1. MyHub Consultation Final Report

7/27/2019 1. MyHub Consultation Final Report

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MyHub Consultation Report / June 2013

Brighter Sound: MyHub Consultation on behalf of Manchester City Council 2013

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Contents

03 Executive Summary

10 Methodology

14 Findings by Stakeholder Group

15 1. Children & Young People21 2. Schools29 3. Music Workforce39 4.

Music & Arts Organisations48 5. Music Industry

53 6. Funders60 7. Additional Research SummaryAppendices (as electronic attachments)

AP1 Additional Research Policy and Practice

AP2 Questions Matrix

AP3 Presentation


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Executive Summary

Consultation Commission

Brighter Sound was commissioned by Manchester City Council (MCC) in Spring2013 to consult with young people and the music & music education sectors in

Manchester, and record experiences and opinions around: The music offer for young people in Manchester MyHub (the Manchester Music Education Hub) and The ideals that underpin MyHub, specifically:

- A young person centred offer- Access to the highest quality offer for all children and young people- Clear progression routes

MyHub

MyHub is Manchesters Music Education Hub, part of a national initiative introducedby the government in response to Darren Henleys National Plan for Music

Education.

Funding for MyHub is provided by Department of Education and administered byArts Council England. Manchester City Council is the Hub lead organisation for the

city.

Over the course of the initial Hub funding period (August 2012- March 2015), MyHubwill receive a total of 2.345 million. Between 70-75% of this money is devolveddirectly to schools for instrumental and vocal tuition with the remainder used tocommission One Education to carry-out various activities including quality assuranceof tuition, data collection, running the cross city Music Centres and partnershipdevelopment.

The partners on My Hub's Strategic Group are Manchester City Council*, One

Education, with voluntary representation from Brighter Sound and the Royal

Northern College of Music. Manchester Schools are represented on MyHub'sMonitoring and Advisory Group, providing both oversight of the commissioneddelivery and strategic input.

*Directorate for Children and Commissioning and Community and Cultural Services


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Some background information on the members of the strategic group and the work

they already do in Manchester:

One Education Music works in 97% of Manchesters Schools and academies,teaching over 11,000 young people every week. They are also commissionedto deliver the Music Centre Programme. This is delivered at 3 large MusicCentres and 6 sub centres across the city. 700 young people attend activitiesevery week in term time.

RNCM is a leading international conservatoire for undergraduate andpostgraduate students, and brings 400 performances per year to the city.RNCM is open to Manchester's musical community to hire and use its space.

Brighter Sound specialises in working with children in challengingcircumstances and those outside mainstream music provision, working withover 13,000 young people in Greater Manchester since being founded in2000.

Manchester City Council is a major investor in Manchester's cultural offer,with support for organisations, festivals, events and infrastructure provided to

assist the growth and success of the city's cultural sector.

The aim of the consultation process

Our aim was to gather intelligence and produce a report to:

1. Inform MyHub's strategy, based on the wider aims of Manchesters CulturalAmbition Strategy and the National Plan for Music Education

2. Identify new opportunities, areas for development, evident gaps in provision3. Capture the breadth of Manchesters musical offer4. Build a clearer picture of musical access & progression routes for children and

young people in the city

We focussed on identifying the potential for MyHub so that an action plan could be

created to enable MyHub to meet the ambitions and needs of its stakeholder groups.Questions were written that reflected a standard action-focussed approach: Whereare things now, where could they be, what can be done to move between the two.

We consulted with a range of stakeholder groups, which we believed wererepresentative of all those with a direct interest or stake in the music offer for youngpeople in Manchester, namely:


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- Children and young people

- Schools- Music education workforce (peripatetic and freelance music practitioners)- Music & arts organisations (funded)- Music industry (non-funded organisations and companies)- Funders

(More details in Methodology section)

Summary of findings

While there was a broad range of responses to the set of questions we posed(Appendix AP3), there were some clear themes that emerged across the stakeholdergroups. We have summarised these as follows:

Emerging Themes

1. DiversityFrom offering and supporting a diverse offer of musical provision, to advocating it.Different genres, pedagogues and approaches to reaching YP all need to be atthe core of the offer.

2. ProgressionMeaningful pathways for pursuit of music in and out of school, includingperformance opportunities and access to industry have been a constant theme.Parts of the sector are currently more engaged than others, rectification of which

would go some way to achieving what is needed.

3. InnovationMyHub is in a very strong position to innovate and lead its field its positionwithin and links to Manchesters infrastructure, opportunities to broaden culturalreach, and potential around working models all contribute to this

4. ConnectivityThe scope and potential of MyHub's connections within the city (whether they

exist yet or not) gives the offer something unique if properly harnessed. The wayin which MyHub manages these relationships and works in partnership with itsstakeholders is key to success. Finding ways for communication to work in all


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directions would greatly benefit the service and the ownership amongst

stakeholders.

5. GovernanceThe factors around how MyHub connects with its stakeholders acrossManchester and possibly beyond need to be considered. Ideas including settingup an independent trust, an association or merging with Greater ManchesterMusic Education Hub (GMMEH). These issues have been raised a number oftimes as well as the mechanism of delegating money to schools (via MCC).

There is also increasing evidence to suggest increased government emphasis onpartnership, hard evidence, diversity of funding amongst other priority areas willneed to influence MyHubs strategy to maximise its impact.

6. CommunicationThe identity of MyHub, and its offer need to be communicated strongly tostakeholders, using methods appropriate to each stakeholder group in order to bemost effective.

As part of our consultation we commissioned desk-based research into the national

policy perspective on the subject of music education, bringing together the keymessages and directives from sources including

National Plan for Music Education National Plan for Cultural Education Arts Council England: working with music hubs Manchester City Councils Cultural Strategy

Together with statistics and data published by:

Curious Minds State of the Region Cultural Learning Alliance Youth Music DCMS

In comparing the themes evident in research from stakeholders in Manchester, it isinteresting to look at a very brief summary of findings from this national & policy

perspective:

Key themes from national research


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Every child should have the opportunity to learn an instrument or sing at any age. Music Education is a partnership between schools, music services, artsorganisations, teachers, music specialists, performers and managers. Hubs

should be a combination of these stakeholders.

A collaborative cross-sector approach is favoured. Hubs and bridge organisations should advocate best practice. An interest in music is implemented in schools and then augmented by hubs. Schools should be effectively linked up with local community arts initiatives

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 discretion. Young people should be at the heart of planning. Their opinions should aid

quality assurance and decision making.

Manchester has a wide, eclectic mix of music and cultural provision. Manchester aims to become a city that nurtures and attracts creative economy

talent through encouraging pathways to participation and employment. Barriers to participation include funding, schools, conflict with the curriculum,

(lack of) community spaces and issues associated with reactions to newexperiences found in children.

It is apparent that themes from national and regional research, and aims outlined inpolicy documents created by local and national government and key funding andstrategic organisations mirror the themes that emerge from the stakeholders on theground. Both sets of perspectives, and both sets of aspirations converge on a

consistent set of principles, barriers, opportunities and objectives that can inform andstrengthen the future development of the Hub.


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From the Emerging Themes we developed a set of recommendations, which we felt

would most effectively help MyHub to respond to the feedback received bystakeholders.

