Music Generation – Background to National Programme

BACKGROUND INFORMATION – MUSIC GENERATION

About Music Generation

Music Generation is Ireland’s National Music Education Programme that transforms the lives of children
and young people through access to high-quality, subsidised performance music education. 1 Initiated by
Music Network, Music Generation is co-funded by U2, The Ireland Funds, the Department of Education and
Skills and Local Music Education Partnerships (LMEPs).

Music Generation was set up in 2010 by Music Network to establish infrastructure for performance music
education. Its genesis stems from the combined philanthropic support of U2 and The Ireland Funds to seed-
fund phased implementation of Music Network’s Feasibility Study Report: A National System of Local Music
Education Services.

During Phase 1 the programme was established in 11 LMEP Areas. 2 Phase 2 commenced expansion into 9
further LMEP Areas.3 In December 2017, Government announced its commitment to support the roll-out of
Music Generation nationwide by 2022, beginning with the establishment of 5 further areas. 4

Music Generation currently creates some 67,000 opportunities for children and young people to engage in
music tuition annually, generating more than 400 employment opportunities across a range of
artistic/managerial, musician and administration/support roles. For further information visit:
www.musicgeneration.ie

Policy, Research and Guidelines Documents:

 Music Generation National Development Office Strategic Plan 2016-2021

 Possible Selves in Music, Summary Report 2016

1
Music Generation focuses on the provision of performance music education – that is, the breadth of vocal and instrumental learning
in all genres and styles of music. This includes all pedagogical approaches and practices appropriate to particular musical cultures
and traditions, and is delivered by professional musician educators. Recognised by the Department of Education and Skills as non-
mainstream music education, performance music education complements and enriches – but does not replace – the mainstream music
curriculum provision of the formal education system.
Music Generation Strategic Plan, 2016 - 2021
2
Carlow, Clare, Cork City, Laois, Louth, Limerick City, Mayo, Offaly/Westmeath, Sligo, South Dublin and Wicklow
3
Cavan/Monaghan, Dún Laoghaire-Rathdown, Galway City, Galway County, Kilkenny, Leitrim, Roscommon, Waterford and
Wexford
4
Kerry, Kildare, Meath, Longford and Tipperary
 Music Generation Dublin City Framework Plan
SECTION 1: GENERAL INFORMATION
1.1 Local Music Education Partnership: Dublin City Local Music Education Partnership

SECTION 2: LOCAL CONTEXT FOR MUSIC

2.1 Provide a brief analysis of the general local context for music in your LMEP Area, including existing
music provision.

CONTEXT
Dublin is a thriving centre for culture and is home to a great musical tradition. It is home to a diverse range
of music performance and education opportunities, including schools and colleges, bands, choirs,
orchestras, traditional ensembles, festivals, youth services, recording studios and music/arts venues.

GENRES
All genres of music are active including contemporary, electronic, traditional, classical, rock, pop, folk, jazz,
opera, and musical theatre.

VENUES
Music is supported within schools, youth/community centres, and colleges throughout the capital. As well
as internationally renowned performance spaces there are a number of comparatively smaller venues
spread across the city.

MUSIC PROVISION
Based within the city are nationally recognised institutions such as the Technological University of Dublin
and The Royal Irish Academy of Music. Both act as partners in various projects within the Dublin City area
as well as their regular national music performance education remit.
In the target area of voice, significant provision is evident at all levels and age groups through local
providers such as schools, colleges, private tuition and community groups. These are supported by
professional, amateur and voluntary musicians across all genres.

STRATEGIC PARTNERS
As part of the application to Music Generation, Dublin City Council and the City of Dublin Education and
Training Board have facilitated the partnership of Technological University of Dublin, the National Concert
Hall, the Royal Irish Academy of Music and The Ark. This marks the first sustained collaboration by all these
groups, and the most concerted multi-agency effort to address music performance education in Dublin City.

 The Technological University of Dublin (TUD)

TUD Conservatory of Music and Drama is a conservatoire centre of excellence for education in the
performing arts, with performance-based study programmes in music from age 3 through to doctoral
study, an undergraduate programme in drama performance, and courses for adults. TUD covers the
broadest range of performing arts disciplines in Ireland with degree programmes in classical and Irish
traditional music, composition, musicology, music education, jazz, opera, drama and (in association with
partner colleges) rock and pop music, and film scoring. The Conservatory is currently in the process of
moving to brand new, purpose-built accommodation at TUD’s Grangegorman campus in North Central
Dublin. The TUD Ballymun Music Programme (originally the Ballymun Wind Band Project) grew out of a
‘Breaking the Cycle’ Initiative, funded by the Department of Education and Science and TUD in St Joseph’s
Primary Schools in Ballymun. The project was conceived to help combat socio-economic disadvantage and
also provide an opportunity for children to learn through the arts.

