Leading, Supporting and Delivering Music Education Make Music Gloucestershire Annual Report 15/16

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Leading, supporting and delivering music education Make Music Gloucestershire annual report 15/16

Make Music Gloucestershire, the FRXQW\¶V music education hub, Colwell Arts Centre, Derby Road, Gloucester GL1 4AD T 01452 330 300 E [email protected] W www.makemusicgloucestershire.org.uk

Contents

About this report 3

Working with schools 4

Whole class instrumental teaching 5 How we compare nationally 6 Continuation 6

Case study: 7 Encouraging young instrumentalists to continue following whole class tuition

Case study: 8 Engaging all learners through GarageBand on iPads

Singing 9

Case study: 10 The Songwriting Charity Vocal Projects

Groups, ensembles, and 11 independent music Roella Oloro: composer and member of Gloucestershire Youth

Jazz Orchestra ʹ see page 14 Case study: 13 Audio-Base Saturday morning music sessions: nurturing young rock, pop and urban musicians

Case study: 14 Helping young jazz musicians to reach new heights

Targeted inclusion work 15

Case study: Addressing :ŽŚŶŶǇ͛Ɛ anxiety by 15 building performance skills

Making young ƉĞŽƉůĞ͛Ɛ voices heard 16

From the blog: Making connections between 16 young musicians in Gloucestershire and London

How the money was spent 17

2 About this report

This report is a snapshot of the work of Primary. An advisory group advises on overall Make Music Gloucestershire, the counƚǇ͛Ɛ strategy and direction. music education hub, in 2015/16. The statistics contained in this report help us to monitor our reach and impact, and set targets for tĞ͛ƌĞ a network of schools, individuals and the future. They have been collected as part of the organisations working together to make sure music Arts Council England data collection process. This education reaches as many children and young enables Arts Council England (ACE) to monitor how people as possible, and makes a difference to their effective we are in delivering on the National Plan lives and futures. for Music Education, and the Core and Extension Roles of hubs set out by ACE and the Department Together, as a hub, we create, promote and for Education as a requirement of hub funding. fund opportunities for young people to make and learn music in response to recommendations in the This report represents only a snapshot of the work Government's National Plan for Music Education in that goes on in Gloucestershire with young people, England; and we work together to improve and and focuses on Hub-funded work only. develop the quality of music education and champion music education. There are many other organisations and individuals working with children and young people through music. Many are listed on TouchBass, the ĐŽƵŶƚǇ͛Ɛ Who leads and funds the Hub? online search tool for learning and making music opportunities. MMG is led by the County Council which receives a grant from the Department for Education (DfE) We͛ƌĞ continuing to develop ways to connect and administered through Arts Council England (ACE) to work with a wider range of partners ʹ including fund the work of the Hub around four core and schools, other music education providers and music three extension roles. It commissions activity in line teachers/tutors/leaders/community musicians, and with these and with the priorities set out in the amateur/voluntary organisations ʹ through funding National Plan for Music Education. and other initiatives.

A group of key partners (music education Our thanks to all those who organisations and schools representatives) is responsible for strategy, communications, and provided information. outcomes. These are: Gloucestershire Music, The Music Works, Gloucestershire Academy of Music, If you have any observations The Songwriting Charity, Cheltenham Festivals and Groove On, with two teachers seconded from or queries, contact: schools: Omar Khokher, Head of Music, Severn Vale (secondary); Analie Hart, music teacher, Heron [email protected]

Working with schools

Schools working with 21% us on Core Roles increase

Our engagement with schools is improving ʹ although ƚŚĞƌĞ͛Ɛ a long way to go. 21% more schools worked with us on Core Roles in this academic year (209 schools in total), compared with last year.

