MyHub

Consulta.on 2013
Desk Research

Consultancy Aims
To consult with young people and the sector, and explore their thoughts around Manchester Music Educa.on Hub (MyHub). It will underpin MyHub s ideals, a high quality music oer for all young people and children, and ques.on how this can be sustained or improved.

Desk Research
The desk research will provide a founda.on of knowledge surrounding music educa.on within three specic areas: Policy Current Regional Situa.on Prac.ce This research will be used to support the recommenda.ons that have arisen through the primary research.

Policy
This sec.on will address current policies concerning music educa.on on a na.onal and regional level. Na.onally Na.onal Plan for Music Educa.on Na.onal Plan for Cultural Educa.on Arts Council advocacy Regionally Manchester City Council s Cultural Strategy

The Na'onal Plan for Music Educa'on

Gove, M., Vaizey, E. (2012) The Importance of Music: Na'onal Plan for Music Educa'on. Department of Educa'on. Department for Culture Media and Sport. London. Access: hKps://www.educa'on.gov.uk/publica'ons/eOrderingDownload/DFE-00086-2011.pdf

Our vision is to enable children from all backgrounds and every part of England to have the opportunity to learn a musical instrument; to make music with others; to learn to sing; and to have the opportunity to progress to the next level of excellence (Gove and Vaizey, 2012. p.9) Great music educa.on is a partnership between classroom teachers, specialist teachers, professional performers and a host of other organisa.ons, including those from the arts, charity and voluntary sectors. For this reason the crea.on of a Na.onal Plan is necessary to help us to bring together all of this exper.se in a focussed way for the benet of children and young people across the country (Gove and Vaizey, 2012. p. 3) The above quota.ons summarise the key points within this plan. It outlines a need for high quality access for all young people, clear progression routes, joined up thinking and shared knowledge across all professions and art forms.

 The na.onal plan iden.es current issues within music educa.on and oers advice and vision in overcoming boundaries within: Music Educa.on Hubs Leadership and Partnership Young People s Progression Routes

Music Educa.on Hubs

Gove and Vaizey, 2012. (p.10)

The hub is a structure that aims to augment and support teaching in schools, transcending the opportuni.es provided. A hub will provide a range of exper.se in music educa.on and the arts through organisa.ons such as music services, local orchestras, bridge organisa.ons and arts partners. The range of partners within the hub should reach beyond school boundaries and cater for each child s musical needs, driving their progression. They will help drive quality of service, with scope for improved partnership working, be^er value for money, local innova.on and greater accountability. They will facilitate improved skills among music educators through professional development and quality leadership to harness produc.ve local rela.onships. They will support the music educa.on core roles that every child has the opportunity to learn an instrument, play in an ensemble and sing regularly to facilitate progression.

Partnership and Leadership

Gove and Vaizey, 2012 (p.25) The plan highlights how schools are normally the rst to open up musical opportuni.es but nd it dicult to develop these on their own. Strong partnerships and dialogue between schools and hubs means be^er opportuni.es for talented young musicians. The plan highlights key principles for eec.ve partnership (p.25), a recurring theme is communica.on between young people s needs, the school s recogni.on and the music hub s provision. Hubs will act as the key leaders. One of their roles will be a regular needs analysis audit across all young people and schools within their area, looking at the range of opportuni.es and resources and see how well they t with all pupils. In this ac.vity they must carefully consider poten.al barriers. For example, hard to reach children (NEETs, SEN, those in pupil referrel units), those that cannot aord music tui.on. How will hubs engage across the spectrum? The government persuades hubs to act on their local context. There is currently no set structure for a music educa.on hub as each will individually adhere to the needs of their unique community.

Hubs will support young people s music through: Early Years First Access A diverse range of musical specialists Ensembles and choirs in schools Area ensembles which are progressive and not one-o Singing strategies in and out of schools Partnership as their core, pooling arts and educa.on based resources Encouraging a progression from local to regional and then na.onal excellence. For example, advoca.ng na.onal schemes such as Music and Dance, Music for Youth, Na.onal Youth Music Organisa.ons eg. Na.onal Youth Orchestra.

