Agenda item

Officers presented an annual report into the Hillingdon Music Hub.

 

The national plan for music education was a strategic framework set by the UK Government to enhance music education for all children and young people in England. It aimed to enable children and young people to learn to sing, play an instrument, and create music together, and to provide opportunities for them to progress their musical interests and talents, including professional pathways.

 

Hillingdon had embraced this vision and aimed to provide a cohesive music education that was accessible and inclusive, enriching the lives of all children and young people.

 

There were five strategic functions:

·         Partnership: collaborating with various stakeholders to create a holistic music education experience.

·         Schools: engaging with schools to integrate music into their curriculum.

·         Progression and Musical Development: supporting students’ musical growth and talent development.

·         Inclusion: ensuring that music education was accessible to all, regardless of background or ability.

·         Sustainability: fostering long-term viability and impact.

 

Hillingdon Music Hub had recently transitioned into Children’s Services. Officers outlined the organisational structure. The Music Service Manager sat under the Head of Education and Lifelong Learning. Under the Music Service Manager there were:

·         Progression and Ensembles Co-Ordinator

o   Activities and Events Officer

·         Singing and Popular Music Co-Ordinator

·         First Access & Curriculum Music Co-ordinator (and maternity leave cover for this)

·         Inventory Officer

·         Admissions & Learning Progression Officer

·         Technical Support Officer

There were also approximately 60 sessional contract teachers.

 

An advisory group comprised partners, parents and other stakeholders to provide oversight and guidance.

 

External partners included:

·         Examination Boards: collaborating to enhance music education.

·         Collective 31: working in special schools.

·         Software Providers (e.g., Charanga): supporting music education in primary schools.

·         PSB (World Music Specialists): enhancing music diversity.

·         Brunel University: developing a strong relationship and exploring career routes in music.

·         ACS: funding key initiatives, including the Sing! Festival and emerging talent events.

·         Voices Foundation: collaborating with teachers to cover various genres.

·         Global Academy: hosting Saturday and Thursday music schools.

·         Sound Connections: supporting youth voice and facilitating workshops.

·         Bollywood Brass: enriching musical experiences.

·         Schools Orchestra Symphony Orchestra: providing opportunities outside of the Council.

·         National Youth Orchestra Auditions: guiding talented students.

·         Royal Academy of Music: offering student-led programs. Royal Academy of Music recently provided students to run a workshop for young people.

 

Hillingdon’s commitment to music education aligned with the national plan’s vision. By fostering partnerships, inclusivity, and sustainability, Hillingdon was enriching the lives of children and young people through music.

 

Hillingdon Music Hub went beyond traditional music lessons and offered a range of programmes and activities. These included:

·         One-to-One Lessons: these were conducted at centres including Manor Farm House and the Global Academy.

·         Paired Lessons and Small Group Lessons: these occurred both at the centres and within schools.

·         Whole Class Instrumental Lessons: schools could opt for recorder or ukulele lessons for entire classes.

 

The Hub also ran a number of ensembles and events, including:

• Ensemble Sessions: held on Saturdays and Thursdays.
• Ukulele Group and Steel Band: recent additions to their ensemble offerings.
• Theory Instruction: provided alongside practical lessons.
• Events: throughout the year the Hub held various events, including the recent Sing! Festival.
• Christmas Light Switch On: the Hub actively participated in community events.

 

Further performance opportunities included:

• Winter Concerts: hosted at venues like the Winston Churchill Theatre and the Beck Theatre.
• Workshops: engaging students in practical music experiences.
• External Events: participation in events like the Hayes Canal Festival.
• Open Rehearsals: encouraging community engagement.

 

Support for teachers included:

• Teachers’ Choir: a platform for teachers to enhance their skills and well-being.
• Resource Sharing: teachers received resources to use in schools.
• Online Competition: showcasing schools’ whole-class activities.

 

A number of progression and outreach opportunities included:

• Sunday Activity: a new initiative at the interfaith centre.
• Startups for Children: supporting young learners transitioning to the next stage.
• Foreign Tours: an annual tradition.
• Vulnerable Learners: focused efforts to support this group.
• ADS Scheme: targeted projects, including one during half-term.

 

In terms of engagement, all schools were offered participation. 64% of schools actively engaged. 252 children received one-to-one advanced lessons, and 664 children received standard small-group tuition. Whole class lessons were offered directly in 10 schools, while other schools received resources for self-delivery.

 

A significant portion of the Hub’s funding came through Arts Council grants and parental contributions. School contributions were growing, and occasional external grants were secured for specific projects such as the King’s coronation, funded by Youth Music.