 The Royal Irish Academy of Music (RIAM)

The Royal Irish Academy of Music is one of Europe's oldest music conservatoires, specialising in Classical
Music and the Irish harp. It is located on Westland Row in Dublin. The institution offers tuition from age 4
up to doctorate level and is an associate college of Trinity College Dublin. The Teaching Staff includes
members of the Dublin based National Symphony Orchestra of Ireland and RTÉ Concert Orchestra. The
Academy also offers a wide-ranging Local Centre Examination System which offers examinations in classical
music and speech and drama. RIAM through partnership with other well-placed institutions has developed
sustainable music education outreach, such as the successful model with the National Concert Hall of The
Primary Ensemble Project. The RIAM has fostered successful relationships with local community-based
groups such as St Agnes’s CCMA.

 The National Concert Hall (NCH)

The National Concert Hall is a concert hall located on Earlsfort Terrace in Dublin, and is Ireland’s National
Cultural Institution for music, under the aegis of the Irish Government's Department of Arts, Heritage,
Regional, Rural and Gaeltacht Affairs. The National Concert Hall’s Learning & Participation programme
seeks to engage people with music, to enhance people’s understanding and appreciation of music and
music making, and to encourage personal, community and social development through music. Activities
within this programme include early years Mini Music, Rock Jam, Song School, AfriKaa, NCH Sing Out!
Community Choir, and the Primary Ensemble Project.

 The City of Dublin Education and Training Board (CDETB)

CDETB operates 23 schools and colleges (16 of which are Colleges of Further Education), 10
Youthreach Centres, an education service in seven Prisons, two Training Centres, 17 Local Training
Initiatives and an Adult Education Service. CDETB is responsible for CDYSB which provides youth work
services across the city of Dublin. Music services operate across this network. CDETB was part of the pilot
programme that contributed to the establishment of Music Generation.

CDETB Music Centre, Kylemore College has a staff of 32 music teachers, delivering vocal, instrumental,
theory and ensemble tuition to over 800 students. It has an extensive network of local partners, including
primary and secondary schools, Further Education centres (including Ballyfermot Rock School), community
groups (e.g. Familibase) and music organisations.

 Dublin City Council (DCC)

Dublin City Council supports performance music education at local level, through Area Offices and
Community sections (e.g. showcasing opportunities and instrument funding for St. Ultan's, Ballymun Music
Programme and St Agnes). City Arts Office offers further mechanisms for support : project Arts Grant
funding for youth services music programmes; 2019 working with the board of St Agnes’ Community Centre
for Music and the Arts on a Strategic Plan; North Central Area Office, Arts Office, and Northside Partnership
(Preparing for Life) collaborated on an Early Years musician in residence and CPD training initiative and the
Children’s Art in Libraries Creative Hubs initiative continues to support music programming for children;
annual showcasing initiatives such as MusicTown Festival and Cruinniú na nÓg offer opportunities for young
musicians to perform and collaborate; and a new Singing festival for 2021 is currently in research and
development. The Music Library (Central Library) stock includes scores, miniature scores, sheet music for
various instruments, libretti and sacred music, ensemble music with parts, First Notes collection as well as a
broad range of music magazines and academic periodicals. Users of Music Library services include
researchers, music teachers and students, musicians and writers, music societies, choirs and orchestras,
amateur musicians, serious music lovers and casual browsers. Two new free Creative Studios have been
installed in Ballyfermot library and can support small-scale recording of spoken-word and song in many
formats.

 The Ark
The Ark opened its doors in 1995 as the first dedicated cultural centre for children in Europe founded on
the principal of the right of all children to equal access to culture. Music has been a core part of The Ark’s
child-centred programme since the founding of the organisation and it is committed to bringing music
experiences of the highest quality to children aged 2 to 12. Their approach encompasses a rich range of
music of all genres and our programmes include innovative participatory and learning based programmes
as well as professional performance programmes, commissions and continued professional development
for teachers and musicians.

2.2 What gaps, areas of need and opportunities for links with existing music providers have you
identified in your research?