As well as Hub key partners providing services to schools (see the rest of this report for more details), we worked with schools in a range of ways including: Teachers and Hub representatives Lisa Mayo and Analie Hart, at a primary teachers network event x Singing Champion ʹ support for schools with singing well as Gloucestershire Music and Gloucestershire x schools consultancy ʹ helping schools to assess and Academy of DƵƐŝĐ͛Ɛ groups develop their approach to music x Drake DƵƐŝĐ͛Ɛ House of Mirrors Sensory Experience x primary and secondary teacher networks ʹ run by a for four special schools primary school teacher and a secondary school head x Charanga ʹ the Hub subsidises and promotes of music, who were seconded to the Hub for half a Musical School, an online programme of interactive day a week lessons and resources, which was used by 497 x Cheltenham Festivals Concert for Schools at teachers in 51 schools (34 schools last year), and at Cheltenham Town Hall and Music Explorers least 250 pupils who are using the ͚ŚĂƌĂŶŐĂ Musical workshop in schools tŽƌůĚ͛ online music education game at home. x Cheltenham &ĞƐƚŝǀĂůƐ͛ Musicate programme for primary schools, placing final-year conservatoire students in schools to develop ƚĞĂĐŚĞƌƐ͛ confidence, and increase understanding and appreciation of music x Bournemouth Symphony KƌĐŚĞƐƚƌĂ͛Ɛ ͚&ŝĚĚůĞƌ͛Ɛ ,ŝůů͛ primary schools string project, involving schools as

Whole class instrumental teaching

8% 9 more schools than last year- 46% of all increase primaries1

classes taking up 178 whole class programmes

17% 775 more pupils than increase last year

primary school pupils 5,246 taking part (11.8% of all primary pupils)

Young musicians at Heron primary, taught by Gloucestershire Academy of Music

Gloucestershire Music reached Groove On reached The Music Works reached 4,309 children in 452 children in 404 children in 155 classes/96 schools 6 classes/6 schools 14 classes/10 schools teaching the fundamentals of music teaching world percussion including teaching creative music-making through weekly classes for 10 weeks xylophone, drums and other through a new 10-week music in violin, clarinet, recorder, brass or percussion instruments. technology programme using percussion, usually for a term, GarageBand, and through a bespoke mainly in primary schools. approach in two special schools (African drumming, music technology)

Gloucestershire Academy of Music reached Watch the video about 183 children in Whole Class Ensemble 3 classes/3 schools Teaching in Gloucestershire: with their woodwind, string and

brass lessons (the latter using the http://bit.ly/1btRfZq American windband method).

1 106 schools took up whole class programmes in 14/15; 115 in 15/16 ʹ ie an increase in school numbers of 8%; 4,497 pupils received whole class lessons in 14/15 and 5,246 in 15/16 an increase of 17%. 2 Based on GCC school census, Jan 2015: 44,480 primary pupils (12,494 aged 7/8-, 24,534 aged 7-11 ie KS2) ʹ 246 schools; 37,968 secondary ʹ 39 schools; 1090 special ʹ 12 schools; 83,528 total (297 schools)

How we compare nationally

The number of pupils ǁĞ͛re reaching through whole class instrumental programmes is increasing, but is still lower than the UK average3:

Percentage of all primary and Gloucestershire Nationally 4 secondary age pupils in receiving This year 15/16 6.3% Not yet available ͚ǁŚŽůĞ ĐůĂƐƐ͛ (whole class instrumental/ensemble teaching, also 14/15 5.5% 9.2% known as ͚WCET͛) through a hub: 13/14 1.6% 8.8%

Continuation into regular 1-1/small-group tuition

We know that our whole class programmes give children a great start in music. We hope that they will want to continue and deepen their involvement in music by learning an instrument (including music technology) or to sing.

Currently, ǁĞ͛ƌĞ unable to fully track this continuation (although see the Gloucestershire Music case study on page 7 for an estimate), and to understand how many pupils go on to be taught by music tutors in schools and privately, or to continue their involvement in other ways5.

We intend to work with schools to find ways to do this: for example, by surveying the pupil population through a sample of schools and/or encouraging schools to collect data on ƉƵƉŝůƐ͛ music activity beyond the classroom.

33 Taken from Key Data on Music education hubs 2015, by the NfER 2015 (14/15 stats): http://www.artscouncil.org.uk/sites/default/files/download-file/MEH%202015%20report%20final%20October%202016.pdf 2014 (13/14 stats) http://www.artscouncil.org.uk/sites/default/files/download- file/Music_Education_Hubs_2014_Report_final_March_2015.pdf 4 The key data collected for hubs does not split this information into cohort/age. 5 Arts Council England asks us to estimate how many pupils continued to learn to play an instrument, following the previous ǇĞĂƌ͛Ɛ WCET programmes. We are also asked to report how many pupils receive one-to-one/small group singing or instrumental lessons, and the standards achieved. However, in Gloucestershire all such tuition is provided by a range of freelance tutors, or tutors employed by schools, and so the statistics can only really be provided by schools or through a major survey of pupils. 6

Encouraging young instrumentalists to continue following whole class tuition

new pupils introduced to whole class tuition 3500+ through Gloucestershire Music

Autumn term pupils who opted for further 50% free whole class lessons

Autumn term pupils 35% who continued after whole class lessons Overall estimated continuation rate into 11% lessons outside classroom after 30 wks

Gloucestershire Music (GM) has provided mainly 10-week6 programmes of whole class ensemble / instrumental teaching (WCET) to schools since 2008, but this year marked a step-change in the approach.