Suggested Recommendations

1. Take the opportunity to be a leader in the field, galvanising the sector.2. Communication increase visibility and profile of MyHub reflecting Manchesters

worldclass offer.3. Expand partnership working develop high quality strategic partnerships across

the whole sector (including the music industry).4. Governance and Structure consider different options. E.g. An Associate model /

Trust. Build and define the relationship with the GMMEH (Greater ManchesterMusic Education Hub).

5. Consider cultivating a wider cultural offer. Can MyHub own and lead the keynational question?

6. Further develop a strategic overview of progression routes in the city. Developstrategies to build provision in the identified gaps.

7. Create a broader interface between schools and the citys music offer to enableCYP to access its diversity and quality.

8. Increase opportunities to share practise and CPD within the sector. e.g. acrosspedagogies and music genres. Improving quality and understanding.

9. Consider Talent spotting mechanisms and bursaries.10.Review the policy of delegating funds to schools.11.Ensure that MyHubs work is based on a rigorous needs analysis and is relevant

and evidenced12.Develop a fundraising strategy to generate income streams


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These recommendations were presented to the Strategic Group as part of the

consultation. We recorded the resulting discussion during which, as a response to

the recommendations, the strategic group agreed on the following priority areas forfurther development.

1. Governance & Business Planning To Business Plan beyond 2015. To model short & long term ambitions, then

vision for the Hub around them. Key ambitions include effective partnershipworking, clear progression routes across all music genres, youth leadership,

diverse provision with recognition and understanding of diverse pedagogies. To ask how we drive things forward in order to develop leadership & innovation To review the governance / management approach including for example:

o The merits of an associate model with lead coordinator (Cambridge Hubmodel), a peripatetic strategic coordinator role funded to sit across thewhole hub not within any one organisation

o Establishing a Trust to hold and delegate funds to meet the needs of theHub

2. Finance To draw up a fundraising strategy, essential if were to increase / support

necessary capacity and diversify funding streams To create a shared vision document for what success would look like within the

parameters of the available budget To review where should the Hubs allocation is placed To address issues around capacity needed to meet the ambitions of the Hub

(including nature of strategic partnership and each partner s contribution)

3. Communication Look at how to recognise and represent that MyHub is a collective of a number of

organisations with a broad offer. Address the mechanisms for internal communication with key and wider

providers - a recurring theme in findings

Create a profile / communications strategy that positions the Hub as a beacon4. Quality Assurance Ask and define how we genuinely provide inclusive and diverse provision Developing the idea of Quality Assurance to include Quality Enhancement

which should connect with CPD


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Methodology

The brief from Manchester City Council

Explore both young peoples and the music sectors thoughts and commitment to theideals that underpin the Manchester Music Education Hub; young person centred,

access to the highest quality offer for all children and young people and progressionopportunities, including employment.

Overall approach

We identified the different stakeholder groups in Manchesters music sector anddeveloped a strand of research into recommendations and good practice fromoutside of the Manchester area, bringing a national perspective into consideration.

The key stakeholder groups we identified were

Young people Schools Music education workforce Music / arts organisations Music industry (commercial and non-funded) FundersWe felt that the most balanced and objective view on the music offer for young

people would come from engaging with a broad range of stakeholders, all of whomhave the interests of Manchesters young people within their remit. While reasons forthis interest may vary (commercial industry want a creative and successful emergingindustry to feed its venues, record labels and reputation, whereas schools areinterested in student well being and academic success) their interests converge onthe music offer for young people.

Lines of Enquiry

Our underlying lines of enquiry were:

Services: What practical provision is there / is wanted / could there be?Value: What is the value to you of the music offer in Greater Manchester why doesit matter?

Innovation: What could be done / achieved and how?


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Mechanics: What are the mechanics and infrastructure of delivery of MyHubs offer?

/ How is communication, resource allocation, responsibility shared to reach the aims

of the Hub and the NPME? Areas for enquiry here, included:

Governance Infrastructure Responsibility Accountability Quality Assurance

Across these overarching themes we designed questions that would establish:

1. Current perception / impression of the offer / place within the music sector2. Ideal circumstances / what the offer couldbe / uses for the services offered

within the city3. How to progress / What could happen to enable or facilitate change, if

change was desirable / what progress would look like

Once we had drafted the questions we commissioned an independentcommunications expert (Nicola Mullen, Jagged Marketing) to ensure that the

questions and the language used were as neutral and non-leading as possible, andthat the messaging around the consultation, to be used when contacting potentialrespondents, was clear and concise.

(Full details of questions in appendix AP3)

Our interview methods included one to one / face-to-face interviews, groupinterviews (in which responses of each participant were recorded), online survey and

telephone interview.

In all cases the questions were kept the same, and responses were recorded as rawdata.

In collating the data we recorded all answers into a matrix in order to draw out key

themes. Recurring points were counted in order to identify the most prominent andcommonly occurring answers.

From this we summarised the emerging themes and identified recommendations ofactions that could be proposed to the strategic group for discussion during the firstinternal presentation of the findings.


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We presented these findings to the group (see appendices AP4) before recording

responses to the findings and recommendations. These responses then informed a

final set of recommendations which were added to the presentation.A further presentation was made to a wider group including representatives of ArtsCouncil England.

Brighter Sound facilitated these presentations in our role as objective consultants,and therefore refrained from contributing to the presentation sessions in our capacityas a member of the strategic group.


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Table showing activity timeline

Design / Collation / Presentation Research & Interview

w/c

Preparation Analyse brief

Identify clear areas for enquiry

Identify relevant groups for questioning

Design questioning process

15/04/2013 Research & interviews



06/05/2013 Collate: Transcribe, plot stats Research & interviews

Confer: Identify key themes Research & interviews

Deductions / Plot conclusions Research & interviews

Presentation Planning, Design and Write Research & interviews

13/05/2013 Presentation Prep Research & interviews

20/05/2013Presentation 1: Informal presentation offindings with view to deciding how they can

be used / useful

Strategic Group: RNCM,MCC, One Education

27/05/2013 Addition of input from strategic group

03/06/2013 Review of Presentation

10/06/2013 Review of Presentation

17/06/2013Presentation2: Presentation of fullfindings including strategic group input

Roundtable: Arts Council,MCC, One Education incCEO, RNCM

24/06/2013 Create report

01/07/2013 Create report

08/07/2013 Submit report to Manchester City Council


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Findings by Stakeholder Group

This section presents the findings from each of the six stakeholder groupsand a summary from the desk based research.

As numbers of respondents differed between groups due to their nature (e.g. fundersby face to face interview reached 6 respondents whereas workforce by online surveyreached 40) the representation of the findings has been made in the mostappropriate way, with the clarity of the key findings in mind.

Each stakeholder section gives more detail of the methodology specific to that groupand details on the respondents.

Respondents gave their input on the understanding that they did so anonymously,and so no names are linked with answers.


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1. Children & Young People

Respondents Diversity of Sample

Young people are held at the heart of the work that MyHub delivers, and so it was

vital that we consulted with them as part of this research. Their perspective on themusic offer provided for them even at these early stages of MyHub s development- is informative, but it is worth noting that there will be more opportunities for youthconsultation as and when the Hub develops further.

We focussed on reaching a diverse sample of respondents to ensure that youngpeople from a wide range of backgrounds and a breadth of musical / non-musicalexperiences were represented.

We also opted for face-to-face discussions with focus groups instead of a wideronline survey, as, in our experience of delivering youth led activity we have found onnumerous occasions that a conversational approach with young people will producea far more meaningful response than a survey format.

