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What’sgoing on?A national audit of youth music in Scotland

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Report commissioned by:Youth MusicScottish Arts CouncilMusicians’ Union

Report researched and written by:Stephen Broad, Celia Duffy, David Price Royal Scottish Academy of Music and Drama,National Centre for Research in the Performing Arts

© 2003 The Scottish Arts Council

No part of this publication may be reproducedin any format without prior written permissionof the Scottish Arts Council.

Cover image: Electric guitar playing at Ilesburgh Community Centre, Shetlandat a gig supported by Shetland Arts Trust and the Scottish Arts Council.Photo: Shannon Tofts

What’s going on? Youth music audit 1

Table of contents

Foreword 3

The project team and acknowledgments 4

Abbreviations 5

Executive summary 7

How to read this report 10

Section 1: Introduction to the findings 11

Section 2: Context 15Remit 15The role of the Scottish Arts Counciland Youth Music 15Steering Group 16Scottish context 16

Section 3: Methodology 18Research methods 18Outline timetable 18Definitions and terminology 18

Section 4: Questionnaires and samples 19Purpose of the questionnaires 19Designing the samples 19Building the samples 19Confidentiality and data protection 20Response rates 20Interpreting the results 20

Section 5: Quantitative findings 21Who did we contact? 21Participation 22Financing youth music 30Financing Local Authority Instrumentaland Singing Instruction 32The style question 36The geography question 39Activities 42Involving participants 44

Section 6: Qualitative findings 46Profile of respondents 46Respondents on their own situation 50Perspectives on the state ofyouth music in Scotland 58

Section 7: Participant findings 63Samples and analysis 63Results 63

Section 8: Key issues and recommendations 66Strengths in existing provision 66Gaps and weaknesses in existing provision 68Barriers to participation 70Strategic and developmental priorities 73Coda 78

Appendices 791. Project commissioners and

Steering Group membership 79

2. Individuals and organisations consulted 80

3. ‘What’s Going On?’ National Seminar, 5 October 2002 84

4. A historical comparison of data on LAISI 85

Bibliography 87

The pleasure and satisfaction of making musicdoesn’t need much explanation to anyone who hasexperienced it for themselves or has seen the look ofabsorption on the face of a child putting their energyinto singing or playing an instrument. And in recentyears the very real added benefits of making music –the strengthening of social and emotional confidenceand of manual and intellectual dexterity – havebecome widely understood. Parents, educationalists,government agencies and all those who share theresponsibility for the wellbeing of the youngergeneration could hardly fail to agree that theopportunity to make music is wholly positive. It is abenefit that we should be seeking to extend to all ofour young citizens.

As agencies committed, in their different ways, tosupporting work with music and young people, theScottish Arts Council and Youth Music share similarroles in taking the broad overview of this provision.Both concentrate their funding and developmentactivities primarily in the non-statutory sector. But inmusic education, independent arts organisations andvoluntary bodies inevitably have a closeinterdependency with the formal education system. So an overview can only be useful if it offers the fullpicture. Young people’s musicality, not administrativeconvenience, is what we all aim to serve.

Youth Music and the Scottish Arts Council cametogether to consider these issues at a time ofsignificant change in local and national government.Unitary status for local authorities in Scotland and UKdevolution, alongside new developments in fundingwith the advent of the National Lottery, meant that thepatterns of educational and music provision changedtoo. But the altering patterns and the opportunitiesavailable were not always easy to track.

To make the best plans and most effectivecollaboration for the future of youth music provision inScotland we need the firm foundation of accurateinformation so we decided on this comprehensivesurvey of the entire youth music scene. Its findings area true reflection of where we are now and the futurepossibilities for youth music.

Foreword

As an organisation also fundamentally concerned withthe overall health of all aspects of music, theMusicians’ Union has been a welcome and valuablepartner in this audit. We would like to thank them andparticularly the Scotland and Northern Ireland office, fortheir generous and practical contribution to the work.

We would also like to thank our consultants at theRoyal Scottish Academy of Music and Drama, themembers of our Steering Group and all of those whocontributed to the compilation of such a thorough andwell-presented piece of work. Their unanimity of beliefin the importance of music for young people – andtheir clear indication of the routes that can be taken –provide a powerful and positive spur for future work. It is our hope that the Scottish Arts Council and YouthMusic can now join with the other key partners in thisenterprise to offer the young people of Scotland thefinest musical experiences that any country couldhope to provide.

Graham Berry – Director, Scottish Arts CouncilChristina Coker – Chief Executive, Youth Music


Clarsach playing at Fèis Lochaber.Photo: Tom Baker

4 What’s going on? Youth music audit

The research was conducted by a Royal ScottishAcademy of Music and Drama (RSAMD) team, underthe overall direction of Principal John Wallace.

The team comprised:

David Price, Lead Consultant: main responsibility forkey informant interviews, focus groups, strategy andrecommendations

Stephen Broad, Research Officer: main responsibilityfor data collection instruments and analysis

Celia Duffy, Project Manager

Irene Cameron, Administrator.

Additional input organising focus groups was providedby Rachael Arnold, of Impact Arts. Angus McFadyen ofGlasgow Caledonian University advised on statisticalmethods and analysis and Colin Ritchie advised ondatabase design.

We would like to thank the many experts who gavegenerously of their time to contribute to the project.These interviewees are listed in Appendix 2.

The project team and acknowledgments


Abbreviations

FE Further Education

FTE Full Time Equivalent

HE Higher Education

HITS Heads of Instrumental Teaching Scotland

LAISI Local Authority Instrumental and SingingInstruction

MSP Member of the Scottish Parliament

RSAMD Royal Scottish Academy of Music andDrama

SAME Scottish Association for Music Education

SQA Scottish Qualifications Authority

‘To support the development of youngpeople’s music-making is to support thespirit of the local communities, perhapseven the nation, that we live in. Without it,where would those communities be?’Davie Gardner Shetland Music Development Project


Executive summary

The audit

This project has allowed us to take the musical pulseof Scotland’s young people. We have gatheredinformation and opinions from participants andpractitioners alike. The evidence paints a diverse andcomplex picture.

We estimate that:

• Between 55,000 and 60,000 individual youngpeople take part in music activities each week

• 100,000 more young people would take part ifgiven the opportunity.

Among the existing strengths identified are solidfoundations upon which to build, a thriving traditionalmusic scene and a hugely enthusiastic response fromyoung people themselves towards music-making.

We identified needs and opportunities for bettersupport of young people from minority ethniccommunities and those with special needs, and forsinging, music technology and creative music-making.The informal sector, in particular, needs greatersupport and advocacy.

Perceived barriers to participation include fees forinstrumental instruction, and access to instruments orequipment. There is a large body of young people inScotland that is – through either lack of instruments,or tutor availability, or cost – currently not able toaccess tuition. There is a perception that youth musicwork is misunderstood and undervalued. Genderissues also play their part in excluding young peoplefrom music-making opportunities.

We found that the infrastructure to support youth musicwas highly fragmented. Among the funding issuesnoted was concern over prioritisation of innovation forits own sake, at the expense of consolidation ofsuccessful work.

Strategic and developmental priorities are areas suchas training, advocacy, and research into music’s impacton the social, personal, educational and creativedevelopment of young people.

A framework for the future

This report illustrates the importance of youth musicto Scotland’s future – its young people. It is an areawhere, despite the best efforts of the existing fundingand delivery mechanisms, there are many youngpeople who still lack the opportunity to take part.

We believe that, at a time when the inclusion of youngpeople into the fabric of our society should be one ofour highest priorities, there is a golden opportunity toenhance support for a cultural activity for which thereis an irrefutable demand. To do so would meanensuring that every young person can gain access tomusic-making activities irrespective of geography,gender, social or cultural background. The benefits toyoung people themselves and to society as a wholeare clear.

To achieve this, all those with a stake in Scotland’syoung people need to contribute to a framework forthe future. It should put in place the structuresnecessary to support existing provision and respondto the demand for more informal opportunities whereneeds are not being met. The changing musical tastesof young people and the cultural contexts wheremusic-making takes place will not only requireadditional support, but also a quest for innovativesolutions.

Photo: Alan McAteer

National Youth Music Strategy for Scotland

Key elements should include:

• the design of coherent strategies across all sectorsof provision (including primary, secondary, tertiary,informal and independent provision) to enablemaximum choice and progression opportunities foryoung people

• working with the Scottish Arts Council and YouthMusic in devising appropriate support for theinformal sector

• providing clarity on the remit and role of UK-wideorganisations within the Scottish context (eg YouthMusic, Sound Sense, Making Music) and therelationship between any new development agencyand these bodies

• making recommendations for rationalising thecurrent numbers of co-ordinating agencies

• assisting national music organisations to diversifytheir social and cultural base

• working with Youth Music and others in achievingbest value across the UK on shared priorities andopportunities for collaboration

• encouraging both formal and informal sectors towork together and co-ordinate activities, whereappropriate, to achieve coherence andcomplementarity

• identifying research priorities.

National Youth Music Development Agency

Key tasks should include:

Advocacy

• advocate youth music opportunities, as anentitlement, for all young people in Scotland

• work with strategic partners (eg Musicians’ Union,FE/HE, HITS, SAME) to raise awareness ofparticipatory music as a route through to furthereducational or professional involvement.