POPULATION PROFILE
The Dublin City Council area has a population 554,554, with 105,170 of those within the 0-18 age range
(2016 Census). The number of children/young people up to 18 per age profile is indicated below:

Age Profile Dublin City

35,000

30,000

25,000

20,000

15,000

10,000

5,000

0
0 to 4 5 to 9 10 to 14 15 to 18

PROVISION
Dublin City has 184 Primary Schools and 62 Post Primary schools, of these 246 primary and post primary
schools in Dublin City, 80 are classified as DEIS (Delivering Equality of Opportunity in Schools). While
schools may offer curriculum based vocal/instrumental programmes, and performance music tuition is
available in a number of settings (including music schools, youth projects and private tuition), it is clear that
only a fraction of the population cohort is being catered for, particularly at local level.
In the target area of voice, many schools offer extra-curricular activities in the form of choirs, musicals etc.
There are opportunities to participate in city wide singing activities (e.g. Emmanuel) and non-school based
youth choirs such as RTE Cór na nÓg and Dublin Youth Choir. Of 71 choirs listed on the Sing Ireland
database for Dublin, however, only 6 have a specific focus on youth, so there is huge potential for
development in this area.

There are 89 youth projects in Dublin City and 122 youth clubs, affiliated to the City of Dublin Youth Service
Board. In total, 30% from CDYSB Youth Projects participate in music at some level; however this is currently
ad hoc provision in a context of high socio economic disadvantage.

Observations:
 There is a limited amount of sustained instrumental/vocal performance education despite the
number of potential locations and groups.
 There is a general lack of partnership between school settings and private tutors/groups located
within each local area, and the DCLMEP bodies including DIT, NCH and RIAM.

BARRIERS TO MUSIC PERFORMANCE EDUCATION

As part of our 2017 application, The DCLMEP were able to generate information on the context of local
performance music education through the Expressions of Interest, Questionnaires and Town Hall Meetings.
The interest was expressed by:
 Primary & Secondary teachers/principals (both with and without music activity already)
 Music schools and cultural centres
 Community groups (choirs, bands, orchestras)
 Venue representatives involved in early learning or community music
 Private tutors (piano, clarinet, violin, drums)
 Composers & music technology facilitators
 Festival organisers and arts officers
 Library & youth centres

Information from these groups highlighted barriers common to all areas of Dublin City:

Socio-Economic Factors
 These included cost of fee-paying programmes, non-availability in particular areas, and transport
and travel issues

Organisation
 Private tuition and community groups are typically unconnected to a wider network, and largely
siloed in activity
 Prohibitive costs involved in sustaining provision and/or participation
 There is a deficit of advice/mentoring for voluntary committees in the areas of governance, music
development and sustainability.

Information
A deficit of information regarding:
 Local and city-wide musicians
 Local resources, for e.g. venues, services, and existing music provision
  Administration and legal compliance
 Potential musical and showcase collaborators
 Funding opportunities for ambitious commissioning/large scale performance

Musicians
 Difficulty in accessing quality assured musicians for consistent provision in a range of settings
 Lack of specialised tutors in specific genres
 Lack of specialised tutors in early years’ settings

Gaps in provision
 Existing music provision does not support the critical developmental phases of 3-6 and 10-15 year
olds.

Opportunities:
Addressing these issues, Music Generation Dublin will:
 Initiate a music performance education programme focusing on voice, to allow for the widest
possible access, relative to resources
 Establish connections with DCLMEP and other bodies to overcome identified issues regarding
organisation, information and resources, towards linked performance music education
programmes across the 0-18 age range
 Aim to develop the work of musicians through considered CPD programmes
 Align with Music Generation in the delivery of key local and national strategy objectives, (including
The Arts-in-Education Charter; Action 9 of ‘Creative Youth’ – ‘A Strategy to develop and extend
choral singing’; the summary findings of ‘Creative Ireland And Youth Singing in Ireland’ (Helen
Doyle, 2019); and the principles enshrined in ‘Possible Selves’.
SECTION 3: PROPOSED MUSIC PROGRAMMES - FRAMEWORK PLAN
Based on the gaps, needs and opportunities for links identified in your research provide a framework plan
for your LMEP Area.

3.1 What are your goals?

Explain how they respond in a strategic way to meeting local needs identified in your research.

DCLMEP Framework Plan

Introduction: DCLMEP Framework Plan
A Vision for Music Generation Dublin City
Goals of the DCLMEP Framework Plan
A Focus for the DCLMEP Framework Plan: The Voice of the Child/Young Person
‘Voice’: A Definition
Some Benefits of Group Singing
Sustainability
The Place of the ‘Voice’ in the DCLMEP Framework Plan for Dublin City