We also thought it important to carry out the focus groups in environments that theyoung people already accessed and where they felt relaxed and confident enough tocontribute meaningfully to the process.

We consulted with 27 young people across four focus groups in a range of settings.

The participants were aged between 9 and 19.

Settings

We chose a variety of settings including music centres, youth centres, communitycentres, project groups and schools and carried out three focus groups from theorganisations that responded to our request.

The settings we chose offered participants from a range of backgrounds and with a

range of musical interests / non-interests to contribute to the consultation.

1. Chorlton Music Centre provided young musicians engaging with music in aregular and very formal way (1:1 tuition, ensemble playing). Each Saturdaymorning the Music Centre in Chorlton runs at Chorlton High School. Theyoung people who access this facility, which is run by One Education, all have


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instrumental tuition or play as part of an ensemble. They all pay on a term-by-

term basis for this service.

2. The Factory Youth Zone, Harpurhey, a newly developed Youth Centre inthe heart of North Manchester provided us with a focus group made up ofyoung people with a mixture of formal and non-formal involvement somehaving instrumental tuition, others who were self-taught with very littleexperience outside of the Factorys jam sessions. . Young people access thespace and a range of activities from sport to media, drama and music. The

music provision is not yet formally established but a small cohort meetregularly with a musical Youth Worker to write and record new music.Participants dont pay for specific activities although there is an annualmembership fee of 5 and a 50pence entrance fee to those young people

who can afford it.

3. Brighter Sound engagement project at Northwards Housing, CheethamHill had a range of participants, none of whom had received any formal tuitionon an instrument, some who had been engaging with non-formal music

making for a number of years and some who were engaging with music forthe first time. This is a community engagement project for young people living

in the Cheetham Hill area, specifically residing in Northwards managedhousing. The project has been running for a 12-week fixed term at around thesame time every year for the last five years. For some participants they havebeen involved with the project for five years, for others this is their firstengagement with any sort of music-making. The activity is free to attend andfunded by a community grant.

4. Whalley Range High School for Girls wheremost respondents werereceiving instrumental tuition, through One Education delivered in school time.There was a limited response from schools following our request to run someresearch focus groups, but Whalley Range High School responded positivelyto our request. We ran a consultation group with girls from across the yeargroups, most of who were paying for musical tuition, provided by OneEducation, during school time.


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Findings

Question 1Are you interested in music?All the young people that we spoke to across all four different settings wereinterested in music.

Comment Number of

references

Yes 27

No 0

Question 2Are you interested in making music yourself?All the young people had an interest in making music although not all were activelyinvolved at the time of asking

Comment Number ofreferences

Yes 27

No 0

Question 3Are you involved in any music making activity currently and if so, what?


Instrumental lessons through school 16

Informal music making out of school 9

Out of school ensemble 8

Private Tuition 6

Not currently involved in any activity 2

Question 4


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What do you get out of your involvement in these activities?


Enjoyment 11

Social element 11

Musical progression 10

Self-expression 2

Voice / platform 2

Commitment 1

Question 5

How do you find out about music making activity?


School 11

Friends / Family 7

Internet 4

Project workers 3

Letters 3

Unsure 1

Question 6What kind of activity would you like to see happening for young people in thecity?


Performance opportunities 10

Broader range of workshops 4

Open access ensembles / ability rather than aged focussed 3Opportunities to try things free of charge 3

More rehearsal space 3

More access to studio space 3

More localised provision 1

More collaboration between ensemble groups 1

Not sure 3


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Question 7What could make it easier to find out about music making activity that suitsyou?


Internet / Social Media 12

Schools / Teachers / Taster sessions in schools 5

Flyers 4

Youth / Community centres 4

TV / Local radio 2

Not sure 2

Findings Summary & Key Themes

The social element of music making is very important to CYP but that is notto undervalue the enjoyment they get from progressing musically. Theopportunity to play with other young musicians is very important whetherthat be in an orchestra, choir or rock band.

Both musical progress and the social element brought about enjoyment forparticipants in music making, which was an overarching theme.

Performance is a reoccurring theme; a lot of young people would like theopportunity to showcase their work regardless of whether this was orchestral,

choral or band based, and to perform more frequently. They identified anincreased need for accessible rehearsal space, particularly outside of schoolhours.

Participants were keen to have access to a broader range of instruments totry out or hire. They felt that taster sessions would be a good way toexperiment with something new without having to commit fully immediately.

Most young people communicated through social media and this wasacknowledged as the best method for finding out about new and existingopportunities. However, more traditional methods such as flyers, posters andletters home were also seen to have value.


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Once the next steps in the Hubs development have been taken, a longer-term recommendation would be to develop a cohort of young leaders throughcreative activity and develop a strand of work with them that directly feeds into the Manchester Music Education Hub. The programme will provide anopportunity for young people to directly inform and influence the shape ofmusic provision on offer and for the Hub to directly connect with the youngpeople that it serves.

Accessibility: A number of issues that have been prevalent in recentresearch were cited as barriers to access including flexibility of hours,transport, pressure to commit and evening activity that finishes late, allneeding to be considered when programming activity.


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2. Schools

100 Schools were contacted by email by One Education on behalf of brighter Sound.They were sent an online survey.

16 out of 100 responded.

A further 8 schools were contacted directly by Brighter Sound making a total of 24responses to the online survey.

12 were Secondary schools11 were Primary schools1 chose to remain anonymous.

Answers were set to a matrix and summarised to enable repetition of ideas to standout clearly.

Findings

Q1. Please tell us which school you are from (optional)?23 out of 24 respondents:

A list of participant schools can be provided.

0# 2# 4# 6# 8# 10# 12# 14#

NO RESPONSE#PRIMARY#

SECONDARY#


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Q2. What kind of music provision do you provide in your school?24 respondents:

The total number of responses is more than 24 types of music making, as schoolshave listed multiple activities.

Some secondary schools specified a qualification e.g. GCSE, whilst others describedcurriculum learning as classroom teaching. Similarly, some primary schoolsspecified Wider Opportunities whilst others described it.

The findings show an expected dominance towards instrumental preferences.However, singing is well represented.

0# 2# 4# 6# 8# 10# 12# 14#

SWITCH ON SOUND#

MUSIC EXPRESS#

LISTENING#

COMPOSITION#BALALAIKA

#

MUSIC TECH#

GCSE#

EARLY YEARS/RECEPTION#

BTECH#

UKELE#

GCSE#

KEYS/PIANO#

WHOLE SCHOOL#

STRINGS#

CLASSROOM MUSIC#

WIDER OPPS#

STEEL PANS#

GUITAR#

DRUMS #

RECORDERS#

SINGING#

MUSIC CLUBS#

BRASS/WOODWIND#


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Q3. What kind of Music Provision would you like to see for young people inManchester?22 respondents:

Within this sample of schools, the majority of respondents are One Educationscustomers (question 5 provides additional data to support this). There is an evidentdegree of satisfaction with the provision of service being delivered by OneEducation. This is reflected in schools wanting the current offer to be sustained or forthere to be more of it.

More performance opportunities, for all levels of players, is a popular request (alsoechoed in the workforce and young peoples focus groups).

Support

is a vague response but as the survey develops, support in this context is

in terms of CPD for teachers and access to specialists.

This is also the first instance of diversity appearing in this survey. A universal ask

across all stakeholder groups, though with differing degrees of priority.