The recommendations

We advise that the Scottish Executive should endorse,resource and, through its key partnerships, facilitatethe implementation of three main recommendations:

• a National Youth Music Strategy for Scotlandto achieve coherent strategies across all sectorsof provision and enable maximum choice andprogression opportunities for young people

• a National Youth Music Development Agencyto advocate, co-ordinate, fund and support youthmusic opportunities, as an entitlement, for allyoung people in Scotland

• a National Review of Local Authority Instrumentaland Singing Instructionincluding a cost benefit analysis of charging of feesand a method of identifying and quantifying levelsof unrealised demand for tuition.

Executive summary


Funding

• establish and administer devolved fundingschemes to support strategic priorities within theinformal sectors

• attract levered funds from private and publicsources, to enhance existing funding

• establish different levels of funding schemesincluding easy-to-access award schemes forsmaller projects and longer-term schemes forsustaining successful existing projects.

Training, continuing professional developmentand support

• promote involvement in youth music as careeroption for professional musicians

• collaborate with HE/FE colleges in developingappropriate modules and short courses forpractitioners in youth music

• identify appropriate support programmes forvolunteers

• assist more musicians from minority ethniccommunities to work in youth music

• develop national participatory schemes and trainingsupport for singing, and for music technology

• support informal providers through targeted adviceand guidance expertise

• commission ‘How-to’ guides for start-up projectsand voluntary groups

• initiate instrument and equipment advice and re-distribution schemes.

Networking

• establish practitioner and resource databases

• facilitate networking for community and privatemusic organisations

• act as a channel for dialogue between musicorganisations and the Scottish Executive, theScottish Arts Council and other national bodies

• following the success of the 2002 ‘What’s GoingOn?’ National Seminar facilitate networking viaregular events and meetings.

Research and information gathering

• work with Further and Higher Education institutionsin developing medium- and long-term impactassessment of youth music projects

• establish best practice and evaluation models

• commission case studies in successful partnershipbuilding

• commission further research to support advocacy,training and social justice priorities.

Review of Local Authority Instrumental andSinging Instruction Services

Key tasks:

• identify and accurately quantify current provision in detail

• identify and accurately quantify levels ofunrealised demand for tuition

• conduct a cost/benefit analysis of the charging of fees

• taking account of recently issued guidance fromthe Scottish Executive, make recommendations forthe development of an accurate, consistent anddetailed information reporting system on musicinstruction in Scotland

• suggest ways of targeting support to primaryschools, informed by the needs of classroomteachers

• investigate the feasibility of a co-ordinating bodyfor music education and tuition within the formalsystem

• evaluate the relative merits of constitutionaloptions for instruction services.


This report is intended to serve a broad audience,from national policy makers to those on the grounddelivering music to young people in Scotland. We havedesigned it so that there are various routes throughthe report, serving readers with different needs.

There are three basic routes:

If you need an overview of the context, main issuesand recommendations, see:

• Executive summary

• Section 1: Introduction to the findings

• Section 8: Key issues and recommendations.

For a headline level of detail on the data we collected,refer to:

Quick reference boxesQuick reference boxes appear throughout Sections5, 6 and 7 to summarise the findings. However, thecontext and the detailed discussion are essential toa proper understanding of our findings.

For a full account and analysis of our data – see thewhole report and particularly:

• Sections 4–7, in their entirety.

How to read this report


1 Introduction to the findings

This research has allowed us to take the musicalpulse of Scotland’s young people. Like any diagnosticprocess it represents only a given moment in time, but we have tried to be as comprehensive and asinclusive as possible within the obvious constraints ofsuch an undertaking. We have gathered informationand opinions from young people, tutors, organisersand regional and national co-ordinators of musicalactivities, and have tried to identify patterns, gapsand common concerns.

The accumulated physical evidence of a six-monthinvestigation pays testimony to the variety andvibrancy of current musical participation: over half theconcerts in 2002’s Festival of British Youth Orchestraswere performed by Scottish ensembles; thousands ofparticipants in dozens of categories in the Fife Festivalof Music; over 3,000 participants in Fèisean nanGàidheal sessions. But it is not simply the enthusiasmthat impresses – the quality of performanceswitnessed and CDs listened to (take a bow, the bandsfeatured on Dumfries’s Oasis Youth Centre’s‘Evolution’) is a tribute to the dedication of tutors,volunteers and musicians throughout the country.

But whilst our interviews, surveys and meetings haverevealed a significant growth in activity over the lastfive years, they have also shown how fragile thecurrent health is, and much more could still beachieved. Time after time we heard the same concernsexpressed: ‘if we had more resources we could reachso many more’; ‘things are better than they were, butfor how long?’; ‘if only more people knew what goeson here…’

In the scores of reports, essays and journals surveyedduring the course of our research, many drawattention to the all-pervasiveness of music in youngpeople’s lives. Radio, TV, and the internet are seen asdeveloping a nation of passive consumers within ouryouth. ‘Reality’ TV programmes, such as FameAcademy or Pop Idol seem to encourage young peopleto aspire to fame for its own sake, rather than respectfor creativity, or the social value of music-making.

But for the many young people who regularlyparticipate in classes or informal sessions, the imageof mindless consumption could not be further fromthe truth. Here we see independence of thought,critical analysis, self- and peer assessment and oftensheer bloody-minded obsession.

‘To support the development of young people’s music-making is to support the spirit ofthe local communities, perhaps even the nation, that we live in. Without this support,where would those communities be?’Davie Gardner, Shetland Music Development Project

‘It's amazing to think that up until 100 years ago virtually all music was experienced livenot recorded. Now the opposite is true. In the community music field, we are engaged intrying to reverse the commercialisation of music and return it to the community.’Hugh Reed O'Hagan, Co-ordinator, Northern Rock Community Music


1.1 Banging the drum?

Musicians engaged in helping young people freelyadmitted to their deficiencies in advocating theassociated benefits of participation in music, but inspite of this, the story is starting to get out. A growingbody of research highlights the effects of regularmusical activity – development of self-concept (‘I cansucceed’), verbal and reasoning skills, spatialreasoning ability (with strong links to mathematics,reading and planning skills), and improved hand-eyeco-ordination are some of the areas for which, it isclaimed, the evidence has now becomeincontrovertible.1

There are also strengths which music in particularpossesses (ie it has mass appeal and it can be ahighly entrepreneurial activity) which can addresssocial inclusion issues with young people at risk. Ingeneral there was less discussion of these benefits(often diminished by being labelled ‘diversionary’)than we had perhaps expected, perhaps becausethose on the ground are more concerned with gettingthe job done – often under pressure. Socialentrepreneurship – as opposed to the familiarcommercial model – is increasingly being fosteredthrough cultural industry development agencies.Highlands and Islands Enterprise, among others, hasbeen notable in not seeing commercial andcommunity impact as two separate entities, and wehope that Scottish Enterprise and the ScottishExecutive’s Music Industry Forum can encourageothers to do the same.

The need for better research and advocacy was acommon theme throughout our findings, althoughquite often it was seen as ‘someone else’s job’. Aregular complaint was a perceived lack of awarenessfrom politicians and policy makers of the importanceof the work. Whilst it is hoped that this report can gosome way to addressing these concerns, there is nodoubt that no one is going to bang the drum entirely

on behalf of music deliverers, so it will be for thoseorganising and co-ordinating the work to advocate itseffectiveness.

1.2 Counting them in…

The following sections of the report detail the issuesfrom the research, and identify perceived gaps, needsand priorities for development. Inevitably, since thisstudy has been the first of its kind to cover bothformal and informal provision there is a wealth ofinformation emerging – and a frustrating need formore information, especially where obviousweaknesses have emerged. We have a number ofrecommendations on further areas for research butthe most obvious should be stated from the outset.

The brief for this study reflects the nature of someaspects of youth music itself (particularly ininstrumental instruction) in that it is provision-led,rather than demand-led. That is to say we feel we havea reasonably accurate picture of what is currentlyprovided, although we can lay no claim to absolutecomprehensiveness – there are numbers of organiserswho, despite our best efforts, were either unwilling orunable to provide statistical information, and others,no doubt, that we did not unearth. In terms ofparticipation, this report probably accounts for knownactivities involving anything between 15% and 25% ofyoung people in Scotland. What we don’t know iswhat could be happening, but isn’t, for the remainder.Few, if any, studies have been commissioned toidentify likely demand, but it is our belief, based uponanecdotal evidence, that with additional resources(and better organised resources) the current supplycould be multiplied several times and still not satisfydemand. We were somewhat surprised that thisdemand has not been measured within, say, localauthority responsibilities, but until it is we areinevitably left with anecdote and conjecture.

‘I would rather see kids beating the crapout of a drum than beating the crap out ofeach other.’Questionnaire respondent

1 See Deasy, ed, Critical Links: Learning in the Arts and StudentAcademic and Social Development (Washington DC: Arts EducationPartnership, 2002); Mahoney and Cairns, ‘Do ExtracurricularActivities Protect Against Early School Dropout?’, DevelopmentalPsychology (1997); Hetland, ‘Learning to Make Music EnhancesSpatial Reasoning’, Journal of Aesthetic Education (2000).



1.3 It’s not all about money

One of the outstanding features of youth musicprovision in this country is the army of volunteers whogive freely of their time and considerable commitmentto make it all happen. We hoped to provide anassessment, in financial terms, of their in-kindsupport, but the sheer scale and diffusion of theirsupport defeated us. Fèisean nan Gàidheal (FnG),however, have informally estimated it as at least £0.5million for their activities (almost twice as much asFnG receives in financial support). Other projects wevisited, like the Youth Gaitherin’ in Edinburgh, arestaffed almost entirely by volunteers. No one wespoke to was arguing for the professionalisation ofthis support, but many felt that such a high relianceon volunteers would be unsustainable if levels ofactivity continued to rise, and that this crucialvoluntary contribution should be quantified,recognised, and offered better support and training.Such an approach would cost relatively little andcould reap significant rewards.