Young People s Progression Routes Gove and Vaizey, 2012. p.18

Young People s Progression Routes

Gove and Vaizey, 2012, p.18

Primary educa.on focuses upon fostering a child s interest in music whereas secondary educa.on aims to develop that interest.

Na'onal Plan for Cultural Educa'on

Gove, M. and Vaizey, E. (2012) Cultural Educa'on in England: The government response to Darren Henley s Review of Cultural Educa'on. Department for Educa'on. Crown: London.

Enjoying and par.cipa.ng in cultural life should be available to all children and young people: it must not be restricted to those children whose families already par.cipate in cultural ac.vi.esno ma^er what their background or family circumstances they should have the opportunity to develop their crea.vity, their rela.onship with society and to contribute to the economy in ways that are benecial to them as individuals (Gove and Vaizey, 2012. p.2)
The essence of this report is captured above. It has come about in a
similar way to the Na.onal Plan for Music Educa.on. The government s response to Darren Henley proposes 24 recommenda.ons. Some of these include closer partnerships with schools and cultural organisa.ons, qualica.ons for cultural prac..oners, training for teachers to promote culture and industry and a Na.onal Schools Culture Week.

It holds a great emphasis on local partnership working (similar to hub structure) and cross-disciplinary educa.on.

Arts Council
Arts Council England (2012a) Music Educa'on Hubs: Prospectus for Applicants. Department of Educa'on. ACE:London.
Clearly denes roles of the hub outlined in the Na.onal Plan. It looks at partnerships; a combina.on of schools, na.onal/regional/local music organisa.ons, bridge organisa.on, NPOs Youth Music Funded Organisa.ons, revealing the need for joint work and anity. Hubs are required to carry out an audit of needs and also consider how they will engage schools and young people, provide a variety of opportuni.es for young people and ensure clear progression routes. Hubs are encouraged to pool resources in order to gain value for money. Hubs should demonstrate leadership through strategic planning, managing partnerships, engaging schools, being nancially sustainable, monitoring work, promo.ng equality. Hubs should consider what each partner brings to the table and have a quality assurance approach, ensure the programme is accessible and inclusive.

Arts Council England (2012b) Music Educa'on Hubs: DraX rela'onship framework.
This report oers advice for monitoring music provision within a hub. It suggests benchmarking against key performance indicators such as; responding to local needs, engagement with schools, rst access, singing strategy, progressions, curriculum support for teachers, hire scheme, nance and impact statements.

Arts Council
Arts Council England (2012c) Music educa'on hubs: Partnership working advice sheet. ACE:London.
Key principles for eec.ve partnership include; trust, goodwill and commitment amongst members, clear objec.ves, alignment with local context, being inclusive of individual skills and knowledge, recognise that all partners contribute to success, regularly asses progress, review and govern whether the partnership is mee.ng it s full poten.al. This document also denes that a hub is both a collabora.on and a legal partnership. Firstly, a collabora.on exists when people come together to pool their common interests, knowledge and skills to promote broader interests (ACE, 2012b. p.2). On the other hand, if a music educa.on hub is to be led by a legal partnership, you will need to decide which of your organisa.ons is to be the named lead in the rela.onship with the Arts Council and held accountable for the funding (ACE, 2012b. p.2).

Arts Council England (2012d) The rela'onship between the Arts Council and music educa'on hubs. Department of Educa'on. ACE:London.
The Arts Council hope to provide an ongoing dialogue and monitoring, with a commitment to termly contact with every music educa.on hub. It is a rela.onship that varies according to the risks of their investment They hope to give feedback to hubs on their risks, progress, achievement and best prac.ce.

Manchester s Cultural Strategy

Manchester Cultural Partnership (2010) Reframing Manchester s Cultural Strategy. Manchester City Council.