The 10-week programme was deemed from January to March, and free hire taking the decision to pay towards by schools to be the most affordable of their instrument7, with music lesson costs. model, which fitted easily into school parents/carers paying only the cost of terms. The disadvantage was that it a tutor book. Parents/carers had to 35% of them (291) hired an instrument limited opportunities for young people sign a hire form; and they would also after the programme ended and so chose to choose to continue beyond week 10 now experience their child practicing to continue to learn in some way. and continuation is one of the key at home, and hopefully see the impact aims and priorities of the Arts Council that it was having. Following this, and their further 10 and our Hub. weeks of tuition (making 30 weeks in These lessons would sometimes be total), GM monitored how many So this year, with enhanced funding smaller group lessons, depending on continued to hire instruments (as a from the Hub, GM was able to the numbers who opted-in, in a way of assessing how many continued encourage schools to take up a 20 or particular class/school. with one-to-one or small group tuition 30 week model which would help to paid-for by parents and not part of the engage the teachers, parents and the In total, 50% of Autumn term WCET school curriculum). Of the original pupils in a more progressive pupils (1,209 pupils) took up the offer8 of cohort, this represents 11 percent. programme of learning. further lessons from Jan-March49. These pupils were then offered an Spring term cohort September term cohort extra 10 ǁĞĞŬƐ͛ free tuition (30 weeks In January, GM began their second Following the 10-week Autumn in total) from April to July. But this round of whole class to new pupils in programmes, pupils were offered a time they were charged for instrument 42 classes. 37% of these WCET pupils further 10 free lessons (in the hire ʹ a further move towards parents (328 pupils) took up the offer10 of instrument their school had chosen) further lessons from April-July11.

6 20- and 30-week programmes have also been offered alongside 10-week programmes 7 In the case of ukuleles, rather than hiring, parents were offered the option to buy these VAT free 8 6 classes ǁĞƌĞŶ͛ƚ eligible and 8 schools chose not to take up the offer 9 Recorders - 83%; Violins ʹ 76%; Ukuleles - 58%; Clarinet - 54%; Brass - 49%; Percussion4 ʹ 35% 10 11 classes did not take up the offer 11 Clarinet ʹ 68%; Brass ʹ 50%; Recorders ʹ 33% recorders; Violins ʹ 20%; Ukuleles ʹ 16%. Percussion was continued as a whole class offer only, to make best use of the limited stock of instruments (ie school could keep instruments and use for more than one class. 7

Engaging all learners through GarageBand on iPads

͟/ƚ achieved all we wanted it to: understanding of musical concepts, the uses of different songs and rhythms,

composition - often the hardest thing to deliver.

It was successful too in engaging ALL pupils through music. We have a few that have some challenging issues - behavioural issues, ADHD, family members with mental health problems- so they find concentration and engagement really hard, but they were completely focused - every single one was engaged and wanting to show me what ƚŚĞǇ͛ǀĞ done. And they all created different types of

music, from folk to rock to Ibiza-style dance.

dŚĞǇ͛ǀĞ learned from each other really well. Some were doing complex tracks, some more simple tracks with just one or two instruments ͙ but they were listening to

each other to see how they could improve.

I think it has changed their perception of themselves, how they feel about music and what they can achieve.͟

Diane Bainbridge, Headteacher, Whiteshill Primary

The Music Works took whole class music technology programmes ʹ along with sets of iPads - into schools for the first time in Spring and Summer 2016. Teachers and pupils responded enthusiastically both to the offer, and then to the lessons.