We were also advised that the issue of fee-chargingfor instrumental instruction would be a unifying factoracross all sectors, and there is no doubt that it wasthe issue which evoked most discussion. But, as weshall see, establishing a clear cause-and-effectrelationship, at this point, is fraught with difficulty.This issue will be dealt with in much more detail laterin this report, and still more work will need to be donebefore clear conclusions can be drawn.

1.4 The boys in the band?

There was one pattern which, across local authorities,could clearly be identified within InstrumentalInstruction: a decline in young male involvement inorchestral ensembles and orchestral instrumentalinstruction. Ironically, the position is reversed in theinformal sector particularly in Rock, Pop and Dancemusic. Here the issues are about encouraging moreyoung women and girls to overcome the gender andcultural barriers attached to these forms. CurrentlyRock, Pop and Dance workshops are overwhelminglydelivered by the informal sector – there is very littleopportunity to access Pop music tuition within localauthority education services. Community and youth-based deliverers, (such as Impact Arts in Glasgow andthe Bridge Centre Project in Haddington) makepowerful arguments for prioritising support for Rock,Pop and Dance music as a means of engaging youngmen and boys considered at risk, and some of thefigures presented in the next section would appear toprovide evidence of under-resourcing.

1.5 If the kit don’t fit

A significant obstacle to participation which hasemerged is adequate access to instruments andequipment. Here some needs are very specific: thereare problems getting hold of large or expensivemusical instruments, particularly affecting take-up(and therefore sustainability) of orchestralinstruments; education and youth workers are oftendismayed and bewildered at the cost and complexityof music technology equipment. Solutions to theseproblems are not simply financial – Youth Music’sInstrument Amnesty scheme in Scotland (as much asanywhere else in the UK) demonstrated a creativeapproach to reallocating and recycling unwantedinstruments for example, and The Foyer in Aberdeenshows what can be achieved in developing goodquality recording/rehearsal facilities with modestresources when assigned to responsible and savvymusic workers.

A reassuringly high proportion of respondents feltphysical resources – rehearsal/workshop rooms,venues, recording facilities – were adequate. Thereare major capital projects, such as the Glasgow City

‘It is through sheer hard work on the partof a huge number of volunteers that theseyoung people learn musical skills. Thevolunteer effort is very under-acknowledged. The fèis movement hasrelied heavily on volunteers, and thesepeople are its great strength.’Arthur Cormack, Director, Fèisean nan Gàidheal


Halls project, the Tolbooth in Stirling and theMuirhouse Arts Centre in Edinburgh, which areexciting affirmations of a new-found confidence in andcommitment to youth music. There are otherexamples, however, where such optimism would bemisplaced. The Torry Youth Project in Aberdeen hasattracted national and international recognition for itswork with disadvantaged young people since 1986.2

Yet workers and volunteers have demonstrated greatdetermination and commitment in continuing to workin wholly inadequate conditions, where having awatertight, secure and partially soundproofed spacewould be a significant improvement.

Elsewhere, sparsely populated areas face obviousdifficulties in enabling access to resources. The YouthCafés in Action project in the Highlands and WesternIsles recognises that the oft-cited ‘solution’ of makingexisting resources (such as local schools) moreavailable, may not be culturally attractive to all youngpeople. The Shetland Music Development Project isworking on innovative solutions to the perennialproblem of finding appropriate live music venuesthrough working with pubs and hotels in providing‘dry’ nights, with good sound and lighting systems.Numerous other examples of creative approaches tothese regional difficulties were observed.

1.6 Come together…

In this section we have tried to give a broadintroduction to models of delivery, patterns of activityand common themes emerging. Listening to what isgoing on has been a fascinating and immenselyencouraging project. We have met inspiring musicfacilitators and inspired young musicians working inschools, academies, grassroots collectives,community centres and everything in between. Wehave witnessed the impact that can be made throughpartnership and personal commitment. We have alsodiscerned anxieties over the lack of advocacy,responding to need and long-term sustainability.

In October 2002 we organised a National Seminar. Toour knowledge, it was the first time that those in theformal and informal sectors had come together onthat scale to share their experiences. Aside from thereassurance that we gained in testing our overall

findings against their on-the-ground realities, it washeartening to see such willingness to understand thediffering priorities, constraints and aspirations acrosssectors. There was also none of the ‘advocacy ofgenre’ which often accompanies such gatherings(though it makes an occasional appearance in ourevidence).

Some expressed the wish that future events should bewidened still further to include the perspective of theclassroom teacher, but all appeared to agree on onething: there have, in the past, been unhelpful barriers– across styles, sectors and client groups – whichhave stood in the way of the goal of achievingexcellence, access and participation in youth musicprovision. The significant progress achieved so far isunlikely to be sustained in the future because of thefragmentary nature of current co-ordination andsupport. The levels of activity have now reached apoint where coherent strategies and frameworks forfuture development need to emerge on a national andcross-sectoral basis.

The following sections present our findings in detail,and an exploration of the issues raised is in Section 8.

2 See Creativity in Education Case Study 11: Young Musicians onthe Move (Glasgow and Dundee: LT Scotland, 2001).



2 Context

2.1 Remit

The project’s sponsors, Youth Music, the Scottish ArtsCouncil and the Musicians’ Union, have different, butcomplementary interests in this sector. Their intentionwas to commission a full ‘map’ of youth musicprovision in Scotland and an interpretation of thatmap upon which future policy could be based. YouthMusic wished to establish firm findings from which toconsider how best to make available the full range ofits work in Scotland. The Royal Scottish Academy ofMusic and Drama (RSAMD), as well as preparing thereport, also financially supported this work.

The project brief fell into two sections, the firstfocusing on data-gathering and statistical informationon music provision in Scotland, and the secondfocusing on interpreting that data to identify gaps inprovision, developmental needs, and how theseneeds might be met. For the purposes of this project,we defined youth music as embracing both localauthority provision (through, for example, LocalAuthority Instrumental and Singing Instruction) andinformal community and independent music-making.Our remit did not include classroom and curricularprovision. The two sections were closely interrelatedand the RSAMD project team dealt with them together.

The brief was to:

• compile a comprehensive account of all music-making activities in all sectors, except classroomand curricular provision

• produce statistics and analysis in relation to theinformation

• identify how gaps in provision and developmentalneeds may be met

• identify next steps towards improving the overallprospects for youth music provision in Scotland.

This was to be achieved by:

• wide consultation with all sectors with an interestor active role in youth music provision

• creating a database of information collected

• building on existing data and research sources.

Over the course of the project the target audience forthe report broadened to include the Scottish ExecutiveEducation Department and Tourism, Culture and SportDivision, representatives of which were co-opted ontothe Steering Group. (Governmental interest wasunderlined in a reference to the project by MikeWatson, the Minister for Tourism, Culture and Sport, inanswer to a question on tuition fees.3) In addition, ourconsultative activities at grassroots level, andparticularly our face-to-face meetings (focus groupsand National Seminar) have set up a keen interestfrom a very wide audience of music tutors andorganisers in the report’s findings.

We have therefore addressed our findings andrecommendations to encompass this broad audience(see above for different routes through the report).

2.2 The role of the Scottish Arts Counciland Youth Music

2.2.1 The Scottish Arts CouncilThe Scottish Arts Council is directly funded by theScottish Executive in its role as the national fundingand development agency for the arts. It is also thedistributor of National Lottery funds for the arts inScotland. The Scottish Arts Council is firmly committedto arts education by complementing statutory localand national government provision. It supports a widerange of music provision for young people as well asother artforms using both Scottish Executive andlottery funds.

The Council’s support takes a number of forms. Manyof the performing organisations which receive regularannual core funding use part of their grant to runeducation and outreach programmes: examples includethe Scottish Chamber Orchestra, Scottish Opera andthe Royal Scottish National Orchestra. In other cases,organisations are funded to carry out youth musicwork as their main activity – for instance, Fèisean nanGàidheal, Fèis Rois and the National Youth Orchestrasand National Youth Choir of Scotland.

3 Mike Watson, MSP, Minister for Tourism, Culture and Sport,Scottish Parliament, Official Report of the Scottish Parliament, Col 13982 (19 September 2002).


countries in the UK a significant demand for theassistance Youth Music has begun to offer has beenindicated. Youth Music is being encouraged tocontinue developing these national partnerships,taking account of individual national characteristics.Having been a catalyst for this audit of youth musicprovision in Scotland, in partnership with the ScottishArts Council and the Musicians’ Union, Youth Music isvery keen to continue supporting all efforts which willbenefit the development and provision of youth musicopportunities for children and young people in Scotland.

2.3 Steering Group

The project’s progress and direction was overseen bya Steering Group comprising the project’s funders(Youth Music, the Scottish Arts Council and theMusicians’ Union) and senior representatives from awide variety of different sectors of youth musicactivities across Scotland. It was chaired by LouiseMitchell, Director of the Glasgow Royal Concert Hall.The Steering Group met five times over the course ofthe project, usually at RSAMD in Glasgow.Representatives from the Scottish Executive EducationDepartment and Tourism, Culture and Sport Divisionwere co-opted. (For a full list of Steering Groupmembership, see Appendix 1.)