Introduction: DCLMEP Framework Plan

Socio-economic factors have the greatest effect on the cultural participation of children and young people,
alongside gender factors, in Ireland. 5 Middle-class, highly educated and higher-income adults are more
likely to engage in structured cultural activities that promote academic and social development. 6 Though
class and parental education play a part in cultural activities of children and young people outside of the
formal school curriculum, income remains the most significant barrier to participation. There also exists an
imbalance in the kinds of cultural participation that ‘promote cognitive and socio-emotional development
among children and young people’ in Ireland, which contributes to ‘inequalities in academic achievement’. 7
Of the 246 schools in the Dublin City Council area, almost one third are classified as DEIS, signifying that a
significant proportion of communities in the area are considered by the DES as being ‘at risk of
disadvantage and social exclusion’. 8 In order to determine whether a school will be granted DEIS status,
schools are assessed in terms of the socio-economic background of their student cohort. 9 Given the
absence of both sustained non-mainstream performance music education in over 80% of DEIS schools in
Dublin City and the limited amount of sustained and affordable music education provision outside of the
school environment, it is reasonable to suggest that a significant proportion of children and young people in
Ireland’s capital city are not engaging with high-quality non-mainstream performance music education.
Such absence of equal opportunity for participation in cultural and artistic life in Dublin City is an
infringement of Article 31 of the United Nations Convention on the Rights of the Child, which deals with
leisure, recreation and cultural activities:

5
Emer Smyth, Arts and Cultural Participation among Children and Young People: Insights from the Growing Up in Ireland Study (Arts
Council, 2016)
6
Emer Smyth, Arts and Cultural Participation among Children and Young People: Insights from the Growing Up in Ireland Study (Arts
Council, 2016), p. 95.
7
Emer Smyth, Arts and Cultural Participation among Children and Young People: Insights from the Growing Up in Ireland Study (Arts
Council, 2016), pp. 95, 98.
8
Department of Education and Skills < https://www.education.ie/en/Schools-Colleges/Services/DEIS-Delivering-Equality-of-
Opportunity-in-Schools-/>
9
Department of Education and Skills, ‘DEIS Plan 2017: Delivering Equality of Opportunity in Schools’, p. 17 <
https://www.education.ie/en/Publications/Policy-Reports/DEIS-Plan-2017.pdf>
 ‘States Parties shall respect and promote the right of the child to participate fully in cultural and
artistic life and shall encourage the provision of appropriate and equal opportunities for cultural,
artistic, recreational and leisure activity’.10

A Vision for Music Generation Dublin City

Given the socio-economic challenges to widespread participation in performance music education in Dublin
City, the Dublin City Music Education Partnership seeks to provide access to music performance pathways
on an inclusive basis to the children and young people of Dublin City, in collaboration with partners
throughout the city. Given the high level of disadvantage in Dublin City, children/young people who attend
schools that are designated DEIS status or equivalent will be prioritised initially in order to respond to the
growing inequality in music tuition.

Goals of the DCLMEP Framework Plan

In line with the values outlined in the Music Generation Strategic Plan 2016–2021 (Partnership, Access,
Inclusion, Diversity, Quality, Sustainability, Creativity), the DCLMEP has identified the following goals for the
DCLMEP Framework Plan:11
 Partnership: To create a sustainable partnership structure that will add value to local music
education providers in Dublin City
 Accessibility and Inclusion: To create a framework that enables affordable access to music
education opportunities for all children and young people in Dublin City
 Diversity: To develop a pluralistic approach to the performance music education programmes that
responds to the diversity inherent in the cultural activities of the city
 Quality: To identify models of good practice and to oversee quality assurance in the provision and
delivery of performance music education
 Sustainability: To develop a strategy that is based on co-operation, co-ordination, connection,
collaboration, and the harnessing of existing provision in order to achieve long-term, lasting
provision in Dublin City
 Creativity: To facilitate the development of innovative teaching, learning and assessment modes
that foster creativity and to facilitate an array of performance music education experiences for the
children and young people of Dublin City.

A Focus for the DCLMEP Framework Plan: The Voice of the Child/Young Person
In order to move towards the DCLMEP’s vision of providing access to music performance pathways on an
inclusive basis to the children and young people of Dublin City and to achieve the goals as outlined above,
the DCLMEP has chosen to place the voice of the child/young person at the centre of their framework.

‘Voice’: A Definition
In this proposal, ‘voice’ is used in the broadest way to designate group singing, whether in a formal or
informal setting; solo singing; and other types of vocal performance, such as rapping, vocal percussion,
beatboxing, spoken word, song writing, composition, inter- and cross-disciplinary art forms that include
vocal work. Primarily, DCLMEP advocates for the implementation of group singing initiatives in the initial
stage, but the individual voice of the child/young person and their interests will remain integral throughout.
In this way, by focusing on the ‘voice’, the Framework Plan also endeavours to include an array of genres
10
Children’s Rights Alliance, United Nations Convention on the Rights of the Child
<https://www.childrensrights.ie/sites/default/files/UNCRCEnglish.pdf>
11
Music Generation Strategic Plan 2016–2021, p. 10.
that can be accessed through the voice, including but not confined to singing. As the framework evolves,
there will be scope to extend the type of vocal activities so that the children/young people in Dublin City
can use their voice to take ownership of their own music education and choose activities that interest them
and that contribute to the emergence of their identity as a musician.