0# 1# 2# 3# 4# 5# 6#

MORE CLUSTER WORKING#

MORE IN LEVENSHULME#

MORE MUSIC TECH#

RELEVANT PROVISION#

IMPROVED TRANSITION#

MORE DIVERSITY#

SUPPORT#

SEN ORCHESTRAS/BANDS#

MORE PERFORMANCE OPPS#

SUSTAIN CURRENT OFFER#

MORE INSTRUMENTAL TUITION FOR ALL#

MORE SINGING (CHOIRS, COMPETITIONS)#


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Q4. What would you like MyHub to provide for you?

24 respondents:

CPD came out very strongly in this answer. Teachers want more skills andconfidence to lead music making in their schools, preferably learning alongside other

teachers, sharing practice. This is balanced by a wish to access more specialistswhen necessary. Therefore, there is an inference that quality is a priority.

4 respondents abstained from answering the question due to lack of information

about MyHub.

0# 1# 2# 3# 4# 5# 6# 7# 8# 9#

EVENT INFORMATION#

GOSPEL CHOIRS#

VARIETY#

EVENTS#

INSTRUMENT LOAN#

CURRENT PROVISION#

SPECIALIST SUPPORT#

DON'T KNOW (MYHUB)#

CPD/GOOD PRACTICE SHARING#


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Q5. How do you currently get information about music opportunities for your

pupils?23 out of 24 respondents:

Undoubtedly, email/newsletters are the communication preference. The responsesalso indicate the reliance on One Education to be the portal to signpost schools toyoung peoples music-making opportunities (arguably, the responses stating perismay be referring to the One Education workforce too).

As part ofother organisations

both the RNCM and Brighter Sound (the other MyHub

partners) were name-checked.

Surprisingly, word of mouth does not score highly amongst this group ofstakeholders.

0# 2# 4# 6# 8# 10# 12#

WORD OF MOUTH#POSTERS/FLYERS#

NETWORK MEETS#

PERIS#

MYHUB WEBSITE#

SING UP#

STAFF#

OTHER ORGS#

ONE EDUCATION#

EMAIL/NEWSLETTERS#


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Q6. How can MyHub help you to meet targets around the National Plan for

Music Education? (e.g. progression / children and young people centred andextended schools services)22 out of 24 responses:

Almost a third of respondents answered I dont know without further information toexplain why they couldnt answer. 4 schools specified that they wanted moreinformation about MyHub or the NPME in order to answer this.

This evidence suggests adisconnect

about the purpose of MyHub in serving theNPME. Variety was a popular response, as was CPD/Guidance again.

Other suggestions represented individual school needs and can be consideredbespoke.

0# 1# 2# 3# 4# 5# 6# 7# 8#

CAROUSEL OF TOURING PROJECTS#

CENTRAL MUSIC LOCATION#

CONTINUE TO GIVE SCHOOLS THEMONEY#

DEMONSTRATIONS #

PARENT / CARER WORKSHOPS#

SUPPORT COMPOSITION THROUGH ICT#

EXTRA CURRICULAR/EXTENDED

ACTIVITIES#

FREE/BUDGETPROVISION#

CPD/GUIDANCE#

NEED MORE INFO ABOUT PLAN/MYHUB#

VARIETY OF WORKSHOPS#

DON'T KNOW#


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Q7.What does Cultural provision for young people in Manchester look like in2015?

17 out of 24 respondents:

This question attracted the least responses. A majority of the responses were I don tknow. The reasons for this lack of visioning should be explored. This is a blue-sky

question, there does not have to be a right answer.

However, diversity as a response rivalled dont know. This was expressed in termsof genres and instrumentation. Performances were also represented again.

2 respondents both used the word bleak suggesting a shared pessimism albeit atlow numbers.

0# 1# 2# 3# 4# 5# 6#

PROJECTS WITH SKILLS DEV#

MAKE MANCHESTER A MUSICAL CITY#

JOINED UP OFFER#

FREE PROVISION#

BEGIN AT EARLY YEARS#

ITS BLEAK#

EVENTS/FESTIVALS#

EASY ACCESS#

DON'T KNOW#

DIVERSITY#


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There is a need for an effective MyHub communication strategy toincrease awareness of the offer: The MyHub profile needs to be raisedas well as contextualised within the NPME.At this juncture, One Education is the most powerful conduit tocommunicate this to schools. However, for schools to discern a differencebetween the MyHub, and the One Education offer, the distinction between

the brands needs to be greater.

MyHub can communicate effectively with schools via Newsletter:This is the clear communication preference

There is a demand for more music-related CPD for school staff:Given the interest in performances/events, as a suggestion, CPD thatinvolves working towards performance may prove popular. However,feasibility/demand could be tested through inexpensive twilight sessions

for teaching staff, perhaps emulating the Sing Up delivery model.

Tied into the Workforces requests: as there is evidence of requests from schools forsupport from specialist providers, a preferred pool of music practitioners may prove avaluable resource to MyHub.


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3. Workforce

Recruitment Strategy For Sampling

From the outset, Brighter Sound wanted the consultation to be representative of the

music education sector in its broadest sense. Hence, we wanted to inviteparticipation from many different groups. To do this we employed the followingstrategy:

1. We created 4 cluster groups to target (Formal, Non-formal, Private Tuition andMix).

Formalmeans musicians working in schools, or delivering school-related activity.

Often providers are from formal music education backgrounds (including peripatetictutors, orchestral players, classroom teachers etc.)

Non-formalmeans musicians working outside of schools, often using socialpedagogies rather than musical ones, likely to be delivering in workshop and

community environments (including guitar tutors, vocal & MC tuition, DJs etc.)

Private tuitionwas singled out as these musicians are delivering independently ofsector support, often as part of a portfolio career. These are harder for the Hub to

reach.

Mixis as it infers - a combination of all types of provision.

2. We identified the relevant channels through which we could promote thesurvey. Brighter Sound spoke directly with targeted organisations to solicit their buy-in and request dissemination through their networks. By way of example, to engagethe formal sector we sent the MyHub survey to the Halle, Manchester Camerata andOne Education. To engage the non-formal sector we used Brighter Sounds MusicLeader network (including the Youth Music Network and smaller music organisation

networks). To engage the private tuition community we requested that the Musicians

Union disseminate the MyHub survey to their members (see screenshot below) andBrighter Sound also posted on some local online sites.


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3. We monitored responsesand began to collate the data when we felt we hada representative sample. Perhaps due to the success of the strategy, when we had40 respondents, the sample looked fair in terms of sector picture. The final responserate was 42 online respondents, with a further 12 responses across two focusgroups.

In order to make considered and substantiated recommendations to MyHub aboutthe needs and wants of the music education workforce, we have cross-referencedthe survey findings with the focus groups where the focus groups provide supportingevidence. However, there are separate focus group findings that explore further

some of these themes and other themes unique to those sessions.


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Findings

Question 1: What kind of music provision do you deliver across the city?40 out of 40 responses:

Musicians didnt automatically fit the 4 categories selected by us. Once respondentshad described their work, we allocated them into the most relevant categories.

The raw data can also be segmented into instrumental/genre type; however, the

question was there to probe the credibility of the sample, not to identify what type of

musician the respondents were.

To extend sector representation, the focus groups were comprised of two sets of 6music practitioners, with 4 from the formal sector, 4 from the non-formal and 4 whodelivered a mix of activities.