2.4 Scottish context

2.4.1 Education systemThe state education system in Scotland (pre-16) issplit into two phases. In general, children begin thePrimary phase around the age of 5 and move into theSecondary around the age of 12. Scotland has nonational curriculum, but the Scottish ExecutiveEducation Department and Learning and TeachingScotland produce curriculum guidelines (known asNational Guidelines 5-14) in each subject area for thePrimary phase and the first two years of theSecondary. Students begin study for SQA StandardGrades in their third year (S3) of Secondary educationand take exams at the end of the fourth year (S4).Thereafter, the curriculum is highly flexible (especiallywithin the new National Qualification), offeringstudents the chance to study a range of subjects atvarious levels: Access, Intermediate 1 and 2 (roughly

All regularly-funded music organisations areencouraged to include educational activity in theirannual activities and most do. In addition, theScottish Arts Council offers a range of opportunitiesfor the support of youth music projects of all sizes, in all styles of music and by a variety of organisations,from festivals to community groups. In recent yearsthe funding available from the National Lottery hassignificantly increased the scope of this support.

The Scottish Arts Council’s recognition of the need toreview the scope of its current provision and to planstrategically for the future led to the collaboration withYouth Music and the Musicians’ Union which gave riseto this audit.

2.2.2 Youth MusicYouth Music is an independent organisation,established in 1999 by the Department of Culture,Media and Sport with a UK-wide remit to increasemusic-making opportunities for children and youngpeople (particularly those with least access), mainlyout of school hours – developing skills and enhancingthe quality of their lives. Youth Music’s three mainroles are funder, development agency and high profileadvocate for youth music making. Support is providedfor many different styles of music, covering diversecultural traditions. Working with partners nationally,regionally and locally, Youth Music is helping to placeyoung people’s music-making at the heart ofcommunities.

With lottery funds, £30 million initially, through theArts Council of England, Youth Music has alreadybenefited nearly half-a-million children and youngpeople and reached over a million more widely in theircommunities. Over 1,200 jobs for music leaders and600 trainees have been created. Approximately13,000 musical instruments, valued at nearly £2.5million, have been brought back into use. Youth Musichas also levered in over £8 million to date and thesuccess of its work has been endorsed by furtherlottery funding committed by the Arts Council ofEngland to 2005.

In the absence of similar funds granted to Youth Musicto support activities outside England, the organisationhas already provided some support UK-wide, usingindependently-raised funds. In Scotland and the other

2 Context


comparable to SQA Standard Grades), Higher andAdvanced Higher (roughly comparable to A Level).

Music is represented at all stages in the curriculum. It is included in the guidelines for expressive arts inthe 5-14 guidelines and becomes one of the optionsavailable to students from S3 onwards.

Although many schools retain the title of ‘grammarschool’, the state sector in Scotland is single-tier, andthere are few state schools that are not under directcontrol of the local authorities. Local authoritiesmaintain responsibility and control for Instrumentaland Singing Instruction in schools but its provision isnot a statutory requirement. The range and availabilityof instruction varies widely across the country.

There are four specialist music schools in the statesector, including one for Traditional music. All areintegrated into comprehensive schools where thespecialist students receive their non-musical educationand all receive funding direct from the Scottish Executive.

The independent sector in Scotland is very much smallerthan its counterpart in England, but there is a range ofday and boarding schools, some of which offer musicscholarships. St Mary’s Music School in Edinburgh isScotland’s only independent specialist music school.

2.4.2 The informal sectorThe adoption of the broad umbrella title of ‘informalsector’ becomes a necessity when faced with awidely diverse (and often divergent) range ofactivities. Projects occur through the intervention ofan ever-widening arc of sponsors, reflecting thegrowing interest in the impact upon young people.Youth and leisure services, healthcare, youth justicesystems, enterprise bodies and many more publicagencies are funding work, alongside a growingnumber of private funders.

Practitioner input ranges from none (where groups areself-sufficient) to more directed support – fromtraditional tuition to workshop leadership, through toconducting ensembles – though one of the strengthsof informal delivery is its flexibility, so one sessioncan encompass a number of tutor-participantrelationships. Some tutors working in the formalsector also work for community projects and the like,

but, in general, there are frequently two distinct setsof professionals in each area, who appear to havelittle contact with one another.

Music organisations and their stated aims are variedand complex. Reduced to a simplistic continuum,some groups prioritise the social and personaldevelopment of their client groups (as in the case ofmany community music projects), while others seek todevelop very high quality musical performance skills(for example regional and national orchestras). Intruth, however, the more effective projects can and dospan both ends of the continuum. What informalprojects frequently have in common is the ‘spill-over’effect, whereby young people may be attracted toparticipate primarily to make friends and acquiremusical skills without realising it, or conversely, whereyoung people begin by wanting to learn a musicalinstrument and come to place a higher value on thesocial aspects of participation.

Although competition does feature in some informaldelivery (as in ‘battle of the bands’ contests or youthmusic festivals) achievement is more usually measuredby peer and family approval, rather than through aprescribed curriculum or formal assessment.

Musical styles represented in informal delivery coverall areas, though, as we discovered, there areinconsistencies in provision both geographically anddemographically. Almost inevitably some musicalstyles appear to be better catered for in some areas ofthe country, or with some age groups, than others.

Whilst the variety of styles, delivery methods andsocial contexts for informal delivery are an undoubtedstrength, they also represent a dilemma. Community-based music-making has evaded categorisation anddefinition for three decades. This presents obviousdifficulties in terms of advocacy, coherence andsector-wide representation – areas we discuss furtherin later sections.


3.1 Research methods

We adopted a number of data-gathering approaches:

• questionnaires (postal and internet-based)designed to elicit both quantitative and qualitativedata from Tutors, Organisers, Co-ordinators, localauthorities and Participants

• focus groups (groups of up to 20 invitedparticipants, semi-structured questions)

• key informant interviews (open-ended questions,so-called ‘elite interviewing’ style)

• National Seminar small-group discussion sessions

• reference to the literature and previous similarstudies.

The methodology and definition of our target groups iselaborated in Section 4: Questionnaires and samples.

3.2 Outline timetable

2002

March/April Project set-up

May Project starts with key informant interviewsSteering Group Meeting 1 (3 May)

June Stephen Broad (Research Officer) joins projectFocus group 1: Inverness

July Website operationalDatabase finalisedSteering Group Meeting 2 (8 July),questionnaires signed offTutors, Organisers and Co-ordinatorsquestionnaires dispatched

August Steering Group Meeting 3 (23 August)Focus group 2: DumfriesFocus group 3: GlasgowFocus group 4: Edinburgh

September Focus group 5: Dundee Local authority questionnaires dispatched

October Steering Group Meeting 4 (4 October)National Seminar, RSAMD, Glasgow (5 October)

November Steering Group 5 (8 November)Final report

3 Methodology

3.3 Definitions and terminology

Precise definitions of our target groups and how weclassified them are given in Section 4.

Our remit required us to study both formal andinformal provision, but did not define these terms.Defining these terms with any precision is not asstraightforward as it may appear. A convenientworking definition includes Further Education, HigherEducation, schools provision (curriculum andclassroom), and Local Authority Instrumental andSinging Instruction (LAISI) under the umbrella offormal provision. Associated with informal provisionmight be the very broad church of activities in thecommunity and independent sectors. We haveincluded local authority-run activities that take placeoutside the school day under this heading. In reality,the categorisation of an activity as formal or informalis an ad hoc one, based on a mixture of the following:

• delivery• context• location• participants’ involvement in decision-making• the style of participation• the nature of the activity.

It was agreed that the age range under considerationshould be from 0 to 25.

We also refer to an organisation’s turnover as itsincome from all sources, since most of the organisationsare working in the public sector and are not-for-profit.

Definitions of musical styles proved perhaps lessthorny than we expected. Our grouping into sevenoverall styles worked well for our purposes and wereceived few comments from our informants on thefollowing general classifications:

• Jazz• Musical theatre• Non-western• Religious• Rock/Pop/Dance• Traditional• Western Classical.

Within this report, Youth Music (initial capitals) refersto the organisation Youth Music (formerly known asthe National Foundation for Youth Music), whilst youthmusic refers to the activities defined in 2.1 above.


4 Questionnaires and samples

4.1 Purpose of the questionnaires

The questionnaire-based aspect of the research wastwo-pronged:

• quantitative: to gather numerical information onorganisations involved in youth music activities.

• qualitative: to provide a way of examining theopinions, perspectives and needs of thoseinvolved.

4.2 Designing the samples

Quantitative information was sought from individualorganisations (community centres, youth orchestras,music projects etc) and from Local AuthorityInstrumental and Singing Instruction (LAISI) Servicesin two specially designed questionnaires.

For the purposes of assessing opinions, perspectivesand needs, we designed four questionnaires to targetfour constituencies of youth music practitioners andparticipants.

Organisers: practitioners who work primarily ‘on theground’, who take a regular hands-on organisationalrole. Organisers might be pipe majors or youthworkers or non-musical administrators, paid orunpaid, but they are all closely associated with theeveryday operation of an organisation. All Organisersin our sample were associated with one or more youthmusic organisations from whom we hoped to getquantitative information.

Tutors: practitioners who lead activities withinorganisations, but are not involved in an organisationalrole. Tutors might spend a great deal of time with theyoung people that take part in the activities, but theywill not be involved in running the activities.