The strategy iden.es ves themes in it s cultural ambi.on:

Theme 1: Culturally Dis.nc.ve the Manchester experience must beconstantly improving its quality, challenging audiences, and forging a city-wide culture of innova.onwhich secures a cultural prole right across the world (Manchester Forward, 2009. Marke.ng Manchester) Theme 2: Community Inspired we want everyone to be part of the Manchester story (Manchester Forward, 2009. Marke.ng Manchester). Theme 3: Crea.ve Investor an ambi.on aiming to a^ract investment through crea.ve business and tourism. A crea.ve content policy is being created to accelerate new digital content permea.ng enterprise, cultural fes.vals and community projects (Reframing Manchester s Cultural Strategy, 2010. p.23) Theme 4: Talent City to do be^er, Manchester will need to address simultaneously both the supply of skilled workers, and the demand from employers to use more skilled workers (MIER Main Report, 2009.p.14) Theme 5: Culturally Connected Manchester, past and present, has a dazzling variety of people, places, features, culture, events and achievements. These are rarely conveyed to local people, or to a na.onal and interna.onal audience (Reframing Manchester s Cultural Strategy, 2010. p.26)

Manchester s Cultural Strategy

Tandy, V., Barbour, L. & Elderkin, S. (2011) The Cultural Strategy Economic Impact and Job Crea.on. Manchester City Council.

In 2010, Manchester launched it s new cultural strategy Manchester s Cultural Ambi.on . It highlighted 5 key themes; Culturally Dis.nc.ve, Community Inspired, Crea.ve Investor, Talent City, Culturally Connected. The Talent City theme adheres most to this consultancy research. It aims to make the city one of the worlds top ten ci.es for nurturing, a^rac.ng and retaining crea.ve economy talent, whilst making it a centre for cultural and crea.ve economy skills training (p.24). The Cultural Strategy has also developed new employer engagement approaches to s.mulate entry level employment in the cultural sector which has led to the Crea.ve Appren.ceship cohort (p.27). It also notes that stronger work with schools and academies is needed to build links with the cultural sector and industry, to engage both young people and employers. The Strategy recognises the rich mix of opportuni.es within Manchester; Media City, the Sharp Project, Northern Quarter, University partnerships are to name a few. In conclusion, the strategy aims to provide pathways for further par.cipa.on and employment opportuni.es, work with the crea.ve sector to promote a work programme, target schools/higher educa.on/industry to develop rela.onships and partnerships with more joined up thinking.

Current Regional Situa.on

This sec.on will look at evidence regarding the North West s arts and cultural situa.on. It will look at: State of the Region report: a needs analysis commissioned by Curious Minds. Sta.s.cs regarding cultural engagement within the North West.

State of the Region

Curious Minds (2012) State of the Region 2012. This report consulted 450 people across the North West to nd out how young people could achieve more meangingful and long-term cultural engagement (Curious Minds, 2012, p.3) It iden.es no single solu.on or short-cut, but that a collabora.ve and cross- sector approach is needed (Curious Minds, 2012. p.3) Six common themes were iden.ed within this report: informa.on and communica.on, engaging young people, their families and the hard to reach, achievement and progression, quality, money and advocacy. Regional Prole The North West has many auent communi.es but the region also suers from pockets of high levels of depriva.on. Major ci.es have signicant arts investment and a rich mix of opportuni.es. There are large geographical areas which are considered neglected by arts funders (eg. Large rural areas of Lancashire) Cultural Tourism is becoming a useful investment tool a^rac.ng visitors and benerng those who live there. People hoped the Bridge would lead to a more visible, accessible, coherent and joined up oer of arts and culture for children, young people and their families (Curious Minds, 2012. p.6).

