‘All In’: An Inclusion Strategy for Music4U [NCEM and Local Authority Partners]

and the Music Hubs across York and the Humber region

September 2014

1.Mission

There has been a long-standing discussion about what ‘inclusion’ means (ACE, 2004; Youth Music, 2014). While there is no one accepted definition, Youth Music considers a musically inclusive sector to be “one in which any child or young person can participate in, influence and progress in their musical learning, despite all exclusionary challenges, where the practitioners supporting them are fully equipped to do so, and where musical diversity is celebrated and explored”. These exclusionary challenges may relate to a child’s economic, health, social, behavioural and/or environmental circumstances and can leave him or her feeling disadvantaged, isolated, purposeless and bereft of confidence and proper support.

This interpretation informs how inclusive practice is defined by Music4U, whose geographic purview encompasses the arts development teams within the local authority areas of Hull, the East Riding, North East Lincolnshire, North Lincolnshire and York. In addition to the intrinsic value of musical enjoyment and development, music is widely believed to be one of the most powerful tools for reducing social isolation, promoting positive, healthy living and improving the life chances of young people. This strategy therefore embodies a commitment to adopting and evolving a truly inclusive practice within the region to ensure the benefits of music-making are made accessible to all young people up to the age of 25, in particular those who face the biggest barriers.

2.Mandate

The strategic framework for music education and inclusion is set nationally by the Department for Culture, Media and Sport (DCMS), Department for Education (DfE), Arts Council England (ACE) and Youth Music.

The National Curriculum in England (DfE, 2000, 2013 refresh) states that:

Music is a universal language that embodies one of the highest forms of creativity. A high-quality music education should engage and inspire pupils to develop a love of music and their talent as musicians, and so increase their self-confidence, creativity and sense of achievement. As pupils progress, they should develop a critical engagement with music, allowing them to compose, and to listen with discrimination to the best in the musical canon.

With regard to inclusion, the curriculum maintains that educators should set suitable learning challenges; respond to pupils’ diverse learning needs; and overcome potential barriers to learning and assessment for individuals and groups of pupils.

In 2011, a review of the state of music education in England found that provision was inconsistently delivered across the country. In order to elevate standards and regularise provision, a national plan for music education called ‘The Importance of Music’ (NPME) was produced. Covering music education both in and outside of schools, this document called for a constellation of cross-sector hubs to be created across England to take forward the work of local authority music services from 2012 (DCMS and DfE, 2011). This recommendation has been implemented under the management of ACE and the newly-created hubs now play a key role in carrying out the government's aim for high quality music education to be accessible and inclusive of all children regardless of their social, economic or personal background. There are five hubs, associated with their respective local councils, active in the York and Humber region.

In 2012, Youth Music responded to the NPME by establishing Musical Inclusion (MINC), their £7 million flagship funding programme and funding 26 projects, one of which is Music4U encompassing the York and Humber region. By working with and through the hubs, these projects have been helping young people in challenging circumstances to access music-making opportunities through formal and non-formal channels. They have also been endeavouring to embed inclusive practice across the music education sector, which is now even more important as the programme is due to end in March 2015.

Based in York, Music4U is the National Centre for Early Music’s well-established community music programme dedicated to young people living in challenging circumstances. Since 2001, the programme has engaged over 35,000 young people working with organisations focusing on special needs, youth offending and the early years and with music hubs and local authority partners across the region.

Music4U is committed to setting an example of sustainable, inclusive practice and ensuring a legacy for MINC across the region. It is well-placed to do so with its close ties with local authority arts development officers, the strategic groups for the Hull, East Riding and York hubs, and hub leaders in North and North East Lincolnshire.

3.Strategic Vision for the Region

In the York and Humber region, all children and young people, especially those in challenging circumstances, will be able to access, enjoy and participate in music making with their peers and have equal opportunity to progress without barriers, both in and outside of school, while being engaged and supported by a network of skilled music, education and youth professionals and practitioners.

Furthermore, those who bring music to the lives of young people will take a whole child approach to teaching, learning and community engagement, prioritising inclusivity, diversity and quality in their practice. They will be committed to partnership working and developing the sector to ensure we do the best musically for our young people and pursue the highest possible standards.

In addition, music education will be an essential part of school-based and community-led strategies to engage young disadvantaged people, encouraging them to live healthily, be safe, feel supported and challenged, aim high and achieve their aspirations.

4.Who is Responsible for Musical Inclusion?

In order to achieve this vision, the region’s music education sector will work together to include and involve all young people, regardless of their ability or background. Partnership working can be difficult at the best of times and this has been made more challenging as the sector has been endeavouring to embed inclusivity duringa period of political change and financial austerity. Aside from the challenges of communicating the meaning and importance of inclusion, common problems can arise such as poor communication, a lack of clarity about roles and responsibilities, and different levels of commitment, engagement and available resources (ACE, 2004).