Co-ordinators: practitioners who take a managerialrole, or those who are able to take a strategic look atthe situation of youth music in their area. All Heads ofInstrumental Teaching Scotland (HITS) representativesand Her Majesty’s Inspectors of Schools withresponsibility for music were contacted as Co-ordinators.

Participants: the young people who take part in theactivities.

Naturally, there is the potential for a good deal ofoverlap between these categories, and in a smallnumber of cases, the same individual was contactedin respect of several roles they fulfil.

Throughout this report, we use upper case todistinguish our samples (eg Tutor, Organiser etc) fromthe populations.

Organisers were asked to complete both a qualitativeOrganisers questionnaire and provide quantitativeinformation on their organisation, though manyOrganisers provided information on more than oneorganisation (hence the size of the organisationssample exceeds the size of the Organisers sample).Tutors and Co-ordinators were contacted as individuals.

4.3 Building the samples

We used the results of previous surveys (includingMapping Hidden Talent Scotland), national databases(such as that held by the Scottish Music InformationCentre), industry directories, and internet-basedresearch to identify organisations working in youthmusic. We also consulted experts with knowledge ofparticular fields, such as Susan White-Aktemel(Director, Impact Arts) and Pamela Flanagan (Head ofEducational Music, RSAMD).

Similar sources were used to identify Tutors and Co-ordinators. We made use of the Musicians’ Uniondirectory of tutors, and were given access to thecontact addresses for all HITS representatives.

Our planned sample for Organisers, Tutors and Co-ordinators consisted of every contact we could locate.The actual sample is an opportunity sample made upof those that responded.

For Participants, we planned a sample that wouldincorporate a small number of responses from each ofthe organisations we contacted. Initially, a number ofParticipants questionnaires were therefore sent witheach Organisers survey, but the response was low. Welater decided to target certain groups to achieve astylistic coverage in our Participants questionnaire(see Section 7 for discussion of this).


4.4 Confidentiality and data protection

We wanted to ensure that respondents felt able togive their opinions freely, so we made all qualitativequestionnaires anonymous. In order to comply withour obligations under the Data Protection Act, weenclosed a data protection declaration with thequestionnaire. We assured respondents that theirresponses would remain anonymous but encouragedthose who felt their responses were particularlysensitive to return the data protection separately fromthe questionnaire. Many respondents (especiallysenior figures in our Co-ordinators sample) did this,and we found their candid responses very useful.Several respondents did not return a data protectiondeclaration and, while their responses havecontributed to our results, their names do not appearin the appendices to the report.

4.5 Response rates

Response rates in postal surveys are low, and 25%response is typical (the last comparable survey in thisfield [Rooke, 2000] drew a response rate of 26%). Thefollowing table gives the planned sample size,removed surveys (mostly undelivered), response rateand actual responses for each of our samples.

Response rates for the Organisations, LAISI Services,Tutors and Co-ordinators samples give us reasonableconfidence in the findings from those samples. Thesamples of Organisers and Participants have lowerresponse rates, but results agree closely with findingsfrom the focus group sessions and the NationalSeminar, giving us reasonable confidence in thesesurveys despite their low response rate.

4 Questionnaires and samples

4.6 Interpreting the results

Several tools were used in the analysis of theresponses. A complex relational database for thestorage and analysis of quantitative information wasdesigned and built by Colin Ritchie. Other data wasstored and analysed on databases designed in-house.

For the analysis of free text responses, we developeda controlled vocabulary. This took its lead from theresponses themselves, and was progressively refinedas the issues became clear. An anonymous audit trailwas used to allow the controlled vocabulary to becross-referenced periodically with the questionnairesthemselves, ensuring consistency.

Type Sample Planned sample Removed Response rate % Responses received

Quantitative Organisations 486 14 48 231LAISI 32 0 100 32

Qualitative Organisers 355 14 23 83Tutors 442 13 34 149Co-ordinators 74 0 53 39Participants c1,000 28 c18 182


5 Quantitative findings

5.1 Who did we contact?

5.1.1 What kind of organisations did wecontact?

We received completed questionnaires from 231organisations that offer youth music activities. In eachcase, we asked the responding Organisers to describethe organisation according to a predetermined list oforganisation types. The following table indicates thenumber of responses received from each type oforganisation.

5.1.2 Local authoritiesWe wrote to the Directors of Education in all 32 unitarylocal authorities for detailed information regarding theprovision of Instrumental and Singing Instruction, andreceived responses from all 32. However, the level ofdetail provided varied, and some authorities wereunable to complete all questions.

5.1.3. Stylistic spread of the organisations wecontacted

Each responding organiser was asked to indicate(from a predetermined list) the styles of music offeredby their organisation. The following table shows thenumber of organisations offering each style. Thestylistic categories were selected to be as widelyapplicable as possible and allow broad comparisonbetween major stylistic trends. They are necessarilyan extreme simplification of the interweaving of stylesthat can characterise youth music-making.

Note that the sum of the organisations offering eachstyle is greater than the total number of organisationsresponding. This is because many organisations offermore than one style. The following table shows thenumber of organisations offering one or more differentstyles.

Any comparison across styles must take account ofthe large proportion of organisations offering morethan one style. Information on the relative importanceof each style within each organisation was not soughtin the questionnaires, so all stylistic comparisons aredone in two stages. Firstly, the organisations offeringonly one style will be considered, then thoseorganisations that offer more than one style will beincorporated into the picture on the assumption thattheir work is reasonably equally distributed across allthe styles they offer. The first comparison will be aprecise reflection of the stylistic trends in the single-style organisations within our sample. The secondcomparison is necessarily more liable to erroneousresults and should be treated with some caution, butit will suggest trends.

Type of organisation Responses received

Commercial providers 8Community organisations 44Music festivals 15Other 6Professional arts companies and agencies 10Specialist music schools 5After-school and vacation activities 126Youth organisations 17

Style Responding organisationsoffering activities in this style

Jazz 65Musical theatre 21Non-western 21Religious 11Rock/Pop/Dance 84Traditional 114Western Classical 141

Number of styles offered Responding organisations

1 1352 343 174 335 46 67 2


5.1.4 Geographical spread of the surveyWe tried to be as comprehensive as possible, basingour planned sample upon previous surveys,databases and industry directories. The followingcartograms give an indication of the geographicalspread of the organisations we contacted and thosethat responded. Please note that this indication of thegeographical spread of our survey should be treatedwith some caution, given the wide variation in thearea and population across different unitary authorityareas (the Highland Council area, for example, coversan area that is 20% larger than the whole of Wales).However, it will be seen from the second cartogramthat responding organisations were spread reasonablyuniformly across the country.


5.2 Participation

Quick referenceTotal weekly participation in responding organisations (excluding LAISI): 24,388.

Total weekly participation in LAISI: 55,262.

Participation in LAISI varies widely.

Estimated number of young people involved in youth music each week: 55,000–60,000.

Possible unmet demand for LAISI: up to 100,000.

Coverage of organisationswe contactedDarker colour representsareas where more organisationswere contacted.

Coverage of organisationsthat replied to the surveyDarker colour indicatesareas where more organisationsresponded.

5.2.1 The populationThe graph to the right shows the population at the2001 census. Four age groups (a-d) correspondingapproximately to (a) pre-school, (b) primary, (c) secondary and (d) post-school are used in the age profile.

5.2.2 Participation in organisations (excludingLAISI)

Each organisation was asked to provide informationon the number and age ranges of participants takingpart in its activities. The graph to the right summarisesthe total weekly participation and age profile reportedby the organisations that responded. The graphexcludes participation in Local Authority Instrumentaland Singing Instruction but includes group activitiesorganised centrally by Instruction Services.

Population at Census 2001

Weekly participation (excluding LAISI)




The graph to the right contrasts the information abovewith the population statistics given in 5.2.1 above.

5.2.3 Participation in LAISIParticipation in Local Authority Instrumental andSinging Instruction varies across the country, but thegraph to the right shows the global picture across thetwo central age ranges (b and c), which correspondapproximately to Primary and Secondary school ages.

Weekly participation (excluding LAISI) comparedwith population statistics for Census 2001

Weekly participation (LAISI)


The graph to the right contrasts the information abovewith the population data given in 5.2.1 above:

The variation in participation in Instrumental andSinging Instruction is wide. The diagram to the rightshows the spread of percentage participation (that is,the percentage of pupils in each local authority takingpart in LAISI) across different local authorities.

Quick referenceHow to read this diagram (and others like it)This diagram (right) is designed to show the spreadof the data. The percentage participation in half ofall authorities lies within the box at the centre ofthe diagram, clustered around the average. The lines above and below the box extend to themaximum and minimum percentage participationfound. Thus, the box shows the central tendencyof participation in LAISI, whilst the lines above and below show the lowest and highestparticipation found.

Median of participation: 9.0%

Weekly participation (LAISI) compared withpopulation statistics for Census 2001

Participation in LAISI


Although participation in LAISI lies between 7.1% and10.3% in half of all authorities that returned a survey,some authorities have a significantly greaterparticipation. The council (Shetland Islands Council)that has a participation of 31.3%, almost three timesthe average, is an exceptional case across all measures(see ‘Financing Local Authority Instruction’ below).

It is worth noting that the maximum participation in agiven authority of 31.3% is about three times theaverage participation across the country. This suggeststhat potential demand could be three times the currentuptake. In other words, there may be twice as manypotential participants not taking part as there are actualparticipants. This could translate into an estimatedunmet demand of about 100,000 young people.