 

Approximately 50% of the budget was allocated to paying teachers. Other costs included admin and management (including the core team’s salaries), and performance expenses (such as covering concerts, running costs and related activities).

 

Schools would apply to participate in events such as the Christmas lights and carols. The Hub would email all schools, ensuring up-to-date contacts. Headteachers would also be contacted and there would be meetings with Senior Leadership Teams. The Hub encouraged teacher attendance at events and continuous professional development (CPD). Information was disseminated through Education Weekly and the Hub’s website. In terms of the selection criteria, special needs schools were prioritised for engagement, and schools that attended twilight sessions were preferred. Comprehensive engagement ensured effective use of resources.

 

The Hub actively engaged with schools through various channels. Strategies included emails and website communication.Offering free programs garnered more interest and participation.It was noted that while the Hub had not yet offered DJ skills, external providers had conducted sessions. Music technology, including DJ skills, is an area the Hub aimed to develop further.

 

The Sing! Festival aimed to nurture schools that may not have their own choirs. Conductors could be upskilled to lead music sessions in primary schools.Many primary schools lacked music specialists, so conductors played a crucial role.Feedback from schools was positive, and workshops empowered teachers. The Sing! Festival was made free for schools using funding from ACS.

 

In terms of accessibility and support, The Hub actively strove to make music accessible to all students, regardless of financial background. It was ensured that Looked After Children did not pay for music lessons; concessionary rates were offered to children receiving free school meals, and a simplified sign-up process sought to address barriers to enrolment. Funding had been secured for Ukrainian refugees to provide free access to lessons and ensembles. Further collaboration with the Ukrainian school was being explored. Officers noted that vulnerable children often displayed great passion for musical instruments.

 

Music education was valuable not only as an introduction to musical art, but also as a means of forming lasting friendships and instilling discipline in young people.

 

While engaging with 64% of schools was a good achievement, there were a number of obstacles such as finance; some schools operated independently and may not feel the need to use the Hub; and the role of a music coordinator in primary schools varied from school to school, from delivering music to simply ensuring its continuity. Certain secondary schools struggled with music and sought external assistance, but sometimes the demand exceeded what can be delivered. Dwindling numbers of students in GCSE and A-level music was of concern to universities. Furthermore, parents faced choices regarding their children’s extracurricular activities, including instrumental lessons. Despite financial challenges, parental buy-in remained crucial, as the perception was that music careers may not yield substantial income.

 

Current instrument expenditure was small due to budget constraints. Recently, keyboards had been purchased for group tuition, but the Hub tended to rely on existing instruments that were historically acquired. While the Hub initially spent more during whole-class programs, the current proportion of the budget allocated to instruments was relatively small. Any anticipated government funding for instruments further influenced spending decisions. Balancing accessible instruments and music technology with traditional instruments was essential, but storage limitations also impacted the acquisition of instruments.

 

Repairing and refreshing instruments was crucial. It was noted that exploring partnerships with schools could help store instruments. Spare capacity in primary schools might accommodate music teams.

 

The music service traditionally focused on Western classical music, though there was an intention to expand inclusivity. Strategies included employing a diverse group of teachers and ensuring workforce representation. Collaboration with external partners, such as a spoken word artist, could enhance this. Inclusion and diversity training for staff was essential, and while curriculum control was limited, efforts focused on an inclusive repertoire. Primary network meetings educated schools about the importance of lyrics and cultural contexts.

 

The Music Hub employed both internal staff (hourly paid employees of the Council) and external partners. Partners were selected based on expertise and satisfaction criteria.

 

While some teachers were qualified, many had music degrees or a passion for music. The service aimed to develop early years programs and family-oriented activities in the future.

 

The service primarily operated from the Global Academy but was seeking more diverse locations. However, financial constraints impacted expansion possibilities.

 

The Music Hub actively sought student feedback through surveys after concerts. They also engaged with youth voice and aimed to establish a youth council. Passionate ex-students provided valuable perspectives, and feedback from all stakeholders was considered for program refinement. A new school survey was planned to gather input from children participating in lessons.

 

Work experience opportunities with universities were being pursued, and shadowing experiences for engaged students had been successful.

 

The Friends of Hillingdon Music Service raised donations through raffles, doughnut sales, and events. Funds raised had supported tours, sheet music, and parents in temporary financial need. The Friends of Hillingdon were previously involved but were currently focused on the Saturday music school. They attended some meetings by invitation but were not regular members.

 

Schools contributed to funding through direct billing for whole-class tuition. Secondary schools paid for lessons directly. Unlike other areas, the music service billed parents, not schools.

 

The Music Hub was part of the West London music hub, although details were confidential for now.

 

RESOLVED: That the Children, Families and Education Select Committee noted the report.