‘All In’ has been developed to avoid some of these problems (and overcome them where they exist) by articulating a shared vision for a ‘musically inclusive’ region and how it might be realised. It is intended as a clarion call for the following groups and individuals to become ‘inclusion activists’:

  • Music education hubs in the five local authority areas
  • Music4U (part of the National Centre for Early Music [NCEM], an ACE national portfolio organisation)
  • Established and emerging music leaders working with NCEM, Music4U and hub partners

With the ambition to secure a shared vision for musical inclusivity in the region, Music4U also encourages the following partners to integrate inclusion into their activities:

  • Higher and further education institutions
  • Nurseries, schools and pupil referral units
  • Community groups and organisations (music-based or youth-focused)
  • Professional musicians
  • Professionals working with young people but outside the music sector, such as carers, teachers and youth workers

With Music4U and the hubs at the helm, it will be important for the sector to adhere to this common purpose, work together openly and creatively, and share knowledge, information and expertise in order to embed and evolve good practice.

5.Regional Context

Geographically, the York and Humber region is large, stretching from Bridlington to Goole, York to Grimsby. The 2010 English Indices of Deprivation also show it to be demographically diverse. The region comprises two major cities (Hull and York), three unitary authorities with nine large towns, and a multitude of smaller towns and villages. While there are some affluent communities, particularly in the East Riding, some of the country’s most deprived areas are situated within the region.

The sector must therefore manage the pressures of working in both urban and rural settings, ensuring that music opportunities are offered in the areas where there is the greatest need at the same time as providing an appropriate spread across the region. On a strategic level, inclusion work must be linked to the priorities set by the five local authorities, other public service providers (including health) and potential funders and commissioners. More practically, issues such as transportation, rural isolation and the cost of accessing provision should also be considered when planning investment and action.

6.Priority Areas and Target Groups

In accordance with MINC requirements, Music4U has undertaken substantial research across the region to identify gaps in the provision and the areas where engagement in music is low (called ‘cold spots’). This research has shown that there are areas where young people are at high risk of being excluded. These areas, which are named below, should be targeted in the sector’s inclusion work:

  • Areas of the City of Hull, including Bransholme;
  • Rurally isolated and economically disadvantaged areas of the East Riding, such as Bridlington, Hedon, Withernsea and Goole;
  • Areas of North East Lincolnshire, including Immingham and Grimsby;
  • Rurally isolated and economically disadvantaged areas of North Lincolnshire, such as Scunthorpe and Barton; and
  • Economically disadvantaged areas of York, including Tang Hall, Clifton and Westfield.

Music4U’s research has also identified key groups of young people who can become marginalised and therefore excluded from universal music provision. They too must be prioritised:

  • Children aged 0 to 5 years (for whom hub funding is not available)
  • Those from economically deprived backgrounds or receiving free school meals;
  • Young people who are excluded from school, at risk of exclusion or attending pupil referral units;
  • Those whose first language is not English;
  • Homeless young people and children in care;
  • Those with mental health problems;
  • Young people not in education, employment or training;
  • Rurally isolated young people;
  • Those with physical disabilities, sensory impairment or special educational needs;
  • Young travellers;
  • Young parents;
  • Young carers and children with a responsibility for disabled siblings; and
  • Young people from minority ethnic groups

By focusing on these target areas and vulnerable groups, the music education sector will be poised to deliver the best outcomes for them while working strategically within ‘local’ political and funding frameworks.

7.Taking the Lead

As stated above, Music4U and the hubs should take the lead on embedding inclusive practice across the music education sector. Music4U has a clearly documented record of musical inclusion work since 2001 (

The hubs were established to “close the divide between wealthier children and those from disadvantaged areas and give access to great musical education” (DCMS and DfE, 2011). In line with the NPME, the hubs are expected to extend provision beyond schools and collaborate with various education and music partners so that they can mutually benefit from the exchange of knowledge, expertise and resources. The hubs have also been set up to help schools deliver the music curriculum and work with them to identify and meet the needs of young people in their catchment areas.

The five hubs in this region are accountable to their respective local authorities so each is subject to the corporate inclusion policies of these councils as well as statutory requirements. Examples of their inclusive practice include hubs offering free first access to music for all pupils through the Whole Class Instrumental Tuition, free instrumental loans services, free access to schools ensembles, remissions policies for looked after children, specialist support for pupils with special and additional needs, and financial support for families with economic hardship to attend overseas trips.