5.2.4 Estimated total participationThe problem of double counting makes it impossibleto give a precise figure for the number of individualyoung people taking part in musical activities eachweek since, plainly, many young people take part inmore than one. Such a figure could only be obtained ifevery organisation kept records of their ownparticipants and all the other organisations to whichthese participants belong. Clearly, this is notachievable, and all measures of total participationshould be treated with some caution. However, twoestimates of weekly participation may be given, eachwith its own limitations. Firstly, we may estimate aglobal figure for weekly participation that ignores alldouble counting. This figure reflects the outside limitof participation, and is in effect the number of youngpeople taking part in musical activities every weekassuming they each took part in only one activity inthe week. Secondly we can use results from ourParticipants questionnaire to give a rough indicationof the number of young people taking part in two ormore activities each week, and combine this with ourestimate for global participation to suggest a morerealistic figure for weekly participation.

The total weekly participation in the organisations wesurveyed is 24,388, excluding LAISI. We receivedresponses from fewer than half of the organisationswe wrote to, so assuming that those who respondedare reasonably representative of those who did not,we might estimate that the total weekly participationoutside Local Authority Instruction is about 50,000.


The total weekly participation in Local AuthorityInstruction across all the authorities that returned asurvey is 55,262.

Therefore, ignoring double counting, we mightestimate that about 100,000 young people would takepart in musical activities each week if we assumedthey each took part in only one session each week.

Results from our Participants questionnaire suggestthat around 75% of participants take part in more thanone activity each week. From this, we may estimate amore realistic figure that takes account of this andsuggest a weekly participation of 55,000 to 60,000individual young people.


5.2.5 Participation by style (excluding LAISI)

Quick referenceFor responding organisations (excluding LAISI):

• estimated weekly participation in Rock, Pop and Dance music:c 5,200

• estimated weekly participation in Traditional music: c 8,800

• estimated weekly participation in Western Classical music: c 5,800.

Participation in each stylistic area may also be investigated (see 5.1.3 for notes on comparisons across styles). For those organisations thatreturned a survey and offered only one style, the total participation isgiven in the graph below. These are actual figures from our sample,without any extrapolation for the wider picture.

Style key

Jazz JazzMT Music theatreNW Non-western musicRel Religious musicRPD Rock, Pop and DanceTrad Traditional musicWC Western Classical

Weekly participation: single style organisations


There are very many more participants inorganisations that offer only Traditional or WesternClassical music than there are participants inorganisations that offer only one of the other styles.We received no responses from organisations thatsaid they offered only Non-western or Religious styles.Although the graph above reflects the data fororganisations that offer only one style, it is not at allrepresentative of the global picture because manyorganisations offer more than one style (see above,5.1.3 Stylistic spread of the organisations wecontacted). In order to give an indication of theparticipation across styles in groups that offer morethan one style, we must assume that participants inthese organisations are reasonably equally distributedacross the styles offered by the organisation. Thefollowing graph shows the participation across allorganisations when this assumption is made.

Participation rates for Jazz, Music Theatre and Rock,Pop and Dance appear very much higher here becausethese styles tend to be available within organisationsthat offer a range of styles. Although the totalparticipation rates for Traditional and Western Classical


music increase when multiple-style organisations areincorporated into the picture, the percentage changeis far less for these organisations (50% and 85%increase for Traditional and Western Classicalrespectively compared to over 1,000% increase forRock, Pop and Dance). This suggests that organisationsoffering Traditional and Western Classical music aremuch less likely to offer any other style of music.

The assumption that underpins this comparison (thatparticipants in organisations that offer more than onestyle are equally distributed among the styles offered)probably increases the relative importance of thestyles that have fewer participants. Organisations thatare keen to demonstrate stylistic breadth will haveindicated all the styles they offer, regardless of howsmall the offering in any particular style is. It is morelikely that participants are unequally distributed, andwe might suggest in particular that participation inRock, Pop and Dance is rather higher than it appearshere. From other aspects of the questionnaires, it isclear that respondents’ idea of Jazz is rather broad,and so we would suggest that participation in Jazzmay be somewhat less than it appears here.

Weekly participation: all organisations*

*assuming equal distribution of participants among stylesin organisations that offer more than one style


5.2.6 Participation by style (LAISI)

Quick referenceWestern Classical is the dominant style in LAISI,with estimated weekly participation of c 47,000.

From the total participation in LAISI, we may estimatethe participation in the three main stylistic areasoffered by the Instruction Services, based upon therelative number of Full Time Equivalent (FTE) tutors inthe three areas. For the purposes of this comparison,we will consider fiddle, clarsach and bagpipe tutors tocontribute to a ‘total FTE’ for Traditional music. Tutorsin electronic keyboard, electric guitar and drum-kit willcontribute to a ‘total FTE’ for Rock, Pop and Dancemusic. Other tutors (the majority) will contribute to a‘total FTE’ for Western Classical music.

Tutors who teach electric guitar also teach acousticguitar in most authorities that offer these instruments,and teachers who teach drum-kit also teachpercussion. In these cases, the total FTE for theseinstruments will be distributed equally between Rock,Pop and Dance and Western Classical. Many authoritiessay that some of their string tutors teach traditionalfiddle, but where they are unable to give a separateFTE for fiddle tutors, this will be ignored since therelative number of such fiddle tutors is small.

The Western Classical style predominates, forhistorical reasons relating to the traditions of musictraining. Ignoring the traditional fiddle tutors that areincorporated into the FTE for strings probably makesthe participation in Traditional music appear too lowon this comparison but we do not believe that thecomparison would be seriously altered by theinclusion of these tutors.

In this discussion of style in LAISI, it should be notedthat only one authority, Glasgow City Council, offersinstruction in a Non-western instrument under theauspices of the Instrumental Instruction Service(Tabla, 1 FTE instructor).

Weekly participation: LAISI


5.3 Financing youth music

Quick referenceAnnual turnover of LAISI: £17.62 million.

Estimated total annual turnover of youth music inScotland: £28 million.

5.3.1 Total annual turnover of youth music inScotland

The recorded annual turnover for the organisationsthat returned the survey (excluding LAISI) was justunder £5.2 million. Of this, 63% was public money(from public funding bodies) and 37% was privatemoney (from fees, earnings, commercial sponsorshipand private trusts). We received responses from lessthan half of the organisations we wrote to, soassuming that those who responded are reasonablyrepresentative of those who did not, we mightestimate that the total annual turnover (excludingLocal Authority Instruction) is about £10.5 million.

It might be argued that this figure is too high, sincethe organisations that have returned the survey couldbe larger and better funded than those that did not.This is certainly possible, and, in particular, we wouldsuggest that publicly funded organisations are wellrepresented in the sample. On the other hand, wemust assume that there are many organisationsinvolved in youth music that were not included in ourplanned sample. We therefore feel justified inestimating that the total annual turnover (excludingLocal Authority Instruction) is about twice the annualturnover recorded in our sample; that is, about £10.5million. However, we believe that the proportion ofpublic money in the total turnover will be rather lessthan it is in our sample.

The recorded annual turnover (core budgets and feeincome) for Instrumental Instruction Services inauthorities that returned the survey was just under£17.62 million. The recorded annual turnover for allorganisations that responded to the survey istherefore £22.82 million, and the estimated totalannual turnover is around £28 million.


5.3.2 Average annual turnover of youth musicorganisations and sources of funding(excluding LAISI)

Quick referenceAverage annual turnover of youth musicorganisations (excluding LAISI): c £25,000.

On average, fees are the greatest source of funding.

We may calculate the average turnover for the youthmusic organisations (excluding LAISI) that returned asurvey, and show how this income is split acrossdifferent sources. In the organisations that comprisedour sample, the average annual turnover was around£25,330. The table below shows the average incomereceived from a range of sources by the organisationsthat returned a sample, but these figures should betreated with some caution (see below).

Source Average income

Fees (from participants) £4,529Scottish Executive (arts) £4,289Scottish Executive (other, eg Local Enterprise) £3,935Scottish Arts Council £3,244Lottery (excluding Awards for All) £1,876Private trust £1,696Earned income (sales, box office, etc) £1,411Local authority (arts) £1,274Local authority (other) £955Commercial sponsors £754Fundraising £484Private income £315Other £283Lottery (Awards for All) £222European Union £60Grand Total £25,328


Fees are, on average, the largest single source ofincome for the organisations that completed a survey.According to the above tabulation, the combinedincome from the Scottish Executive ‘arts’ and ‘other’funds (mainly Local Enterprise Companies) exceedsthe income from participants and all other sources.However, this does not represent the situation for thetypical organisation because of the relatively largesums of money from the Scottish Executive that go tothe specialist music schools. Indeed, the ScottishExecutive’s current role in directly funding youth musicactivities is restricted to the specialist music schoolsand money it makes available through Local EnterpriseCompanies. Other monies for youth music are directedthrough the Scottish Arts Council and the block grantsto local authorities. We received information fromthree of the four state specialist music schools, andthe funding they receive accounts for around 86% ofthe total money received from the Scottish Executiveby organisations in our survey. If the remainingScottish Executive money were to be distributedamong the other organisations in our survey, eachorganisation would receive less than £1,200 each (say£600 each from the nominal ‘arts’ and ‘other’ budgets).This is probably a truer representation of the incomeof a typical organisation, and places ScottishExecutive funding far further down the table above,below trust income, local authority arts budgetincome, and earned income. The following table showsthe average income for a typical organisation in oursample when Scottish Executive funding for statespecialist music schools is removed from the picture.