Some Barriers

Funding cuts to local authori'es has made it hard to implement long term meaningful strategies. Arts and cultural provision is either targeted to the council s priori.es or mainstreamed to get value for money, poten.ally resul.ng in young people missing out. Local Authori.es have less money to provide a youth service. This has been lled by the voluntary sector but osen a DIY approach. The Children s Services are oering arts educa.on services but they don t always liaise with Cultural Services. Arts educa.on is osen shunned by schools due to direct conict with the curriculum, budget demands, other priori.es (eg. Narrowing achievement gap between most and least well o children). Teachers believe current professional development for the arts is inadequate. Ar.sts believe teachers accept too low a quality of work within the arts. Building Schools for the Future Fund has provided fantas.c rehearsal spaces, however, Private Financing Ini.a.ves (PFIs) who funded the work charge rent. For the arts and cultural sector, a funding led approach is compromising vision. Some arts organisa.ons regard community/educa.on work as inferior. Sta redundancies due to cuts means a loss of communica.on with schools.

For young people, barriers to engagement in arts and culture can be nancial, logis.cal, psychological or a combina.on of all three (Curious Minds, 2012, p.10) Cultural opportuni.es have increased but par.cipa.on has remained sta.c, providing more ac.vity is not a solu.on. Young people perceive art and culture as eli.st , not for them or boring . They can also be afraid of new experiences or have a fear of failure. Young people had dierent views of technology, some said it enhanced access, others said it inhibited a sense of true community.

Some Solu'ons
The Bridge will work in partnership with colleagues in the educa.on and cultural sectors to raise aspira.ons and nurture crea.ve talent, promo.ng more accredita.on to steer progression. In dening quality provision the bridge will shine a spotlight on best prac.ce across the region and ask children and young people their deni.on of quality. Have the bridge help with consor.um funding between schools and organisa.ons, iden.fy funding opportuni.es. Advocate the work more, we dont share enough of what we do and what is possible for us (Curious Minds, 2012). Raise the prole of the work, showing the transforma.onal power of culture. For Local Authori'es; facilitate conversa.on between commissioners and cultural providers, a^end arts ocer network mee.ngs, raise prole of local authori.es championing arts and culture. For schools; signpost schools to opportuni.es, create forums for accessing schools en masse, work with schools to advise arts educa.on, create networks for schools commi^ed to cultural educa.on. Bridging the gap between schools and arts organisa.ons; create an informa.on service to schools and youth serngs working with arts and cultural providers, raise awareness of local cultural organisa.ons, support arts organisa.ons to tailor their needs to schools, create a website resource, support arts networks specically for teachers. For arts sector; develop capacity to achieve consor.um bids, give regular updates on educa.on policy, get informa.on to the right places through social media and marke.ng, support best prac.ce/ advocacy/awareness, create a resource pool of arts organisa.ons to share knowledge, involve young people in networks. Curious Minds aim to help through networking, partnership, communica.on, engagement (for young people and families) progression, quality and advocacy.

DCMS (2010) Local Culture and Heritage Prole for Manchester. CASE: Cultural and Sport Evidence Programme Sta.s.cs for a^endance in the arts between 2008 2010: As a popula.on 45.2% a^ended an arts event, 26.6% par.cipated in an arts event, overall 340.3% engaged in the arts. (Overall, females were more higher engagers than males) For 16 19 year olds 42.4% a^ended an arts event, 32.4% par.cipated in an arts event, overall 36.7% engaged in the arts. In terms of a^endance and engagement, Manchester is on a par with Norngham, Newcastle and Liverpool with Norngham slightly bea.ng it for engagement and Liverpool slightly ahead for a^endance. Within educa.on par.cipa.on in art and cultural GCSE subjects, the most common were Art & Design and Design and Technology, Music was the lowest. Within educa.on par.cipa.on in art and cultural Higher Educa.on subjects. Music featured higher, design studies was s.ll the most popular.