0# 2# 4# 6# 8# 10# 12#

NON-FORMAL (27.5%)#

FORMAL (27.5%)#

PRIVATE TUITION (22.5%)#

MIX (22.5%)#


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Q 2: Who is your main employer?40 out of 40 responses

Again, a question to ensure Brighter Sound had attracted a representative sample ofrespondents. The organisations were a mix of the Camerata, the Musicians Union,

the RNCM and grass roots organisations like Brighter Sound. Tameside MusicService and One Education employees made up the service representation.

0# 2# 4# 6# 8# 10# 12# 14# 16#

MUSIC SERVICE (35%)#

FREELANCE (30%)#

MUSIC ORGANISATIONS (20%)#

SELF-EMPLOYED AS A SMALLORGANISATION (12.5%)#

NHS (2.5%)#


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Q 3: What kind of provision would you like to see for young people inManchester?40 out of 40 responses:

From the responses to these questions diversity is described in terms of genre,instrumentation, technologies etc. Variety pertains to the delivery format. So,requests were based around more group sessions, workshops etc.Pathways were considered important to enable young people to progress beyond theenvironments of their access/engagement.

0# 2# 4# 6# 8# 10# 12# 14#

MORE DIVERSITY/SPECIALISMS (30%)#

MORE VARIETY OF PROVISION (20%)#

PATHWAYS FOR (12.5%)#

MORE PERFORMANCE OPPORTUNITIES

#

GOOD ENSEMBLES#

FREE ACTIVITY AT CENTRES#

CONTINUED WIDER OPPORTUNITIES#

CREATIVE COLLABORATIONS (2.5%)#

LINKS TO THE MEDIA (2.5%)#

ACCESS TO MUSIC THEORY (2.5%)#

DON'T KNOW (2.5%)#


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Q4: What would you like my MyHub to provide for you?37 out of 40 responses:

The workforce in the survey repeatedly requests work and CPD. This occursagain in the focus group findings. Both focus groups reported that training daysprovide additional benefits such as access to peer knowledge and networkingopportunities.

As the workforce see MyHub as an employer, it could be useful for MyHub to clarifyits relationship with the Citys music workforce. Focus Group One suggested that

perhaps this could be established through an associate model' or preferred providernetwork. This would also enable the workforce to contribute intellectual capital(knowledge of repertoire, delivery toolkits, teaching techniques etc.) to MyHub andhelp diversify the offer.

For Focus Group Two, MyHub was also perceived as a conduit for an exchange ofstyles and practices. Whilst specialisms are valued there was an appetite for morecross-genre and cross art working.

0# 1# 2# 3# 4# 5# 6# 7# 8# 9# 10#

WORK OPPORTUNITIES (24%)#

CPD & TRAINING (24%)#

FUNDING & RESOURCES (8.5%)#

PERFORMANCE OPPS (8.5%)#

INFORMATION (5%)#

ROUTES TO MARKETS (5%)#

DON'T KNOW (5%)#

PARTNERSHIP (5%)#

ADVOCACY (3%)#

ACCESS FOR DEAF CHILDREN (3%)#

PARENTAL INVOLVEMENT (3%)#

CENTRES FOR MUSIC (3%)#

CONTACTS (3%)#


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Both focus groups were also keen, like schools, for more (and bigger) performance

opportunities. Amongst the children and young people that they work with, it was felt

that performances were a requisite, and a suggestion across both groups was thatMyHub could facilitate city-wide and, again, cross-genre/cross art event platforms.

MyHub was seen by Focus Group Two as a strategic way to advocate a mix ofprovision. Bringing the non-formal sector in to the schools and vice versa, hopefully,with a longer-term vision of making school provision relevant to more young people.

QUESTION 5: How do you currently find out about teaching or delivery

opportunities? (39 responses)

Word of mouth is key to music practitioners finding their work, with an equal

dependency on email/newsletters from relevant organisations. Schools bycomparison didnt share the reliance on word of mouth, but did see newsletters as auseful method of communication.

0# 2# 4# 6# 8# 10# 12# 14#

NEWSLETTERS (31%)#

WORD OF MOUTH - PEERS/ASSOCIATES (31%)#

VISIT WEBSITES (20.5%)#

WORK FINDS ME' (13%)#

CHANCE (4.5%)#


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QUESTION 6: How can MyHub help you to access opportunities andinformation? (36 responses)

There is an overwhelming response here for online information.Focus Group Twos responses included suggestions for MyHub to have an inclusiverecruitment strategy. Group One supported online information and networkingmeetings.

0# 5# 10# 15# 20# 25#

ONLINE INFORMATION (55.5%)#NETWORK EVENTS (15%)#

PRACTITIONER DATABASE (8.5%)#

DON'T KNOW (6%)#

DIRECT RELATIONSHIP (6%)#

PROMOTIONAL SUPPORT (6%)#

PERFORMANCES (4.5%)#

TEACHING MATERIALS (4.5%)#


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Question 7: What does cultural provision for young people in Manchester looklike in 2015? (34 Responses)

This was the question with the least responses and of the 34 that did respond 6 were

don

t knows

which means that only 28 offered an answer.

The strongest response was, again, around diverse provision. This suggests thereis a necessity to offer more than what is perceived as traditionalmusic education

provision. Wishes for diversity and variety were repeated throughout the onlinesurvey, supported by the focus groups.

As with the schools survey, it could be seen as a concern that some stakeholderscannot envisage a cultural future for the children and young people that they workwith.

The rest of the higher scoring answers were biased by concerns around funding.Individual responses were high in this question.

0# 1# 2# 3# 4# 5# 6# 7# 8#

DIVERSE/VARIED OFFER (20.5%)#

DON'T KNOW (17.5%)#

LESSENED FROM CUTS (15%)#

STILL FUNDED (9%)#

QUALITY PROVIDERS (9%)#

JOINED-UP (5.5%)#

MORE INCLUSIVE OFFERS (5.5%)#

INSPIRED (3%)#

SUPPORTED TEACHERS (3%)#

CENTRES OF ACTIVITY (3%)#

SOMETHING FOR EVERYONE (3%)#

LINKS TO THE ARTS (3%)#

LIKE NOW BUT MORE' (3%)#


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The workforce would like to see more diverse and varied provision The workforce value performance and progression opportunities for their

young people

The workforce want their offer to be visible to MyHub and for MyHubopportunities to be available to them

Work opportunities and CPD opportunities are high on the list of their needs Online Information/Newsletters are the communication preference Networking activity could support both training/sharing and Information needs


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4. Music and Arts Organisations

17 organisations were identified that contribute to the infrastructure of funded music/arts organisations in Manchester, some with a broader regional / national brief. Weaimed to gain a broad representation of the sector and selected a breadth oforganisations from small to large scale and across music genre.

Organisations were approached by emails and one to one interviews were set up byphone/ email correspondence.

17 organisations responded.

Each interview was held in a quiet space either at the Brighter Sound offices or at aspace identified by the host organisation.

Each interviewee was asked the same questions and each interview lasted between45 minutes to an hour.

The responses were recorded by note taking and voice memo.

Themes were apparent in the answers given, and threads across answers given byindividuals quickly emerged.

Answers were set to a matrix and summarised to enable repetition of ideas to standout clearly.

Here is a breakdown of the summarised findings by question:

Question 1

What contribution do you make to music in the city?It is clear that there is a breadth and depth of musical expertise and delivery acrossManchester. This provision is across music genre and pedagogy.