Source Average income

Fees (from participants) £4,529Scottish Arts Council £3,244Lottery (excluding Awards for All) £1,876Private trust £1,696Earned income (sales, box office, etc) £1,411Local authority (arts) £1,274Local authority (other) £955Commercial sponsors £754Scottish Executive (arts) £600Scottish Executive (other, eg Local Enterprise) £600Fundraising £484Private income £315Other £283Lottery (Awards for All) £222European Union £60


5.3.3 Average annual awards by public fundingbodies

The problems interpreting average incomes for theorganisations in our survey are thrown into relief whenwe consider average annual awards made to youthmusic organisations by public funding bodies.

The table below shows average awards made byvarious public funding bodies to the organisations inour sample, when an award was made. This is notaverage income from these bodies, but the averagesize of the award when an award is made. It should benoted that we did not target the recipients ofparticular funding bodies or awards when designingour sample.

Budgets for Instrumental and Singing Instruction areset by individual unitary authorities, and vary widelyacross the country. The following diagram shows thespread of budgets in the authorities that returned asurvey (see 5.2.3 ‘Percentage participation in LAISI’ for details on how to interpret it).


5.4 Financing LAISI

5.4.1 Budgets

Quick referenceLAISI spending:

• Budgets vary widely.

• In general, spending per capita (all young people) does not vary widely, though there are notable exceptions.

• Spending per music student (those receiving LAISI instruction) varies widely.

• Greater participation seems to be associated with a smaller spend per music student.

Funding body Average award Number of awards made % of organisationsto organisations in our sample

in our sample receiving an award

Scottish Executive (arts) £72,911.88 6 3Scottish Executive (other, eg Local Enterprise) £17,081.44 23 10Lottery (excluding Awards for All) £14,174.04 10 4Lottery (Awards for All) £2,834.38 8 3Scottish Arts Council £9,321.91 36 16Local authority (arts) £2,888.76 46 20Local authority (other) £2,496.75 44 19


This chart shows the wide spread of budgets for LAISI,but does not take account of the numbers of studentsin each authority. To compare spending on LAISI moremeaningfully, we may calculate spending per capita(that is, per student in each authority) and spendingper music student (that is, per student receivingtuition in each authority).

5.4.2 Per capita spendsThe following diagram shows the spread of annual percapita spending on LAISI in the authorities thatreturned a survey.

Budget for LAISI

Median of annual budget: £445,250

Spending per capita on LAISI

Median of annual per capita spend: £27



Participation

With some very notable exceptions, per capita spendson LAISI are comparatively tightly clustered aroundthe mean. Half of all authorities spend between £24and £36 per capita a year on LAISI. The council thatspends £226 per music student is Shetland IslandsCouncil, which has a participation rate of 31.3% and iswholly exceptional.

5.4.3 Per music student spendsThe diagram to the right shows the spread of annualspending per music student on LAISI for theauthorities that returned a survey.

Spends per music student show a far wider spreadthan spends per capita and, in general, higher spendsper student are associated with lower percentageparticipation. The graph below plots percentageparticipation against spend per student. (Data forShetland Islands Council have been omitted becauseof its special circumstances.)

The inverse correlation between percentageparticipation and spend per student is high (r=0.58,df=15, significant at 0.01 level); authorities with greaterparticipation tend to spend less per music student.

We might interpret this tendency in terms of value formoney: with greater participation comes better valuefor money; it is cheaper per student to run a largesuccessful high-participation Instrumental andSinging Instruction Service than a small one.

Median of annual spending per music student: £326

Spend per music student


5.4.4 Fees

Quick referenceLAISI fees

• Fees vary widely.

• In the context of this project, it was not possibleto examine the impact of fees on participation.

• There may be a business case for levying fees,but it has not, in general, been made byauthorities.

Perhaps the most emotive issue we have investigatedis that of fees for Instrumental Instruction and theirvariation across the country. The following diagramshows the spread of maximum annual fee for smallgroup and individual instruction across the country forthose authorities that levy fees (for details on how tointerpret it, see 5.2.3 ‘Percentage participation in LAISI’).

It is important to note that fees are waived for allstudents being presented for SQA music examinations.

Clearly, although maximum annual fees for smallgroup tuition are fairly closely clustered around theaverage, there is considerable variation across thecountry. The picture for individual tuition is even morevaried. But in fact, by excluding the authorities whereinstrumental instruction is free, these diagramsconceal the wider inequity of current charging policies.

The total fee payable by the parents and carers ofparticipants in LAISI may be roughly estimated fromthe participation and fee data provided by authorities(together with a correction for SQA presentations andan estimate, based on Scottish Executive data, of thenumbers of students whose fees will be waived forsocio-economic reasons). We estimate that the totalfee burden for LAISI fees across Scotland is around£2.25 million. However, the total income from feesvaries very widely from authority to authority. Weestimate that the greatest annual income from fees ofany one authority is over £500,000 (around 50% ofthat authority’s total budget for LAISI), whilst thesmallest income is less than £14,000 (around 4% ofthat authority’s total budget for LAISI, and comparableto that authority’s costing of the administrationassociated with fee collection).

5.4.5 The impact of feesWe have been encouraged by many people involved inthe provision of LAISI to study the impact of fees onparticipation and, in particular, to determine if feesare responsible for excluding potential participants.

Despite ample anecdotal evidence, there are manydifficulties in statistically concluding this to be thecase. Three difficulties in particular make thedefinitive demonstration of any detrimental effectimpossible at this time.

• It is clear that demand for Instrumental and SingingInstruction far outstrips supply. Therefore, actualparticipation cannot be used to measure anydeterring factors.

• Information on ‘waiting lists’ (or some otherconsistent numerical data on demand for instruction)is not kept by local authorities. In some cases,‘waiting lists’ are kept for pragmatic reasons byindividual schools or tutors, but there is noconsistent measure of demand. Only two authorities

Maximum annual fees for LAISI

Median maximum annual fee for small groupinstruction: £80

Median maximum annual fee for individualinstruction: £88


that responded to the survey could giveapproximations for the size of waiting lists.Therefore, we cannot measure a change in demandand use this to study the impact of fees.

• It is possible that, as fees are introduced, thedemand remains constant while the constituencyfor that demand changes. In other words, thesame number of students apply to haveinstruction, but the socio-economic mix of thegroup changes. To study this after an authority hasbegun charging fees, one would need detailedhistorical socio-economic information on theparticipant body. Such information does not, toour knowledge, exist.

In order to show statistically that fees deterparticipation in LAISI, we would have to study anauthority that is in the process of moving to fees andcompare the socio-economic makeup of theparticipants before and after the introduction of fees.Naturally, this is a study that is unlikely to besupported by an authority that has already decided tomove towards charging fees.

We cannot show that fees deter participation, butthey may.

5.4.6 The business case for feesA separate but equally pertinent issue surrounding thecharging of fees for Instrumental and SingingInstruction is the business case for such fees.

To levy a fee requires an administrative outlay, and weasked all authorities whether they had accuratelycosted the administration of fee collection. Two out of32 authorities said they had, and a further authoritysaid they would shortly be doing so. Of the twoauthorities that could give an accurate figure, weestimate (on the basis of the information providedcombined with SQA data on standard gradepresentations and social-economic information fromthe Scottish Executive) that one of the authorities wasmaking a significant net gain from levying fees forinstruction. The other authority was barely coveringthe administration of the system.

Whilst we cannot say that there can be no businesscase for fees, it has not yet been made by the vastmajority of fee-levying authorities.


Another frequently rehearsed argument for fees – thatthey bring extra money into the LAISI that would nototherwise be available – is also undermined by theresults of the survey. In less than half of theauthorities that levy fees is the money retained by theInstruction Service. Once again, whilst we cannot saythat fees do not bring more money into the InstructionServices, it is not clear that they do in authorities thatabsorb fee income into their general budgets.

5.5 The style question

Quick referenceResponding organisations (excluding LAISI):

• There is considerable variation in the fundingreceived by different styles of music.

• The balance of public and private funding also varies across styles.

5.5.1 Turnover by style (excluding LAISI)In comparing the turnover of organisations acrossdifferent styles, we will once again compare the singlestyle organisations first. For single style organisationsthat returned the survey, the total income splitbetween public and private sources is given by thefollowing graph. These are actual amounts withoutany extrapolation for the wider picture.

Although the following graph reflects the data fororganisations in our sample that offer only one style,it should be noted once again that this is notrepresentative of the picture because manyorganisations offer more than one style. The tendencyfor organisations that offer Traditional and WesternClassical music to offer no other style distorts thecomparison.

To incorporate the organisations that provide activitiesin more than one style, we will assume that incomereceived by organisations offering more than one styleis reasonably equally distributed across the differentstyles offered. The following graph shows the turnoverof the different styles if this assumption is made.


Turnover: single style organisations

Turnover: all organisations*

*assuming income is equally distributedamong all styles offered by organisationsthat offer more than one style


The proportions of public and private money in each style may be estimatedin the same way, but it should be noted that the comparatively smallnumber of organisations offering Non-western and Religious styles meansthat confidence in the proportions for these styles must be reduced.

Clearly, there are three groups of styles suggested by this comparison.Music Theatre alone seems to receive more private than public money.Jazz, Non-western and Traditional music seem to receive more public thanprivate money. Religious; Rock, Pop and Dance; and Western Classicalmusic all show income that comes approximately equally from public andprivate sources.

