several Bristol organisations are heart of the new facilities promises to already collaborating on a regional or be a genuinely transforming sign of national level – or providing services in the city’s commitment. other localities. As well as the larger, funded venues, Without taking their eye off the Bristol also has a network of small- Bristol ball, it would seem possible for scale venues that host all manner of the city’s providers to find ways to performances and are an essential capitalise on their strengths – on the part of the city’s musical ecology. In concentration of expertise in the city order to nurture and maintain plentiful and adventurous projects – and look opportunities for young musicians for ways to export some of those skills to hear (and play) a wide range of to other areas that have fewer people music, it is also important that this full range of venues is valued and or organisational resources to call supported across the city. upon locally.
31 In conclusion 13
The prospect for young musicians in Bristol is fundamentally good – and providers of all kinds of activity, whether in schools or in non-formal settings, are to be congratulated on what has been achieved to date.
Several of the non-formal sector This review and the actions it indicates organisations are well-established are presented at a point in time. The The work in hand and the leaders in their field. Bristol Plays Music situation of the sector is constantly actions to support it present a is recognised as one of England’s most evolving as creative new ideas are long and varied list. There are progressive Music Education Hubs, brought into play. Initiatives such as the many common themes – and and the only one with the immense all-female Saffron Record label or new there are these overriding advantage of being based in a concert partnerships with the University of the imperatives which may serve hall and promoting organisation West of England will open new doors to summarise them all: devoted to every aspect of music. for young musicians and their mentors. Bristol will focus on supporting all This review does not disguise the The review and the action points, its young musicians in whatever fact that there are gaps in what is therefore, cannot just be adopted and ways they wish and in whatever happening and therefore there are remain static. To maintain a current part of their musical journey. young people who don’t have the picture of what’s happening and level of access to music making to what needs to be done, there must be Bristol’s organisations and which everyone in Bristol would aspire. regular re-examination of the areas the music leaders will form strong But those aspirations are plainly shared review describes, revising and updating partnerships, with those who by the contributors to this review and the action points to keep them are able taking their fair share so is the will to extend and improve focussed on the work in hand. of the responsibility – and will access to music for as many young commit to forging effective, co- musicians as possible. ordinated responses to support music education across the full The external challenges that music spectrum of the city’s schools education and promotion faces are and communities. common to most organisers across the third and public sectors: financial constraints, constant change, schools struggling to maintain basic offers in several important subjects, disparities among communities, social and personal hardship – and many other aspects of contemporary life. But once again, people in Bristol are committed to meet such challenges through – and for – music.
32 Strategic partners
In the course of developing this review the wide range of people and organisations listed below were contacted over an extended period. Bristol Plays Music thanks all of those who responded and offered the wealth of ideas and information on which this review and its directions for the future have been built.
Access to Music Cotham School Tom Fleming Creative Consultancy
ACE CIC Creative Youth Network Tomorrows Warriors
Arts Council England DbS Music Trinity Arts
Asian Arts Agency Drake Music University of the West of England
Bards of Avalon Gathering Voices Urban Development
Basement Studios Knowle West Media Centre Visible Thinking
Bath Philharmonia Live Music Now Watershed
B-Creative London Symphony Orchestra WOMAD Foundation
BIMM Muse Young Bristol
Bristol Music Education Partnership Musica
Bournemouth Symphony Orchestra National Foundation for Youth Music
Bris Arts New Music South West
Bristol Cathedral Choir School Open Up Music
Bristol City Council Princes Trust
Bristol Cultural Education Partnership Real Ideas Organisation
Bristol Ensemble Redland Green School
Bristol Jazz and Blues Festival Saffron Records
Bristol Music School Somerset Rural Youth Project
Bristol Music Trust team Sound and Music
Bristol Old Vic Sound Connections
Bristol Plays Music team Soundworks
Bristol Pre Conservatoire South West Music Schools
Bristol Rock Centre Spike Island
Bristol University St Mary Redcliffe
Bristol Young Vic St. Georges, Bristol
Bristol Youth Links Studio 7
Cabot Learning Federation Superact
33 Commissioned by