The 10-week programmes, which of major and minor chords on for example, 95.5% for quality of show pupils how to use iPads, listeners; chord progressions; how to curriculum; 92.5% for appraising and keyboards, music apps and vocals to create a four-part arrangement using evaluating their own and ŽƚŚĞƌƐ͛ compose and record music, covered ͚^ŵĂƌƚ͛ instruments; understanding work; 95% for ƉƵƉŝůƐ͛ ability to write fundamental music skills as well as sampling; using audio loops; making and arrange music using an iPad and creative music-making and song an 8-bar arrangement; using audio- 100% for pupil enjoyment. construction, including sessions on effects; listening and evaluating music Pupils gave their feedback through rhythm, timing and tempo; the effects and giving feedback. evaluation bullseyes at the end of All equipment was provided, including the programme, and almost all gave progress logs where pupils could the programme top marks. document their learning, take home to show their parents, and find out about resources, as well as opportunities in the local area that could help them continue to make music.

In follow-up telephone interviews,

teachers said they found the

programmes inclusive, pupil-centred

and fun, and that even those who

struggle the most with learning were

completely absorbed and engaged,

often surprising themselves and

their teachers with their

achievements. Ratings against a series of questions about relevance and quality were consistently high,

Singing

Number of schools receiving 51 singing support

Secondary

Primary 22

Special 7

Students from Newent School in rehearsals for the Rugby League World Cup

We continued our support to help schools develop strategies for singing, led by Singing Champion (Lisa Mayo, also head of Gloucestershire Music). Lisa visited secondary schools to help Heads of Music to develop choirs; and primary schools to develop their approach to singing as part of the curriculum.

Lisa worked with Chant Productions through a four-month ͚sŽĐĂů The Songwriting Charity delivered and four schools (Newent, Marling, >ĞĂĚĞƌƐŚŝƉ͛ training scheme run by programmes of songwriting and Crypt and Sir Thomas Riches) to ͚^ŝŶŐ For WůĞĂƐƵƌĞ͛͘ Teachers from singing for wellbeing in seven encourage boys to sing, through five Primary, Secondary and the Special schools ʹ Severn Vale, Ribston, workshops involving 120 boys, and Educational Needs sectors attended Barnwood Park, Millbrook, Isbourne culminating in a televised six inset sessions to increase their Valley, Balcarras and Winchcombe. performance before the Rugby knowledge and confidence in League World Cup at Olympic The Music Works ran its annual conducting, rehearsal techniques, Stadium, London. Special Schools Concert involving 7 repertoire knowledge and schools and 106 pupils in singing and musicianship skills. Gloucestershire Music continued to signing workshops, culminating in a develop and promote the County Youth performance at the Bacon Theatre, Choir this year, involving 85 young Dean Close School, Cheltenham. It people from 30 secondary schools. also ran a pilot CPD programme to Performances took place at develop communication skills Cheltenham Town Hall with a West End through singing, involving twilight performer, and at Gloucester Cathedral training in two schools and with the Cathedral Choir (in Autumn workshops with reception and year 16/17 they performed at the Royal one pupils in four schools. Albert Hall in London). Singing is also part of the activities at Gloucestershire Teachers were also given the

DƵƐŝĐ͛Ɛ groups and centres. opportunity to develop their skills

The Songwriting Charity Vocal Projects

rating of the 88% project as a whole

would recommend the Vocal Projects 92% to a friend

showed marked increases in general 36% confidence5

showed marked increases in 26% confidence in relationships

2016 saw the launch of the MMG and Gloucestershire Healthy Living and Learning (GHLL)-funded Vocal Projects programmes delivered by The Songwriting Charity in four schools. Following pilots in two schools in 2015 featuring new arrangements of rock/pop repertoire, these new programmes focused on young people in each school creating their own song, which would then be performed, recorded and filmed.