Much of this inclusion work has been school-based and the hubsrecognise that more needs to be done to include and involve young people in music opportunities outside of school, as required by the NPME. These extension activities, however, can be challenging to deliver due to significant reductions in local authority spending. For example, in some cases, arts development budgets have been slashed and youth support services removed entirely. It is therefore difficult for the hubs to keep access costs to this provision to a minimum and offer other means of support, such as bursaries. However, these difficulties must be overcome if this region is going to be truly musically inclusive. The case can therefore be made for the hubs to work more closely with Music4U and other ‘inclusion activists’ in order to fulfil their NPME, Ofstedand other service requirements.

8.Recommendation and Outcomes

The main recommendation for ‘All In’ is for Music4U and the music education hubs to sign a memorandum of understanding that commits them to pursuing the stated strategic vision for the region and embedding truly inclusive practice. Moreover, they must recognise that musical inclusion work must be underpinned by three key principles – quality, diversity and equality. By working in partnership towards a shared regional vision, the music education sector will be well positioned to realise these outcomes:

  • Young people, regardless of the personal, social and economic circumstances, have equal and better opportunities to access, experience, enjoy and progress through music of all types if they choose to.
  • Young people have raised levels of self-esteem and confidence and their wellbeing is improved through engagement with music and a network of professional support.
  • Music4U is recognised as the region’s champion for musical inclusion, from the early years and first access through to the identification and promotion of young talent.
  • The hubs, through active engagement with internal and external partners, are seen to set a strong standard for musical inclusion both in schools and in the community.
  • Music4U and the hubs, in collaboration with other partners, work seamlessly and more effectively to provide excellent music opportunities both inside and out of the classroom and share learning and best practice.
  • Music4U and the hubs are recognised by funders, commissioners and decision-makers as leaders in inclusive practice and consequently they are well positioned to attract further funding to support inclusion work.
  • Those working in music education are appropriately skilled and therefore are better able to use musical engagement to improve the personal, social and economic wellbeing of young people.
  • Music4U and the hubs are seen as advocates for continuing professional development, especially in with regard to evolving more inclusive practice.

9.Memorandum of Understanding

Music4U (which comprises the National Centre for Early Music [NCEM] and local authority partners in the East Riding of Yorkshire ([ERYC], Hull, North East Lincolnshire [NEL], North Lincolnshire [NL] and York) and the music education hubs in the York and Humber region have agreed to adopt the ‘All In’ Inclusion Strategy, developed for the region’s music sector in September 2014.

Any actions, projects and partnerships arising from this inclusion strategy shall be mutually discussed and agreed upon in writing by all relevant parties prior to the initiation of any activity.

This MoU becomes effective from the day the representatives of all named partners affix their signatures below. This MoU may be revised through the mutual agreement of the named partners and any partner may disassociate themselves from the agreement in writing at any time.

The administration of this MoU will be the responsibility of Music4U, which is administered by the National Centre for Early Music.

For the National Centre for Early MusicFor Arts Development, ERYC

Delma Tomlin: ______June Mitchell: ______

Date: ______Date: ______

For Arts Development, HullFor York Arts Education and York Music Hub

Ruth Drake: ______Tim Brooks: ______

Date: ______Date: ______

For East Riding Music HubFor Hull Music Hub

Jamie O’BrienChris Maynard

Date: 01.12.14Date: 28th November 2014

9.Conclusion

‘All In’ is a statement of the regional music education sector’s commitment to involving children and young people, particularly those who face exclusionary challenges, in music so they can experience the intrinsic and instrumental benefits of musical participation. Our shared vision is an ambitious one and cannot be realised without strong, strategic partnership working.

This document is intended to inspire and guide those working in the sector; entice other partners to share our vision and enhance their inclusion efforts; and encourage partners to embed inclusivity in their decision-making and their investment and business planning. By focusing on inclusivity, the sector can work effectively to generate positive outcomes for the region’s most disadvantaged young people. By supporting priorities set out by local and national policy makers, funders, commissioners and decision makers, we can also demonstrate the power of music and why further support for the sector’s inclusion work will help embed sustainable practice and improve the social, economic and personal wellbeing of our young people.

References

The Charity Commission. The promotion of social inclusion, London: The Charity Commission, 2001.

Deane, Kathryn, Anita Holford, Rob Hunter and Phil Mullen (Sound Sense). The power of equality: Interim evaluation of Musical Inclusion. London: Youth Music, 2014.

Department for Culture Media and Sport (DCMS) and Department for Education (DfE). The importance of music: A national plan for music education. London: DCMS and DfE, 2011.

Department for Education (DfE). The national curriculum in England: Framework document. London: DfE, 2000, 2013 (refresh).

Jermyn, Helen. Research report 35: The art of inclusion (executive summary). London: Arts Council England, 2004.

Ofsted. Music in schools: what hubs must do. Manchester: Ofsted, 2013.

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