Each organisation from the small to the large scale was committed to education andlearning, keen to see a city that provides an excellent offer for children and youngpeople and more than willing to play their part in delivering this. Please see moredetail in appendices.

Question 2


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What kind of music provision would you like to see for young people inManchester?


Clear progression routes across all music genres 10

Broad and diverse range of provision 10

Variety of teaching styles / pedagogies with opportunities to

share practise10

Joined up provision across the City and Greater Manchester 9

High Quality offer 9

Provision tailored to the needs of the young people (includingSEN and challenging circumstances)

9

Provision tailored to the needs of schools 7

Music as part of life long learning with a social / personaldevelopment impact

7

Accessible / communicated / signposted 7

Clarity about expertise in the sector - work out where theexpertise is

3

Giving young people access to the professional world 3

Support and understanding from Head Teachers 3

Youth Led provision 2

Strategic support from the local authority 1

Focus on transition 1

Question 3

What are the gaps in progression for Manchester's talented young people?


Large numbers of music organisations across the city

representing a wide range of music genres but no clearstrategy for progression routes

8

Lack of talent spotting mechanisms which are needed to beable to identify talent in order to progress it.

7

Relationship with schools needs to open up across the sector 5

Gap between first access and then opportunity to developtalent beyond grade 5 no high level ensembles, resulting in

4


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lack of aspiration for advanced players

Head teachers, music teachers and parents need to value the

richness of the offer

4

CYP who are economically deprived need financial support 4

No consistency of offer across schools - some YP haveopportunities some dont pockets of excellence rather thanpathways of excellence

3

Lack of aspiration for advanced players 3

Lack of provision for SEN 3

Need increased numbers of Manchester young people beingrecruited into the citys conservatoire

2

Need increased opportunities for showcasing andperformance/ international exchange

2

There is a dip in music interest and clarity of progressionroutes at secondary school level

1

Models of Youth Leadership are important 1

We need inspirational musicians 1

Question 4

What relationship do you currently have with MyHub?


The Hub needs to take a dynamic proactive, strategic lead

across the sector and have an overview of whats happening inthe city

12

Would like more partnership working, engagement,collaboration, and a closer working relationship

10

The hub should aim to have a bridging role connectingorganisations to the schools and vice versa

7

Frustrating relationship now that Manchester isnt part of theGMMEH

3

Hub taking a long time to get off the ground. Excitement thereinitially but lack of action and now the impetus is going

2

Find difficulty in providing all the information needed by theHub as were a small organisation

2


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Question 5

How do you think MyHub can add value to your music provision?


The hub could would bring added value with a focussed andcomprehensive offer for young people if it joined/ formed a

relationship with the GMMEH

12

High quality proactive instigator, forming strategic partnershipsgain an overview and eradicate overlap

5

Through collaborative working 5

By providing opportunities for sharing of practise 5

Training, supporting and valuing global musicians fromdifferent cultures

4

Help small and large organisations connect with schoolsthrough a broad diverse offer

4

Development of their SEN strategy 4

Communication / signposting between the sector and schoolsand young people

4

By helping with the identification of gifted and talented youngpeople

2

Through the development of high quality ensembles 2

Question 6

What would you like to see it achieve?


Partnership working. Pulling together and promoting thestrengths of different organisations and artists.

6

Help schools work out whats available across the sector.They need to know where to go and where the quality is

6

Build provision where there are gaps and increase provision inschools

6

Ensure that every young person has access to a diverse offerof Music Education across the city without loosing quality of

provision

5


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A coordinated approach to provide the best and most relevantmusic provision across all genres

3

Generate income streams 3Meet the aspirations of the National Plan core and extension 3

A trusted brand in schools and families 2

Provide seams of excellence that CYP can tap into 2

The Hub needs to be part of the [broader] cultural offer 2

The Hub could be a central place where people can go forinformation

2

Define what an interested or talented child can expect in termsof an offer

1

Achieve recognition from the city stakeholders 1

Value the music practitioner / teacher 1

Define what success actually looks like 1

Music becomes a fundamental skill like reading and writing everyone should be able to play at a rudimentary level when

they leave school

1

Research into the socio economic benefit of music 1

Look at aligning the music centres provision with the activitiesof wider organisations compensate for funding loss

1

Question 7

What role can MyHub play in achieving the goals set out in the National Plan

for Music Education and the Manchester City Councils Cultural AmbitionStrategy?

Comment Number of

references

The Hub needs to be broad and strategic, linked into the citysgrowth agenda and looking ahead. It needs ambition,excellent delivery and consolidation

10

Needs to develop links across art form and develop youngpeoples wider cultural understanding6

Making sure that what is being offered to young people isrelevant and appropriate

5

Embrace the city as a centre for music development. Feedingthe young artist of tomorrow. Retaining talent and a musicscene in Manchester

4


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Ensure that CYP get access to a wide variety of opportunitieswith support for each progression opportunity

3

To become more networked, with clarity and clearcommunication

2

Urgently needs to develop a fundraising strategy 2

Should be leading and owning the key national question - Howdoes its specific focus on a music offer- broaden into a widercultural offer

2

Question 8

What does cultural provision for young people in Manchester look like in2015?


Sustainability -Stakeholders realising the importance of culturaleducation and awareness of the impact it has on peoples lives

4

Provision could look the same unless the Hub takes thischance for success. The time for innovation is now

3

Broadly and deeply engaged, far- reaching and connecting

with far more young people. Every pathway for the talentedchild has real quality training and inspiration

3

Grow a strategy to see how high quality first access provisionrelates to wider cultural provision e.g. drama/ dance provision

The hub could have partnerships across these culturalproviders

3

Partnerships key e.g. with HE, Industry, BBC ITV mediaproducers/ major conservatoires, the opera centre

3

Young people energised, excited about the offer- feeling asense of pride and seeing the value

1

Develop a metaphorical portal that the next generation of talenthave started to walk through- young people who are multiskilled, with an international perspective and driven artisticallyand politically

1

Schools have more control over their funding schools leadand then organisations need to work flexibly to meet theirneeds

1


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Question 9

What do you think are considerations for a good working model for MyHub?


The hub needs to develop a good relationship / formalpartnership with the Greater Manchester Music Education Hub- Manchester doesnt stop at a boundary - Manchester is aninternational brand. Theres a need to avoid duplication andhave a clear offer

8

Manchester as a beacon, given the richness of its offer, isimportant. Need to find a way to make it work across both

hubs in which Manchester retains its focus of being a worldclass provider

8

It needs to be intelligent, energetic and instinctively

collaborative, working with practitioners, schools, organisationsand young people

5

Quality of service. Using the best expertise 5

Music is all about society and community the structure needsto reflect that e.g. partnership working, embracing music from

different cultures

5

Could become a Trust, have an arts organisation structure witha trading arm attached, a charity or an association.

4

Lead status could be conceded from Manchester EducationHub to Bolton

3

Appoint an independent steering group with education and

music industry expertise to ensure effective in delivery andcommunication

3

Need external evaluation and quality assuranceMoney going to different schools presents difficulties forensuring quality across the sector and good quality music

practitioners/ leaders.

3

Leadership is critical, the structure beneath light andresponsive, entrepreneurial and collaborative

2

AGMA could set up a music provider to work across both theManchester and Greater Manchester hubs. This hub could beindependent from the councils - an arms length organisation

1


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that is not owned by the councils

Dont think it should sit in a local authority department 1

Bringing the two hubs together will cover too big an area maycreate problem with distances / mobility

1

The head teachers monitoring and advisory group is essential 1


Bold sections summarise points above.