Sta.s.cs

Manchester Cultural Strategy Sta's'cs

Tandy, V., Barbour, L. & Elderkin, S. (2011) The Cultural Strategy Economic Impact and Job Crea.on. Manchester City Council.
Na'onal Impact The na.onal industry level research demonstrates how the crea.ve sector is now a major contributor to the UK economy: It accounted for 5.6% of Gross Value Added (GVA) in 2008 The sector has grown by an average of 5% per annum between 1997 and 2008 compared to an average of 3% for the whole economy over this period. In 2010 crea.ve employment totaled 2.3 million jobs. Exports from across the crea.ve industries are worth 16 billion annually to the UK economy, 4.3% of all goods and services; There is strong evidence that the UK had developed a leadership posi.on within Europe with the UK having a 60% share in exploi.ng digital content. While growth is driven by digital content, there has been signicant growth in other sectors including performing arts, visual arts and design. Employment is expected to increase by 32% over the next ten years. Regional Impact Regional industry research demonstrates the growing impact of the sector: In the North West the share of GVA from digital and crea.ve industries is 9.3%. The sector employs 320,000 in the North West.

State of the Region Sta's'cs Curious Minds (2012) State of the Region 2012.
Some sta.s.cs for Manchester City and Greater Manchester regarding art and culture, young people and depriva.on. There are 650,200 0-19 year olds (39% of the region) living in the Greater Manchester area. 25.6% of under 16s are living in poverty. Areas with the highest NEETs are Manchester City, Oldham, Rochdale, Bolton and Wigan. It is 4th in the Index of Mutliple Depriva.on (out of 39 ci.es in total) Cold Spots for art and culture are: Wigan (20th), Salford (30th), Rochdale (37th), Bolton (53rd), Tameside (61st), Oldham (63rd). Artsmark is present in 229 serngs. The percentage of organisa.ons with artsmark in the North West is 20.6%. Within Manchester itself this is 18.3%. In comparison Liverpool holds 29.3%. For Arts Awards the North West average is 0.18%. Manchester meets this average at 0.18%. Liverpool are slightly higher at 0.24%.

Prac.ce
This sec.on will acknowledge current prac.ce through: Looking at other city centre music educa.on hubs across England Considering infrastructural models Highligh.ng current progression routes for young musicians on a regional and na.onal level

Hubs in other Ci.es

Birmingham

The circled areas are the music educa.on hubs in and around the city of Birmingham. The city centre hub is Birmingham Music Educa.on Partnership.

Birmingham Music Educa'on Partnership

Formerly: Birmingham Music Service Partnership Organisa'ons: Quench Arts, Ex Cathedra. (li^le informa.on regarding partners!, could run as independent music service) Funding: 4million (not sure if relevant) Bridge Organisa'on: Arts Connect West Midlands Arts Connect are proac.ve in connec.ng young people, schools and communi.es with arts and culture. Their ini.a.ves include:
Culture Net: a website that presents informa.on about cultural engagements for young people, key providers of arts and culture, various schools and learning serngs, poten.al sources of funding, data for strategic planning (engagement/demographic), a who s who of arts and culture in the region. Arts Connect Hub Schools Network: this network of West Midland schools meet four .mes a year. They advocate arts and culture in young people s lives and access a range of benets such as; links with leading professional arts prac..oners, directly inuence arts and culture for local young people, network with other schools to build a joined-up infrastructure, join consor.um bids for sustainable funding. Priority Five: a pilot ac.on research project exploring ways of engaging young people as decision makers within the West Midland s arts and cultural services. Con.nuing Professional Development for teachers who are less experienced within the arts. Artsmark and Arts Award: they are ac.vely encouraging these awards to raise the prole of the arts within this area.

Liverpool

The circled areas are the music educa.on hubs in and around the city of Liverpool. The city centre hub is Resonate Music Educa.on Hub.