Fundamentally, the practice of good vocal technique for young singers crosses all genres. Therefore,
ensuring a solid grounding in healthy singing should be the first objective of a framework that places the
voice of the child/young person at its core. For this reason, the DCLMEP has chosen to focus on primary
years (approximately ages 4 to 12) through a group singing/vocal programme.

The Place of the ‘Voice’ in the DCLMEP Framework Plan for Dublin City
Given the equitability and accessibility of a framework for performance music education that is based on
the voice, in addition to the positive implications relating to wellbeing, increased cognitive and social-
emotional development, and the potential for large-scale deep and wide intervention that becomes
possible as a result of a programme based on singing, a focus on the voice of the child/young person in the
DCLMEP Framework Plan for Dublin City is justified. Over 60 DEIS schools in Dublin City do not have
sustained non-mainstream performance music education. Significant intervention is needed to afford the
opportunity of sustained high-quality performance music education to as many young people as possible in
the area.

Given the location of the programmes, in Dublin City with the range of cultural activities and partnership
expertise, there are a range of other particular progression and performance opportunities. These may
include Choral, bands, community music, third level and/or the broader arts.

Sustainability
Existing provision does not support the critical developmental phases of 3-6 and 10-15 year olds. These
transitionary periods, when children move between pre-school and primary school and young people from
primary to secondary, are of fundamental importance to the child. A framework that focuses on the voice
allows for these periods of transition to be navigated by the child/young person with the support of a
continuous vocal programme that is suitably flexible to adapt to the needs and interests of the child/young
person as they grow and develop. DCLMEP, therefore, is cognisant that linkage to both Early Years
Programmes and Teenage Programmes should occur as more Programme Strands are introduced. Although
DCLMEP has chosen to initially implement the singing programme at primary level, sustainability will be
achieved in Dublin City through the gradual and carefully monitored creation of incremental structures of
vocal performance music education, whereby the early years programme subconsciously develops the
fundamental concepts of music, which are utilised, presented and further developed through the
Singing/Vocal programme at primary level. The development of these concepts pave the way for a range of
vocal activities at secondary level that rely on the acquisition of basic musical understandings in order to
engage meaningfully and deeply on a musical level. By creating these deep progression pathways at local
level, children and young people will be encouraged to develop a musical skill set and understandings in
order to engage in vocal music in a multitude of ways and through many genres. The way in which these
skills are developed are only prescribed as through a model of group singing. Beyond this, it is at the
discretion of the musician, though the repertoire should be child-appropriate, both in content and in
musical challenge.

Sustainability will also be achieved when the local experiences are linked to regional and national
opportunities for increased music making. Structure 1 depicts a projected sustainable outcome of the
DCLMEP Framework Plan through the increased participation of children and young people in high-quality
experiences of choral singing. This is not the only projected outcome nor is it the only genre of singing that
would benefit from increased provision at local level, but a consideration of the genre of choral singing
allows for the consideration of the ways in which the programme strands of the DCLMEP Framework Plan
can facilitate progression from early years through to adulthood. Simultaneously, the structure also
considers the progression from local opportunities for singing to regional opportunities for choral singing
and, for some singers, this could also lead to participation in the national youth choir and training choir. As
stated previously, there is a vibrant amateur choral community in Dublin City and it is possible that the new
Artistic Director of the Irish Youth Choirs will be a leader in the creation of an interconnected and
interdependent structure of youth choral music for Ireland, thus bolstering the importance of local
opportunities for group singing.

However, the Framework Plan also allows for other group singing projects to be designed and
implemented. Particularly for young singers aged 12-18, there is the opportunity to split the Singing/Vocal
programme into a number of different vocal programmes that focus on different areas, including rapping
and beatboxing. As the fundamental musical concepts will have been experienced and developed through
the Singing/Vocal programme for primary-school pupils, these programmes should aim for high-quality
experiences that draw on and expand the vocal experiences of the young people. This allows for the
sustainability of the programme as the interests of young people change and develop, providing them with
the tools that they need to engage meaningfully in all genres of vocal music.

3.2 What programme strands do you propose to develop to deliver on these goals?
Indicate how they will add value, link to existing provision and achieve long term, sustainable outcomes for
children and young people.