The target groups were formed of Around week three or five, he Overall, the evaluation of the project many students that are struggling continues, ͞ũƵƐƚ when some of us showed significant impacts in with significant challenges in their more fearful and world-wearied confidence and self-perception, lives and have limited access to leaders might think that nothing may including from students who are music making. During initial visits by come of all this creative energy, eligible for Pupil Premium, at risk of Ben K͛^ƵůůŝǀĂŶ͕ who leads the something happens. Someone solos being bullied, have a statement of ŚĂƌŝƚǇ͛Ɛ work in Gloucestershire, a chorus idea or a genius lyric and special educational needs, or have the pupils discussed what music they the room is silenced; a group comes English as an additional language. like, and the importance of the song up with a harmony or a counter- ͞tŚĞn I started, I was nervous and being both meaningful to them and melody to match and something just ĚŝĚŶ͛ƚ believe in myself or my voice. for a live audience. clicks. The seed of a song is ďŽƌŶ͘͟ My confidence was low. Our first Following these initial visits, says The work is then added to, edited lesson was tough. We all had to Ben ͞ƚŚĞǇ go on a songwriting roller- and developed through whole group learn to work as a group. We were coaster of emotions, successes, singing and discussion and, once a told to try to make some lyrics up to hiccups, failures; days when singing definitive version is agreed, the make our own song. Ben worked just ŝƐŶ͛ƚ really their thing; getting group prepare for a live recording with us and developed our ideas into stuck, digging deep, calling on their and performance, in school, in an amazing song. As we developed resilience; because ŝƚ͛Ɛ a concert and, most notably, on and learnt our song I started to build creative process, ƚŚĞǇ͛ƌĞ not just location in a studio. /ƚ͛Ɛ here that my confidence. I feel that I could learning someone ĞůƐĞ͛Ɛ song. In fact they get to experience recording the express myself through the music. I some soloists will sing a line that has song and making a music video - but am very thankful for ĞŶ͛Ɛ trust in been written by one of their peers more importantly, a world some us. Without Ben we ǁŽƵůĚŶ͛ƚ have who may not be their best friend. distance away from their day-to- had the opportunity to even get this This can be challenging, but the day lives. This is a day that has a far and learn our hidden ƐŬŝůůƐ͘͟ benefits of facing such challenges significant impact: from making new Rachel, Millbrook Academy. are part and parcel of the friendships, to improving ƐƚƵĚĞŶƚƐ͛ Watch a video about The ĞǆƉĞƌŝĞŶĐĞ͘͟ sense of confidence and self-worth. Songwriting ŚĂƌŝƚǇ͛Ɛ work this year: http://bit.ly/2k0kZC4

5 Percentage of students who showed a negative response to the statements prior to intervention who now indicate a positive response, out of 128 students. 10

Groups, ensembles & independent music

ensembles and choirs supported and/or

20 delivered by hub partners (an increase of 8) young people attending 1,618 hub-supported groups, ensembles and choirs (the number from last year is not comparable) increase in members of 5% Gloucestershire DƵƐŝĐ͛Ɛ groups and centres

members of 482 Gloucestershire DƵƐŝĐ͛Ɛ groups and ensembles

attenders of Audio-Base

45 sessions

attenders of The Music tŽƌŬƐ͛ studios part- 700 funded by the Hub (including occasional and regular Students at the rehearsal of a string project with Birmingham attenders) Symphony Orchestra (top); and at Audio-Base (below).

The main groups and 14/15 15/16 Gloucestershire DƵƐŝĐ͛Ɛ groups Music Centres: continue to perform well in festivals ensembles supported Brookfield 106 98 and competitions, getting through to with funding from the Five Valleys 117 124 finals of the Music for Youth Jazz Live 31 28 National Festival and the National Hub were Gloucestershire Forest of Dean Concert Band Festival. DƵƐŝĐ͛Ɛ͕ which provide Wind Band 22 23 This year, the Hub also supported groups from beginners to Advanced county groups: The Music Works to set up two advanced in a range of Gloucestershire complementary centres in Tetbury Youth Orchestra 49 50 and Coleford for rock/pop/urban classical/jazz instruments, G. Youth Sinfonia 21 27 musicians; and Gloucestershire as well as county youth Academy of Music to develop its G. Youth Wind senior string orchestra and Prima orchestras, bands and Orchestra 44 47 Corda advanced string ensemble. ensembles for more Holiday course-based groups: advanced players. County Watch a video about the Youth Choir 40 85 Total numbers saw a slight rise this G. Youth String music groups supported year compared with last year: Ensemble Average 30 by the Hub: G. Youth Brass Band Average 30 http://bit.ly/232Rii6 TOTAL 417 482

Genders and social/economic profile

The majority of young people attending Hub- funded groups were female (although Audio-Base is an exception, where most are male).

1.67% received some form of subsidy as a result of low income or other economic barrier (compared with 3.36% last year).

2.22% were eligible for Pupil Premium; 3.33% has SEN/D; and 2.71% were in both categories.