1. High quality strategic partnerships giving a strong overview and eradicatingoverlap. Strong collaborative working and joined up provision betweenschools and music / arts organisations

2. Alignment of music centres with activities of the partner organisations3. Music and its relationship with society and community key

An approach to partnerships that enables joined up provision betweenschools, arts organisations and music centres, and is able to engage withcommunities will give a strong overview, avoid overlap and enable strongcollaborative working

4. Integration / building of a stronger relationship with the GM MEH5. Independence from the city council Independent intelligent energetic a

catalyst, instinctively collaborative e.g. CIC Trust. Association of orgs -reflecting the richness of provision with a key strategic / coordinator role

MyHub's position in relation to MCC and GM MEH needs to be considered,namely integration vs. independence, and how to reap benefits in each case

6. Generation of income streams key7. Policy of allocating money to schools quality assurance and accountability,

generating more music provision and increased income streams

The policy of delegating money to schools should be reviewed. Change in

practice could facilitate quality assurance and accountability, and help toincrease income streams and generate more music provision.


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8. Opportunity to be a sector leader, communicate, be innovative, proactive andquality assured.

9. Manchester is an international brand the MEH can provide a great PRopportunity for Manchester with a world -class offer/ provider. Buy in from thecitys key stakeholders

10.Manchesters richness of provision means that it should be leading andowning the key national question how does the Music offer broaden into awider cultural offer.

Manchester's Hub can take advantage of its unique position to innovate, leadthe sector and communicate good practice due to Manchester's musicalrichness and the city's international brand.

11.Broad and diverse range of high quality music provision across all musicgenres tailored to the needs of CYP in and out of schools and those with SEN

12.Clear accessible communication/ signposting.13.Clear progression routes with the best and relevant provision across all music

genres. (Gaps in provision - pockets of excellence rather than pathways of

excellence, post Grade 5. performance opportunities, breadth of first access)14.Talent spotting mechanisms and bursaries identification of gifted and

talented young people

All CYP should be able to identify and access diverse, multi genre musicprovision in and out of school, and relevant progression pathways that reward

talent and provide performance opportunities.

15.Sharing of practise and recognition and value of the variety of teaching styles(pedagogies)

MyHub can contribute to the sharing of practise and recognition and value ofthe variety of teaching styles (pedagogies)


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5. Music Industry

Organisations were identified from Manchesters music industry infrastructure thatgave a broad representation of those involved in Manchester s commercial musicsector.

Industry candidates were approached and given the choice of responding to their setof questions by online survey or by interview.

11 out of 20 organisations contacted responded a 55% response rate.

2 respondents contributed by interview, the other 9 via the online survey. In eachcase identical questions were asked.

Certain themes were apparent in the answers given, and threads across answersgiven by individuals quickly emerged.

Answers were set to a matrix and summarised to enable repetition of ideas to stand

out clearly.


6. What contribution do you make to music in the city?Response Number of

references

Promoter 3

Professional musician 2

Live events manager 1

Venue manager 1

Record label manager 1

Industry coach / talent development 1

Publisher of industry support literature 1

Artist manager 1

Musicians Union 1

Industry training deliverer 1

Recording studio owner / manager 1

Marketing & Press officer 1


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7. What kind of music provision would you like to see for young people inManchester?

Response Number ofreferences

Industry / professional IAG that reflects 'real life', includingbusiness skills, interpersonal skills, and self reflection (ability toself motivate and self critique).

5

Access for all - diverse, accessible provision that young peoplecan access regardless of location or background, withappropriate group sizes.

3

Progression - continuous, meaningful, accessible pathways 3

Access to live performance opportunities, and live music in

general for u18s: re Manchester venues more than 'community'performances.

3

Assistance that is allowed to be market based / led 1

An accessible, navigable network of contacts and opportunities,with IAG support

1

Some opportunities available are not taken up by young people 1

8. What are the gaps in progression for Manchester's talented youngpeople?


Access to:Rehearsal space,Advice / mentoringNetworksPerformance opportunities

2511

Real world advice around making money (a living) through music.E.g. through surgeries, networking events, mentoring schemes

3

Continuous progression - investment in development throughtime / expertise or financial support

3

Support for workforce 1

Industry work experience & placements 1

There are many opportunities available which are not takenadvantage of - is this down to hunger? Access? Culture? Itshould be addressed

1


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9. What relationship do you currently have with organisations or schemesthat support music for young people, for example through colleges,schools or other?


IAG for individuals including professionals & students 3

Mentoring & coaching for YP in informal music education 3

Work placement coordination & support schemes for YP 2

Talks and tours for 6th form college students 2

Music tuition (freelance) for YP 2

None 2

Industrial support for members which can include students,teachers and musicians of any age

1

Providing (through hire) rehearsal space for colleges anduniversities

1

10.What relationship do you currently have with Manchester MusicEducation Hub (MyHub)?


None 10

Industrial support during set up of One Education. Relationshipmore with One Education than MyHub

1

11.How do you think you could contribute to a support network for youngpeople interested in music in Manchester?


Support & advice (including HE, legal, business, marketing)through:

o Mentoring 4


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o Eventso Internments / shadowingo Knowledge sharing

11

5Insurance / legal support 1

Support through publication of IAG 1

Difficult to offer support due to licensing legislation restrictingaccess to live music venues

1

12.Other CommentsResponse Number of

references

Geographical reach for the Manchester Hub seems unclear, inhow YP access provision across the boundaries, or how the hubcrosses boundaries to ensure opportunities are maximised.

1

There is a real danger in training up too many people for too fewcommercial opportunities.

1


A running theme developed between what the offer could be, what were perceivedas current gaps and in part, what the respondents would be prepared to contribute tothe music landscape.

As there was a commercial aspect to the backgrounds of a number if industryrespondents, there was a real emphasis on making provision fit for purpose,grounded in reality and of commercial relevance for young musicians thinking of

pursuing a career in music.

Not all respondents spoke about non-classical music, which was represented in the

answers.

Overall, respondents spoke of the need for a widely accessible, genre-diverseoffer, consisting of relevant advice and support, space to be creative andaccess to live music experiences.


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They also spoke passionately about their willingness to support youngpeople, but that they identified a malaise in YP when it came to making the

most of the opportunities made available.

Here are the main key themes.

Access to live music, as audience or performers is limited for U18s, creating gapsin opportunities for exposure and performance

There is a need for 'real world' advice - industry advice that provides help rootedin the reality of further involvement in music

Progression routes consisting of 'meaningful pathways' should exist for the fullrange of young musicians

There is a willingness to engage with MyHub Young People amongstManchester's industry, but no relationship is currently there.

Diversity in Manchester's musical offer should be supported It's perceived that many opportunities exist which aren't taken advantage of by

young people.


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6. Funders

Key funders were identified by defining the current major investors across the music/ education sector in Manchester. They were ACE, Manchester City Council andYouth Music.

We approached each funder by email and asked them to select the most appropriateperson to interview. We had a 100% response rate.

In addition to one Director and one Officer at ACE NW, the ACE suggestedinterviewing an officer from ACE SW as one of their key MEHs had a similarpractise to MyHub of delegating funds directly to schools.

We interviewed a total of seven people and held six interviews.