Phase One:

Goals
 To engage children and young people in the Dublin city area; Phase 1 prioritise students who attend
DEIS schools in Dublin City
 To foster a sense of joy in the children and to facilitate enjoyable and rewarding experiences
 To facilitate a combination of participatory and presentational performance music education
through group vocal experiences
 (Long Term) To continue to practise and develop understandings of musical concepts introduced to
the children during the Early Years Programme, 2-3 years lead in
 (Long Term) To develop musical understandings and experiences that allow the children/young
people to participate in a variety of musical experiences at secondary level, 2-3 years lead in
 To embrace the student voice in design and delivery of the programmes
 To provide musical experiences that complement curricular learning, but do not replace it
 To engage musician educators who, through a range of CPD supports, provide high-quality vocal
performance music education

DCLMEP is proposing to focus delivery for children from areas of high socio-economic disadvantage through
DEIS schools by linking in with their School Completion Programme (SCP) cluster. This is in line with our
proposal to develop the child in a holistic way by bringing to each student, through our universal
programme, the benefits of singing and all vocal forms of expression to complement pastoral development
and inclusion. The SCP cluster is anchored in a DEIS Post-Primary school with a number of their feeder
Primary schools, which are also DEIS schools. These schools are connected in the SCP cluster and can thus
ensure the continuity and development of the project by following the students through their educational
journey. 

As part of our planning we noted a gap in provision at the younger primary school age and the teenage
years. Our proposal will aim to start at the younger primary school age and follow them through their
educational journey thus eventually addressing both age groups that currently display gaps in provision. In
addition, as part of this submission we examined provision in the School Completion Cluster areas around
Dublin City. In some areas provision is better than others and we decided to commence the project in two
areas of Dublin where current provision was lacking, piecemeal or absent. The two areas are Dublin 11 and
Dublin 17. 

Initially the programme will be based in: 

1. Finglas A SCP, Post-Primary schools are Colaiste Eoin, Patrician College and Mater Christi
Girls Secondary School and Primary schools are SN Naomh Feargal, St Joseph’s GHS, St Kevin
Barry NS, SN Finnian, St Brigid’s GNS, St Brigid’s JNS and Gaelscoil Ui Earcain
2. Coolock SCP, Post-Primary school is Colaiste Dhulaigh Post Primary and Primary schools are
St Francis JNS, Our Lady Immaculate JNS, Our Lady Immaculate SNS, St Francis SNS and St
Joseph’s NS. 
The programme will be initiated in the Primary schools listed above with the support of the SCP
Coordinator. All of the above schools participate in the DEIS programme which caters for students from
areas of high socio-economic disadvantage. Participation in the DEIS programme is a specific targeted
programme based on the needs of the students in the school which is based on financial disadvantage,
social disadvantage, and the educational engagement of the families. The students will predominantly
reside within the postal districts of Dublin 11 and Dublin 17. A number of the students will come from a
travelling background, a number will be of non-Irish origin and a number of the families will be coping with
significant financial and social deprivation. In addition, these schools have a higher than average incidence
of students with additional education needs and thus require additional supports in order for them to
experience success at school.

Participation in the universal singing/vocal programme proposed will connect the students with the school
and bring joy to the students. We recognise that students that are happy and enjoy school are more likely
to attend and engage with the school thereby improving their future opportunities. Connecting the
students as early as possible is vitally important to their success and the success of this programme and this
is the reason for commencement of the programme at the younger primary age. As this programme will be
a universal support and delivered to all students, it will promote inclusion and give students a heightened
sense of achievement, friendship and belonging. This is in addition to the personal benefits of singing which
include raising self-esteem, building resilience and confidence.

The programme will be given status and legitimacy through the involvement of the established music and
arts provision organisations such as the RIAM, the Ark, TU and the NCH. The expertise within these
organisations will be vital when designing the content of the programme for delivery. In addition these
organisations will be instrumental in securing the highest quality people to deliver the programmes; they
will provide venues for performance and they will provide the guidance around the quality assurance of the
programme that is delivered.
Following the successful implementation of these programmes the programme will be expanded both into
the post –primary schools of the above SCP clusters and also in primary schools of additional SCP clusters
within the boundaries of Dublin City Council electoral area where there are gaps in provision. The pace of
this expansion will be determined by the continuous analysis of the initial programmes by the Music
Generation Development Officer, under the guidance of the expertise within our management partnership. 