Supporting schools and others to encourage group music-making

Hub grants of up to £1,000 to encourage new group School; setting up a Rock School at Cirencester music-making opportunities were awarded to: Kingshill School and support for singing at Millbrook Academy. Schools (11 last year) 10 Four groups have involved more young people with

funding for: Gloucester College students to put on a groups (2 last year) hardcore rock festival, The Massacre Festival, at 4 Gloucester Guildhall; the Cheltenham Trust for a Gamelan and music technology project at The Wilson

museum and gallery; Cotswold Music Tutors for their Six primary schools have set up new groups, with summer music courses and Lydney Training Band for a funding for: brass instruments for a school brass band brass workshop for young players. at The British School; outdoor musical instruments at

Hartpury Primary school; steel pan instruments for Pantastic at The Croft Primary; ukuleles for Robinswood Academy; group music-making activities at St James Church of England and work with Groove On to upskill teachers at Innsworth School.

Four secondary schools have set up new groups with funding for: guitars and teaching for guitar groups at Tewkesbury School; support and CPD at Forest High 12

Audio-Base Saturday morning music sessions: nurturing young rock, pop and urban musicians

In another first for the Hub, The Music Works started to run Saturday morning rock, pop and music technology sessions ʹ Audio-Base ʹ at two locations: Sir William Romney͛Ɛ Secondary School in Tetbury; and Lakers School in Coleford.

The idea of these was to support musicians from these genres to improve and develop their skills, try new collaborations and test out new ideas, with the support of musicians side is great. And the music leaders workshops with Salo and Barney, the who have both music industry and are lovely, ƚŚĞǇ͛ƌĞ very open and music leaders. They come away buzzing community music experience. very generous in how they deal with every Saturday, always having learned ƐƚƵĚĞŶƚƐ͘͟ something new and feeling inspired. For Feedback has been positive from any kid ǁŚŽ͛Ɛ musically creative these parents and young people: ͞zŽƵ can just jam with each other, sessions are a no-brainer. tĞ͛ƌĞ seeing ŝƚ͛Ɛ fun, you get to learn a lot off the Deirdre Maguire-Toombs, mum to both boys growing in confidence and tutors, you get ŝŶƐƉŝƌĂƚŝŽŶ͕͟ said twins Saffira and Alesha, aged 12, ambition, and ƚŚĞǇ͛ǀĞ made new like- Saffira. ͞dŚĞǇ know everything, and who attend Lakers Audio-Base: ͞/ am minded friends too, which is great. The can give us ƚŝƉƐ͘͟ so elated, because finally there is workshops have 'perked up' the something for young people playing ͞dŚĞ tutor has shown us how we can weekends no end and ŝƚ͛Ɛ not quite such in this genre. You have orchestras make our own music, and we can a battle to encourage them to get and brass bands, but ƚŚĞƌĞ͛Ɛ been record ŝƚ͕͟ said Alesha. ͞zŽƵ can jam homework done, once ƚŚĞǇ͛ǀĞ released nowhere for kids playing popular with people. You ĐĂŶ͛ƚ do this some of their creative ĞŶĞƌŐǇ͊͟ music to get together. They ĚŽŶ͛ƚ anywhere ĞůƐĞ͘͟ Although take-up took a while to build, really get opportunities to Susie Newman-Turner, mum to Sam 45 young people took part eventually, experiment with different and Jake (pictured above) who and the number of participants is instruments and ways of making attend the Tetbury sessions, says: building, particularly at Sir William music, and having the technology ͞^Ăŵ and Jake absolutely love the Romney͛Ɛ. Young people were also given opportunities to perform at SOMAC, a city centre festival in Gloucester during the summer.

Watch the video: http://bit.ly/2j9CrT7

In partnership with Hub partner Cheltenham Festivals, The Music Works also ran a successful (fully booked) music industry seminar featuring Liane LaHavas at one of its Dan Kostine, who attends Audio-Base, studios. performing at SOMAC festival.

Helping young jazz musicians to reach new heights

Gloucestershire Jazz Live (GJL) music centre, run by Gloucestershire Music, provides musicians (youth and adult) with the opportunity to rehearse and perform a wide range of jazz music while developing their own improvisation skills and jazz knowledge.