Resonate Music Educa'on Hub

Formerly: Liverpool Music Educa.on Hub Partnership Organisa'ons: Notre Dame Catholic College (lead partner), Liverpool Music Support Service (music service), Royal Liverpool Philharmonic Orchestra, Liverpool City Council and Crea.ve Universe. Funding: 1.5million (not sure if relevant) Bridge Organisa'on: Curious Minds Each partner brings various exper.se to the hub.
Royal Liverpool Philharmonic Orchestra: leading arts prac..oners Liverpool City Council: strategic knowledge Crea.ve Universe: a produc.on and consultancy company delivering bespoke arts projects Notre Dame College and Liverpool Music Support Service: delivery of dailing music training through teaching and ensembles.

Resonate also has a network named Liverpool s Family of Schools, keeping them closely aliated with local authority schools. The hub also oers CPD training for teachers. Including an online learning resource for pupils and teachers.

Newcastle

The circled areas are the music educa.on hubs in and around the city of Newcastle. The city centre hub is Music Partnership North.

Music Partnership North

Formerly: Separate music services and arts organisa.ons Partnership Organisa'ons: Newcastle City Council Music Service (lead), Northumberland City Council Music Service, The Sage Gateshead and Newcastle College. Funding: 1.8million (not sure if relevant) Bridge Organisa'on: The Sage Gateshead The hub works in associa.on with other local hubs (Darlington and Gateshead & Tyneside), widening the oer of high prole events to them. Their list of ac.vi.es and events cater for all ages and abili.es. The hub also oers online resources and no.es courses/training for teachers. The Sage Gateshead are implemen.ng a regional partnership aligning all the North East music hubs. It will aid regional strategic work and also progression routes through a regional symphony orchestra. The Sage Gateshead promotes youth engagement through events such as Everyone Deserves Music: Community Music Symposium . The Sage are instrumental in strategy and funding, although Newcastle and Northumberland music services are also ac.ve in securing addi.onal funding streams.

Sheeld

The circled areas are the music educa.on hubs in and around the city of Sheeld. The city centre hub is Sheeld Music Service.

Sheeld Music Service

Formerly: Sheeld Music Service Partnership Organisa'ons: Local and regional partners. Responsibility and leadership is solely upon Sheeld Music Service. Funding: 1.8million (not sure if relevant) Bridge Organisa'on: CapeUK Sheeld s hub bid was no.ed as an example of best prac.ce by the Arts Council. The hub has an interim board which is made up of music and educa.on professionals, young people and parents. They meet six .mes a year to aid decision making. They audit a needs analysis each year, run by Sheeld City Council it has specic music ques.ons which gain young people s views. The hub has implemented Sheeld Young Inspectors. This is set up to assist quality assurance but also to gain the views of young people. To aid communica.on between schools and the service they have set up the Champion Music Hub Schools Network. The City Wide Learning Body (CWLB) meet to discuss strategic decisions. The CWLB is made up of headteachers, governers and council representa.ves. CapeUK as the bridge organisa.on provide research, consultancy, professional development, partnership and networking.

Norngham

The circled areas are the music educa.on hubs in and around the city of Norngham. The city centre hub is Norngham Music hub. A similar set up to Manchester city centre hub then a greater suburban area.

No`ngham Music Hub

Formerly: Norngham Music Service Partnership Organisa'ons: Norngham Music Service (lead), Sinfonia Viva, Music for Everyone, Lakeside Arts and the Firebird Trust. Funding: 850,000 (not sure if relevant) Bridge Organisa'on: Mighty Crea.ves The Hub They work on a local and regional level, oering a wide variety of opportuni.es for young people including those that are hard to reach (musical inclusion). There are a number of CPD training and online resources for teachers across all music educa.on areas from early years to primary. There are a variety of opportuni.es for varying musical needs clearly adver.sed for young people. The hub appears to emphasise delivery rather than strategy which is les up to the bridge organisa.on. The Bridge Organisa'on Hear by Right Strategy: a best prac.ce guide for working with young people. Young Person s Charter: an ini.a.ve aimed to hear young people s opinions. Mighty Crea.ves other youth projects are somewhereto, journals project,our state of the arts, the bank of TMC and Arts Award. All are designed to hear their voices and raise the prole of arts and culture to facilitate engagement.