The Successful Programme

A successful Singing/Vocal Schools Programme would see every student in a school developing the basic
musical concepts through an active engagement including with singing and other vocal genres, including
rap and spoken word. As these concepts are developed through performing, they are being complemented
by the work of the classroom teachers as they deliver the Primary School Curriculum. There is an
opportunity for students to also engage in an after-school choral programme. The successful programme
produces high-quality performances and high-quality learning opportunities both within the school and as
extra-curricular activities. As the students move to secondary school, they are sufficiently equipped with
the skills, understanding and competences, all acquired through vocal performance music education, to
engage in a range of multi-genre programme meaningfully. In a successful Singing/Vocal Schools
Programme, the students enjoy the deep learning that is taking place, facilitated by an expert musician-
teacher, and supported by the generalist classroom teacher. Connections would be created between
schools and the partnership network. In addition, the students would be able to take part in regional and
national opportunities for music-making through the development of their musicianship.

Description
The programme is a whole-school programme for primary schools that offers incremental tuition in music
through group vocal activities to all pupils in the school. By engaging the pupils in singing and vocal
activities during the school day on a class-by-class basis, every child in a designated school receives a high-
quality performance music education through vocal tuition, which is not parent/guardian dependent. This
mode of performance music education (PME) is essentially participatory but may move towards a
presentational approach in preparation for a performance. This aspect of the programme should be led by
a musician who co-teaches with the primary school teacher. While the purpose of the programme should
not be curricular, it will inevitably reinforce the learning that is occurring during curricular music lessons.
Repertoire used in the programme can reinforce concepts that have already been presented to the
students and the classroom teacher will be an invaluable source of advice for the musician in relation to the
children and their understandings and skills. Furthermore, as implementation of the whole-school model
progresses, the programme in each school can expand to include creative vocal composition and song
writing.

Whole-school tuition offers access for all and progression pathways for some children through ‘opt-in’
aspects of the programme. In addition to the tuition that takes place during the school day for all students,
students can opt into an after-school choral programme that challenges the singers to engage in
presentational performance music education. This aspect of the programme should encompass
children/young people from all year groups in the school (or a number of different groups if the need
emerges).

Rationale
The benefits of whole-school instrumental programme in the Irish context have been documented. The
National Concert Hall Primary Strings Project report concluded that the project, which comprised group
lessons and was rolled out in twenty primary schools, had many positive impacts on ‘children, their parents
and the community’, including ‘improved concentration, self-esteem and team working skills’. 12 In the early
stages of music tuition for children, instrumental programmes that are based on group tuition ensure the
acquisition of skills and knowledge at a comparable rate to individual or small-group settings. 13
Furthermore, the benefits extended to the school teachers, offering them opportunities for continuous
professional development that has improved their teaching skills in primary music activities. 14

However, there are significant costs associated with the provision of instrumental music tuition, namely but
not exclusively the costs of providing instruments and their upkeep. Furthermore, while there is likely to be
shortage of professional instrumentalists in the capital city, the training and mentoring that is required for
professional instrumentalists to be able to deliver effectively a group-teaching model is both time-
consuming and costly.

It has not been possible to identify an educational situation in which the whole-school tuition model has
focused only on vocal tuition. In many instances, singing occurs within a whole-school tuition model as a
way to develop basic musicianship before progressing onto instrumental tuition. There is a gap in music
education literature regarding performance music education that is exclusively concerned with vocal
tuition. However, DCLMEP believes that the model of whole-school instrumental tuition is transferrable to
vocal tuition, specifically the application of the principles of the NCH Primary Strings Project (PSP) as this
was created for the Irish context.

Key Partners
The success of such a project will require a partnership between the following people who should have
clearly defined roles (in addition to partners at philanthropic level and national level):

DCLMEP
Coordinator/Music Development Officer (MDO)
School Principal – The key contact for the Coordinator/MDO
Home School Community Liaison Officer – The active engagement of this person ‘resulted in ownership of
the school programme’ in the case of the PSP
Musician Educators – A vocal tutor who ‘possesses a combination of a vibrant musician identity and strong
educational skills’15
Classroom Teachers – A generalist primary school teacher who teaches the class group and therefore can
ensure a child-centred approach that caters for the diverse needs of each child
Children/Young people – They remain at the centre of the Singing/Vocal Schools programme
Parents/Guardians/Other family members in caregiving roles

Links to other Programmes and Sustainable Outcomes for Children and Young People
Although the programme will be the first initiative that DCLMEP focuses on, DCLMEP is cognisant of
creating links with the other programmes as they emerge. The initial programme will continue to practise
and develop understandings of musical concepts introduced to the children during an Early Years
Programme, when it is introduced. The programme should also link into a diversity of programmes at
secondary level (ages 12–18) that allow for a broader interpretation of the voice. The musician educators
can choose a wide-ranging vocal repertoire at primary level, prioritising the development of musical

12
Dorothy Conaghan, National Concert Hall Primary Strings Project: 2007–2013 Report (2013), p. 9.
13
Federation of Music Schools (UK), Annual Report, 2011–12
14
Dorothy Conaghan, National Concert Hall Primary Strings Project: 2007–2013 Report (2013), p. 10.
15
Music Generation Strategic Plan 2016–2021, p. 11.
concepts and performance opportunities, rather than any particular genre of music. This multi-genre
approach will provide the pathway to rich experiences at secondary level. However, the Singing/Vocal
Schools programme is crucial for this as it develops fundamental musical understandings and experiences
that allow the children/young people to participate meaningfully in a variety of musical experiences at
secondary level.