They meet at Bourneside School, Cheltenham on a Wednesday evening and there are around 90 student-led jazz ensemble at The national festivals: NCBF and Music members in four groups: Crypt School which entered the for Youth (MFY) and received high National Concert Band Festival accolades from the music mentors. x 20 members (16/17) of (NCBF) regional event where they Gloucestershire Youth Jazz Roella͛Ɛ piece ͚ƌƵŝƐŝŶ͛͛ also gained won a Gold Award. In the previous Academy (grade 4 +) high recognition at the MFY National year ƚŚĞǇ͛Ě achieved a Bronze. x 21 members of Gloucestershire Festival in Birmingham, impressing Youth Jazz Orchestra (grade 7+ Performance platforms all three music mentors (Issie and by audition) In Spring 2016, all groups performed Barrett, Malcolm Edmondson and x 26 members of Jazz2go (adult at the prestigious Cheltenham Jazz Zoe Rahman). As a result, GYJO training jazz ensemble) Festival alongside local and performed the piece at the MFY x 25 members of Colwell Arts Jazz internationally-renowned jazz Proms in November 2016 at the Ensemble (adult jazz ensemble) musician Eddie Parker. Prior to the Royal Albert Hall, London. festival, Eddie worked on both Learning aids Recording and assessment of ensemble and improvising skills with A jazz booklet for all members, performance our groups. featuring reference information on In 2015 GJL established a YouTube music theory, practice strategies and Student-led coaching and channel which includes audio / video ideas, guided worksheet and composition links of the ďĂŶĚ͛Ɛ current recommended listening and reading, Coaching is provided for GYJO repertoire, featuring a range of jazz helps with practice and progression and members who express an interest in ĂƌƚŝƐƚ͛s / group͛Ɛ versions of pieces. is updated regularly. /ƚ͛Ɛ been composing and arranging for a Big As well as being an invaluable particularly helpful for the youngest Band. This involves providing a resource in recommended listening group, GYJA, ǁŚŽ͛ǀĞ shown a much suitable stimulus, ideas for for GJL members it also features greater understanding of scales, chords, continued musical development, videos of group performances. and improvising ideas; and ƚŚĞǇ͛ǀĞ recommended listening and An offshoot of GYJO, GYJO Combo, developed a greater curiosity about resources, frequent feedback on has also had their own recording listening to jazz pieces. ideas, tips on how to produce a sessions and some smaller gigs ĐŽŶĚƵĐƚŽƌ͛Ɛ score and instrumental Links to schools and staff showcasing some of their favoured parts ready for rehearsal and development pieces from the year. performance. Secondary schools have benefited from workshops delivered by the GJL During this year, two GYJO members Watch 'z:K͛Ɛ MFY Director, Peter Martin. Sessions (Edi May and Roella Oloro) performances: help existing bands with repertoire collaborated on a piece called ͚Funk http://bit.ly/2k0fenR choice, and provide training for lead in Blue͛ (based on 'ĞƌƐŚǁŝŶ͛Ɛ tutors and student directors. For Rhapsody in Blue). This piece was http://bit.ly/2iNQtyd example, Peter worked with a performed at the regional leg of two

Targeted inclusion work

Addressing :ŽŚŶŶǇ͛Ɛ 1,000 young people reached in total (including through anxiety by building studios) (an increase of 67%) performance skills

young people in challenging 215 circumstances through targeted programmes

The Music Works ran a range of programmes and activities targeted to young people in challenging circumstances to engage them through music, build confidence, self-belief and motivation, and so empower them to improve their life chances. This included programmes supported by the Hub in: Johnny was a regular at one of The Music tŽƌŬƐ͛ afterschool clubs, but he was always alone. He suffered x Gloucestershire Hospital Education Service from anxiety, and social situations had always been x Alternative Provision Schools tricky for him. Playing guitar and singing meant x A mainstream secondary school everything to him. x A mainstream secondary school inclusion unit The Music tŽƌŬƐ͛ music leader gently began finding out One significant development was a programme of school what sort of music he liked to play and sing, and asked improvement through music work in Forest High, a if ŚĞ͛Ě like to see how music technology could enhance school that was in challenging circumstances and has one his music. Johnny was keen to find out more, and of the worst levels of deprivation in the county. learned how to use Garage Band to introduce new sounds into his performance and help his rhythm and The work included whole class music technology, an timing. He was able to explore the software and lead on after-school club at SoundSpace studio, talks from what he was learning, rather than being ͚ƚĂƵŐŚƚ͕͛ which musicians, links with amateur music groups, was a massive boost to his confidence. performances as well as input into the curriculum (consultancy/advice/ teacher CPD), and developing a Each week he and the music leader built on what small group teaching programme. Johnny had learned the week before, and Johnny gradually began to see that he could achieve and The Hub will now be integrating inclusion work more progress in music. A school performance opportunity firmly across more its delivery, aided by an inclusion came up, so the music leader asked if Johnny would like strategy written by The Music Works in 2015/16. to perform, and amazingly, Johnny said yes.