We interviewed:

ACE North West: Two officers.ACE South West: One officer

Manchester City Council: Two officers and a joint meeting with two CouncillorsYouth Music: Chief Executive

Interviews were held in a quiet space identified by the host funding body with the

exception of ACE SW who we interviewed by phone.

Each interviewee was asked the same questions and each interview lasted between45 minutes to an hour.

The responses were recorded by note taking and voice memo.

Themes were apparent in the answers given, and threads across answers quicklyemerged.

Answers were set to a matrix and summarised to enable repetition of ideas to stand

out clearly.



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Question 1

What are the gaps in the current infrastructure for music provision foryoung people in Manchester?

Comment Number ofReferences

Communication: Offer & infrastructure need clear internal andexternal communication. Manchester is an international city.Needs imagination and a creative approach to engage with thewide range of organisations that we have in the city.

6

Sign posting to avoid patchy provision. Potential for young

people to know whats out there and then choose between arange of opportunities

4

Breadth of choice for young people- Music hubs / musicservices strong predication for classical music. We needfluidity across music genres. There are diverse communities

of young people in the city who should have the opportunity toexperience and learn about music in other cultural forms

3

Progression We need more rigour and analysis / focus on howyoung people move up the ladder

3

Partnerships with Schools schools can become hub partners.

Hubs are there to support and augment school provision.

3

Challenging Circumstances Need to improve work with young

people not in the school system2

Evaluation need a rigorous evaluation system 2

Sharing practise: Coming together of people working in thearea create an understanding and connectivity

1

CPD gaps in extension roles misinterpretation by the hubs

that this is for their staff- this should be training for anyone thatis a partner in the hub.

1


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Question 2

What are the gaps in provision for (Manchester's) Talented young people?


Progression young people need to benefit from

Manchesters rich offer. The hub needs to fully interrogatewhat the gaps are through its needs analysis to work outhow to address this. (e.g. gaps in advanced ensemblesidentified but how is it being progressed) Fluidity how areyoung people identified as talented and then get the

opportunities to get to the next level.

5

Communications with young people / schools /

organisations / private sector involvement (MEH cant usepublic investment to undercut private companies) /museums/ with the Bridge organisation

4

Need a strategic overview that understands ways ofinterpreting what talented means and what young peopleneed. The intervention should be around needs rather thanstages of development related to age

3

Diversity of opportunities in diverse spaces that are relevant

and appropriate including participation opportunities outsidethe formal learning environment

2

Need to focus on the general effect that music education

has on a childs progress. Important that CYP are enjoyingmusic and that it develops their confidence and life skills

2

Question 3

What does cultural provision for young people in Manchester look like in2015?


Joined up seamless provision. A real sharedintelligence/sharing of practise across the education sector /in particular schools about whats on offer from all the

cultural organisations across the city. We need to be really

7


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networked across a wide range of partners including theBBC/ Private sector involvement.

Real visibility so that Manchester is celebrated for its richoffer. Manchester has an international brand. Curriculummusic in Manchester could be amazing with contributionfrom the Music Industry, RNCM etc. Manchester coulddevelop something really special. Music is Manchester this mantra could come out of Manchester and really

celebrate its diversity

6

Manchester should be creating some of the most talentedand creative musicians of the future. Working with partnersto make this happen- diverse provision formal and non

formal. Ultimate test is whether we see Manchesters young

people emerging as the next talent

4

Important that overall cultural provision in schools is an aim.Culture should be seen as a development tool at everystage of education. Local authority cultural entitlement workshould be built on

4

More engagement at a local level. Working with CuriousMinds to crack that information gap. Schools taking the leadis good as long as they know what s on offer and that thecommunication is really strong

3

Young people centred and relevant. Children and young

people dont make a connection with their passion in musicand what happens in school-80%of CYP describe a music

as a passion but only8% of CYP take it up as a GCSE

2

Augmenting and developing the work of the music service.Some MEHs are already creating a blue print for this thatothers can learn from

2

Question 4

How can MyHub help you to achieve your aspirations for Young People &Music in Manchester?

Comment Number of

references

The hub can galvanise the sector and make itself reallyinvaluable. Currently there is a gap for this role inManchester. It can become a primary delivery agent with

7


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private sector and music organisations. A go toorganisation- giving advice and guidance, signposting,

taking on delegated responsibilityStrong leadership with business awareness, and qualityassurance. Look at people resource rather thanorganisational. The hub needs to take responsibility throughits delivery and evidence base and make the case so thatfunders can do their job and advocate for public sector

support

6

The hub model needs to make a world class offer. Help usto achieve wider ambitions around culture- recognising thatwe have a really strong music sector in Manchester in terms

of education, the arts and industry infrastructure and history

4

Improve the lives and aspirations of CYP through educationattainment and aspiration - leading to employment. Ensurethat there is the right relationship between music provisionin schools and organisations and that the residents ofManchester connect to this and make it work for them

3

Conversations need to be open and communicative honest brokers so that collaboration can happen

2

Fundraising the hub needs to define its strategies forcontinuing to safe guard and grow their resources to investin young people (concern that distributing grants to schools

cuts out the hubs role why would the government supportthe middle person?)

2

Question 5

What do you think are considerations for a good working model for MyHub?

Comment Number of

references

A more independent model with independent leadership

would be better placed to take advantage of the practiseacross different organisations and to respond toopportunities for change or resources. Providing a world-class offer for young people. It can look at levels ofaccountability from strategy to operation to partnership. Itneeds a breadth of knowledge and authority with different

genres and music industry represented at governance level

7


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and business and planning skills. This will remove thefeeling that the lead organisation is making all the decisions.

Structure could be a CIC/ Trust/ Association with an abilityto commission initiatives dependent on need

3

Partnership working is key 2

Need to address the issue of the external discrepancybetween the GMMEH and the Manchester hub. It would bethe best interest for both parties if they could be sharing

best practise / progression routes and all areas that aregenuinely in the best interest of young people

2

We need analysis and evidence and quality assurance 2

Needs to be fit for purpose to deliver the NPME- thegovernment is unhappy about Music services submittingapplications that were really about delivering their own remit

1

Hubs have a complicated job the primary job is to bestrategic. They have an enormous remit with a range ofdifferent organisations across a wide range of music genres.They currently have a chance to shape that service and tothe job effectively

1

If the hub is going to continue with delegation to schoolsthey have to be accountable for how the money is spent andwhether its good value and meets the NPME delivery. Theschools need to clearly state what they are going to spend

the money on and they need to understand that they do nothave to spend it with their main delivery partner

1

The hub needs more than 30% commissioning money if themoney is delegated to schools to develop and grow and forleverage of extra resources

1

The hub needs to prioritise where they should invest theirmoney change / redundancy might be necessary if thisis the case then it has to be done because its aboutinvestment of public money

1

Findings Summary & Themes

Communication and increased visibility/ profile. Manchester is aninternational city with a world -class offer. The hub needs to lead and


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galvanise the sector, deepen engagement and celebrate its richness of

provision. It needs to represent the whole sector including the music industry

and private companies. It needs to consider widening its work to culture.

MyHub needs to consider its governance and make up. An independentmodel with independent leadership is recommended. Forming anindependent association with a commissioning role. Through this it may beable to take better advantage of practise across organisations and responddynamically to opportunities and developing resources.

MyHub needs to urgently define its relationship with the GMMEH MyHub needs to take a strategic overview across progression. It needs to

investigate how to promote a

Documents

1. MyHub Consultation Final Report