The DLMEP has chosen to engage with schools in School Completion Clusters for the initial implementation
of the initial Programme. The close relationship between secondary schools with DEIS status and their
feeder primary schools should facilitate the transfer and development of the programme from the primary
schools’ Singing/Vocal Schools Programme to the diversity of programmes at secondary level. This also
acknowledges the potential for the initial vocal Programme to positively impact on school retention rates.
The provision of after-school activities has been acknowledged as an effective ‘targeted’ preventative
measure in addressing participation, attendance and retention of students who are at risk of early school
leaving.16 During the first two to three years, students will develop core musical skills at primary level
through a vocal programme, which will facilitate them to engage in a range of activities at secondary level.
School principals will be key partners in the transition and transformation of the programme from the
primary school to secondary school.

In addition, extensive experience and opportunities for pathways and links can be accessed through the
partnership network in CDETB, DCC, The Ark, RIAM, NCH and Technological University.

Furthermore, it will be possible to link within this programme as musicians can organise collaborations with
other schools. If one musician works in a number of different schools, they can bring their schools together.
Alternatively, it should be possible for them to collaborate with other musicians working in different
schools.

Participatory experiences such as ‘festive celebratory happenings’ could be organised, bringing together a
number of Singing/Vocal Schools. For the Singing/Vocal Schools’ after-school choirs, opportunities for them
to present to audiences should be frequent. Links with the partnership network would be valuable here.

Musician Educator Continuing Professional Development for the Singing/Vocal Programme

Quality assurance can be achieved through CPD opportunities for the musician educators who are
responsible for the programme. The musician educators should learn how to work as artists and music
specialists in participation with the generalist classroom teacher. The musician should acquire classroom
techniques, an understanding of child development, pedagogical skills, a familiarity with a range of
methodologies, and skills specific to the group singing programme: healthy vocal technique and how to
encourage this in young voices; advanced musicianship and how to develop an understanding of musical
concepts with children; conducting skills and the associated skills of score preparation, gesture, choosing
repertoire; arranging and composing. Although the repertoire of the Singing/Vocal Schools Programme
should be bespoke for each school participating, the underlying methodology and philosophy of the
programme should be shared in order for the programme to be transferable between schools and for
secure progression from the primary school to the secondary school, which increases the sustainability of
the programme.

16
Emer Smyth, Joanne Banks, Adele Whelan, Merike Darmody and Selina McCoy, Review of the School Completion Programme,
Research Series Number 44 (Economic and Social Research Institute, 2015), pp. 17–19.
CPD should be delivered by highly trained vocal music education facilitators who have experience of
working in the Irish context. Working with young voices demands a deep knowledge on the part of the
musician educator not only of their own instrument but also of the potential and the possible issues
associated with young voices. It is crucial that the music educators approach their work with a deep
understanding of how to care for the development of young singers. Music Generation Offaly Westmeath
facilitated a comprehensive CPD programme primarily based on the philosophy and teaching tools of Zoltán
Kodály. This is one possibility for the Singing/Vocal Schools Programme. This ensures that there is
replicability should there be a turnover of staff.

The Successful Singing/Vocal Programme

A successful Singing/Vocal Programme would see every student in a school developing the basic musical
concepts through an active engagement with group singing, including rap, spoken word, and other vocal
genres. As these concepts are developed through performing, they are being complemented by the work of
the classroom teachers as they deliver the Primary School Curriculum. There is an opportunity for students
to also engage in an after-school choral programme. The successful programme produces high-quality
performances and high-quality learning opportunities both within the school and as extra-curricular
activities. As the students move to secondary school, they are sufficiently equipped with the skills,
understandings and competences, all acquired through vocal performance music education, to engage in a
range of multi-genre programme meaningfully. In a successful Singing/Vocal Programme, the students
enjoy the deep learning that is taking place, facilitated by an expert musician-teacher, and supported by the
generalist classroom teacher. Connections would be created between schools and the partnership network.
In addition, the students would be able to take part in regional and national opportunities for music-making
through the development of their musicianship.