Summary of Other Hub Prac.ce

Delivery and strategy is shared between the hubs and the bridge organisa.ons in varying ways. Hubs or bridge organisa.ons are providing a schools network. All are providing CPD and training either through the hub or the bridge. Some hubs/bridges have carried out pilot studies to seek young people s opinions (Arts Connect Priority Five, Sheeld Young Inspectors). Hubs are crea.ng an interim board which represents each of their stakeholders. Sheeld s board contains music and educa.on professionals, schools, young people and parents. Each hub champions Arts Award and Artsmark in order to raise the prole of art in their area. Some hubs are linking up with other local hubs to create a regional oer, for example Music Partnership North.

Associate Model
In October 2012, Brighter Sound conducted six, 20-minute telephone interviews to inves.gate best prac.ce in Associate working. Desk based research helped select the sample and sectors were selected for their business diversity. 6 companies were selected from across commercial, cultural and charity sectors. The key ndings were: All operated their associate model with the principle benet(s) of increasing capacity and exper.se whilst controlling costs All recruited through recommenda.on (osen from exis.ng associates) with only two having open recruitment events Associates were universally inducted into company systems and processes and they were expected to operate within the brand values

Associate Model
An associate model best suits project-based service delivery All companies introduced Associates to the client at the brieng stage then monitored project progress through client/customer and Associate Feedback. Companies used Contracts, Assignment forms and Service Level Agreements to monitor performance. None used appraisal processes. Repeat Business was cited as the best indicator of Associate performance Associates were paid dierent rates according to the worth/ dura.on/exper.se required in contracts. Only one company (a charity) operated pay scales. Generally, Associates nego.ated their fees with the employer organisa.on.

First Access (age 5 14) Local: Early Years, Wider Opportuni.es, Music Tui.on (schools/services/hubs) Regional: El Sistema (Liverpool). Music Service Ensembles/Choirs. Big Sing. Na'onal: Music for Youth. Intermediate (age 8 16) Local: Music Tui.on (schools/services/hubs), one-o projects by arts organisa.on. Regional: Halle Harmony Orchestra. Music for Youth Regional Compe..on. Na'onal: Music for Youth. Advanced (age 14 19) Local: BTEC, Diplomas, GCSE and A Level courses. Service choirs and ensembles. Regional: Halle Youth Orchestra. Access Appren.ceships/Access to Music. Manchester City Council currently funding their Youth Contract through Job Centre Plus, crea.ng more appren.ceships in cultural sector to tackle NEETs. Na'onal: Na.onal Youth Organisa.ons, Music and Dance Scheme. Music for Youth Na.onal Compe..on. Crea.ve and Cultural Skills (CC Skills) Crea.ve Employment Programme. Crea.ve Appren.ceships (Youth Music/Future Jobs Fund). University courses in Music/Popular Music.

Current Progression Routes

Every child should have the opportunity to learn an instrument or sing at any age. Music Educa.on is a partnership between schools, music services, arts organisa.ons, teachers, music specialists, performers and managers. Hubs should be a combina.on of these stakeholders. A collabora.ve cross-sector approach is favoured. Hubs and bridge organisa.ons should advocate best prac.ce. An interest in music is implemented in schools and then augmented by hubs. Schools should be eec.vely linked up with local community arts ini.a.ves through networks and be well aware of progression routes for talented pupils. Music educators in schools should be well-supported with training and skills. Hubs should determine their music provision based on the needs of their local community (needs audit). Hubs combine a model of delivery and strategy to their discre.on. Young people should be at the heart of planning. Their opinions should aid quality assurance and decision making. Manchester has a wide, eclec.c mix of music and cultural provision. Manchester aims to become a city that nurtures and a^racts crea.ve economy talent through encouraging pathways to par.cipa.on and employment. Barriers to par.cipa.on include funding, schools conict with the curriculum, community spaces and child s reac.ons to new experiences.

Key Themes