The performance was a success and :ŽŚŶŶǇ͛Ɛ fellow pupils saw a new side to the shy loner that ƚŚĞǇ͛Ě

become used to. Johnny was really proud ʹ ŚĞ͛Ě challenged himself and stepped completely out of his comfort zone, and he found he was more than capable. He realised that his anxiety needn͛ƚ prevent him from doing and achieving, and ŚĞ͛Ɛ become even more enthusiastic about developing his skills.

Making young ƉĞŽƉůĞ͛Ɛ voices heard

From the blog: Making connections between young people in Gloucestershire and London

As part of our Youth Voice work, two music students from Gloucestershire met with young people from >ŽŶĚŽŶ͛Ɛ Wired4Music network to share their experiences of making and learning music, and think about how young people in Gloucestershire can have more of a voice in the future.

Ben Finnegan and Callum Smith are in their final year studying Music Performance B.Tech Level 3 at Gloucestershire College. They run an annual Following our consultation with young gig/festival (Massacre) in Gloucester for emerging people during Spring 2015, we started a musicians (which Ben started when he was 14), year-long programme of work with and actively promote and connect up musicians and bands in the city. They have their own Sound Connections to ensure young hardcore/metal band (read our interview). people have a voice in the future of Wired4Music is an initiative that was kick-started music making and learning in the by Sound Connections, and has seen the emergence of a manifesto for music created by county. Sound Connections are leaders young people; a group of advocates who speak at in Youth Voice work in music education, conferences and meetings; events and symposia; and run Wired4Music, a music network and a leadership programme for 16-24-year-olds to help them realise their creative business potential. for Londoners aged 16-25. Their reps included an opera student, a rapper, a classical guitarist and a radio DJ. The work involved workforce development Over two hours, the group talked about a range of (drawing in of Sound Connections expertise to issues to do with enabling more young people to make Gloucestershire, providing resources and training music ʹ particularly those who traditionally miss out ʹ to Hub partners); strategic recommendations for and supporting those who already do but may lack the Hub; two gatherings of young people in support or progression routes. Three of the issues that Gloucester; an exchange visit between two young consistently emerge in are the need for: people from Gloucestershire and members of 1. spaces where young people can make and Wired4Music; and a report collating emerging record music, particularly in Gloucester (a findings. finding which emerged in previous research) 2. young people at secondary age to The Music Works took over this programme of have opportunities to explore making music work in September 2016 and continued to work creatively together outside of curriculum with Sound Connections for the final phase of time, but probably in schools ʹ eg afterschool their work. This included further CPD support and or weekend clubs/centres advice for The Music tŽƌŬƐ͛ team; Development 3. young people to be made aware of the wide variety of post-school progression routes in Needs Analyses for two young people (who now music, from music leader to promoter to self- sit on the Hub advisory board); and facilitation of employed musician. a third Youth Voice gathering. The Music Works Read Make Music 'ůŽƵĐĞƐƚĞƌƐŚŝƌĞ͛Ɛ Youth continues to hold regular meet-ups of young Consultation report to find out what young people people, to gather views and support young had to say in our online survey and the workshops people to develop their own strands of work. in schools.

How the money was spent

Total budget £803,438.00 Music education hub grant from Arts Council England £799,018.00 Local authority grants/contributions £4,420.00

Are you a teacher or school leader? Do you want to get even more out of music for your pupils and school?

We want to build up a picture of music education in Gloucestershire so that you, and we, can make better decisions and use money more wisely. Yet only a small proportion of schools respond to our calls for information each Autumn. This is improving, but ƚŚĞƌĞ͛Ɛ still a long way to go ʹ we hope ǇŽƵ͛ůů help us this Autumn.

Sign up to our schools enews to be notified of the Autumn survey, and to keep up with news and opportunities for schools: www.makemusicgloucestershire.org.uk

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