5.5.2 Turnover by style (LAISI)From the total turnover in LAISI, we may estimate the money spent in thethree main stylistic areas offered by the instruction services, based onceagain upon the proportions of FTE tutors in the three areas. For thepurposes of this comparison, we will once again consider fiddle, clarsachand bagpipe tutors to contribute to a ‘total FTE’ for Traditional music.Tutors in electronic keyboard, electric guitar and drum-kit will once againcontribute to a ‘total FTE’ for Rock, Pop and Dance music. Other tutors (the


Proportion of public and private money acrossstyles: all organisations*

*assuming income is equally distributedamong all styles offered by organisationsthat offer more than one style

5.6 The geography question

Quick reference• In responding organisations (excluding LAISI), there is little evidence of stylistic differences in

provision across the country.

• In contrast, there are clear stylistic trends in different LAISI services across the country.


majority) will once again contribute to a ‘total FTE’ forWestern Classical music.

The total FTE for electric and acoustic guitar andpercussion and drum-kit will once again be distributedequally between Rock, Pop and Dance and WesternClassical. String tutors who teach traditional fiddle willagain be ignored in cases where authorities areunable to give a separate FTE, and this will cause theestimated LAISI turnover for Traditional music to berather low.

5.6.1 Distribution of styles (excluding LAISI)The following cartograms show the number oforganisations in our sample offering the three mainstyles (Western Classical; Rock, Pop and Dance; andTraditional) in the different unitary authority areas.Stronger colours reflect a greater number ofresponding organisations. Please note that thisdistribution by authority area is not necessarilyindicative of the work of these authorities: the areashave simply been chosen for convenience, and toallow comparison in the following section.

Annual turnover: LAISI

Coverage of Western Classical styles inresponding organisationsDarker colour indicates areas where a larger numberof organisations offering this style responded.



5.6.2 Distribution of styles (LAISI)Access to different styles of music within LAISI variesacross the country. The following cartograms give anindication of the availability of instruction in the threemain styles (Western Classical; Rock, Pop and Dance;and Traditional) across the country. Stronger coloursreflect a higher availability (white indicates that noinformation was supplied on this question by thatauthority). While provision varies across the country, it should be noted that Western Classical is theprevalent style by a considerable margin in LAISI allacross the country.

Coverage of Rock, Pop and Dance styles inresponding organisationsDarker colour indicates areas where a larger numberof organisations offering this style responded.

Coverage of Traditional styles in respondingorganisationsDarker colour indicates areas where a larger numberof organisations offering this style responded.

Coverage of Western Classical provision in LAISIDarker colour indicates areas where the WesternClassical style dominates most in LAISI. (White areas indicate authorities that did not providethis information.)


5.6.3 Access to Instrumental Instruction inPrimary schools

Quick referenceAccess to Instrumental and Singing Instruction inPrimary schools varies widely across the country.

All responding authorities told us that InstrumentalInstruction was available in all Secondary schools intheir authorities. However, this is not the case withinstrumental instruction in Primary schools. Thefollowing cartogram indicates the availability ofinstruction in Primary schools across the country.Stronger colours reflect a higher availability (whiteindicates that no information was supplied on thisquestion by that authority).

Coverage of Rock, Pop and Dance provision in LAISIDarker colour indicates areas with stronger emphasison Rock, Pop and Dance styles in LAISI. (White areas indicate authorities that did not providethis information.)

Coverage of Traditional provision in LAISIDarker colour indicates areas with stronger emphasison Traditional styles in LAISI. (White areas indicate authorities that did not providethis information.)

Availability of Instrumental Instruction in PrimarySchoolsDarker colour indicates higher availability.(White areas indicate authorities that did not providethis information.)


5.7 Activities

Quick referenceComparatively few organisations (excluding LAISI services) offer singing activities.

Singing comprises 6% of participation in LAISI.

FTE for singing teachers in an average authority is 0.56 FTE compared with 1.81 FTE for percussion and 7.00 FTE for strings.


5.7.1 SingingIn the course of research, singing emerged as a majorarea of concern among respondents and key informants.We asked organisations about the activities they offer,and the graph to the right shows the percentage of allresponding organisations (excluding LAISI services)that said they offered various vocal activities.

In our survey of LAISI, we kept singing separate at alltimes. Only 5 authorities provided Singing Instruction toPrimary schools, and only 10 provided it to Secondaryschools. The total participation in Singing Instructionin responding authorities was 3,314 compared with51,948 for Instrumental Instruction. Singing Instructiontherefore represents about 6% of instruction.

The average number of FTE Instrumental Instructors inauthorities that completed a survey was 21.4 FTEwhilst the average number of FTE Singing Instructorswas 0.56 FTE. This compares with an average FTE of1.81 FTE for percussion/drum-kit, 4.95 FTE for brassand 7.00 FTE for strings (excluding dedicatedtraditional fiddle instructors).

Percentage of responding organisations offeringvocal activities (excluding LAISI)


5.7.3 Music technology, sound production andnew media

‘Although the recording industry reapsvast rewards in profit, anyone wishing totake part will struggle unless more trainingsituations are made available at all levels.’Questionnaire respondent

Music technology, sound production and new mediawere further areas for concern that emerged as workprogressed, although there is evidence that theseareas are well covered in the Further Education sector.The following graph shows the percentage of allresponding organisations (excluding LAISI) that saidthey offer these activities.

5.7.2 Creative activities

‘We need to change anti-creativeattitudes.’Questionnaire respondent

Another concern that emerged as research proceededwas the position of composition, improvisation andother activities in which participants create their ownmusic rather than recreate the music of others. Thefollowing graph shows the percentage of allresponding organisations (excluding LAISI) that saidthey offer what could be called ‘creative’ activities.

Percentage of responding organisations offering‘creative’ activities (excluding LAISI)

Percentage of responding organisations offeringmusic technology and new media activities



5.8 Involving participants

Quick reference75% of organisations (excluding LAISI) involve their participants in decision-making to some extent.

In none of the responding organisations (excluding LAISI) do participants make all the decisions.

Organisations offering Rock, Pop and Dance styles enfranchised participants most; organisations offeringWestern Classical styles enfranchised participants least.

5.8.1 To what extent do participants make theirown decisions?

We asked all organisations to say to what extent theirparticipants were involved in the decision-makingprocess (we did not define this process, but left it toorganisations to interpret the question in their owncontext).

In none of our responding organisations didparticipants make all the decisions.

The following chart shows the degree to whichparticipants take part in the decision-making processacross all the responding organisations.

To give an indication of the degree of involvement ofyoung people in decision-making across the differentstylistic sectors, the graph overleaf shows theresponses for each style. Where an organisation offersmore than one style, an equal contribution has beenadded to the relevant ‘involvement’ category in all thestyles offered by the organisation.

With the smaller number of responding organisationsin Non-western and Religious music, the results forthese stylistic sectors should be treated with somecaution. The greater level of decision-makinginvolvement for participants in the Rock, Pop andDance sector probably reflects the community settingin which much of this music-making takes place, butalso notable is the large proportion (almost 25%) ofresponding organisations in the Western Classicalsector that do not involve their participants in thedecision-making process at all.

How involved are young people in the decision-making process?

Their viewsare sought

(They make all decisions 0%)

They make somedecisions

Theyare notinvolved


Participant decision-making across styles

Style key

Jazz JazzMT Music theatreNW Non-western musicRel Religious musicRPD Rock, Pop and DanceTrad Traditional musicWC Western Classical


6.1 Profile of respondents

Quick referenceOur questionnaires reached their intended audiences.

Organisers and Tutors are more likely to be part-time; Co-ordinators are more likely to be full-time.

Tutors spend the most time with participants and the least time in administrative or managerial roles.

6.1.1 Did our samples hit their targets successfully?We built two questions into our practitioner samples which were designedto check whether our samples hit their targets. Firstly, we presented allrespondents with a predefined list of roles and asked them to say whichthey would apply to themselves in the context of their musical work withyoung people. The roles to choose from were:

• tutor (individual/workshop leader)• professional musician• student• youth worker• parent• adult volunteer• administrator/manager• other.

The following graph shows the pattern for three of the roles across theOrganisers, Tutors and Co-ordinators samples.

6 Qualitative findings

Roles

These results follow patterns expected given the intended target of eachquestionnaire. Since these responses were self-descriptions by therespondents, they provide confirmation that the questionnairessuccessfully hit their target audiences. In particular, they provide evidencethat the respondents targeted by the Tutors questionnaire have both thegreatest contact with young participants and the least to do withmanagerial matters, as intended in the design of the sample (see above,4.2 Designing the samples).


Secondly, we presented all respondents with a predefined list ofactivities and asked them to say in which they were involved in thecontext of their musical work with young people. The activities were:

• individual tuition• small group activities• workshops/rehearsals• administration/management.

Activities

6.1.3 ExperienceWe asked all respondents to sayhow long they have been workingwith young people by placingthemselves in one of four predefinedcategories. The categories were:

• less than a year• 1–5 years• 6–10 years• more than 10 years.


6.1.2 Work patternsWe asked all respondents todescribe themselves as either ‘Full-time’ or ‘Not full-time’ in thecontext of their musical work withyoung people. This nomenclaturewas used to avoid the complexissues of payment and contracts,and to take account of the fact thatmany respondents would be ‘full-time’ musicians working ‘part-time’in youth music activities.


Work patterns

Experience

6.1.4 The Tutors sample We asked the Tutors to tell us, by means of a single choice from apredefined list, who was their main employer. The results are shown inthe graph below.

A large proportion of our Tutors sample told us that their mainemployment is with local authorities or for themselves. This might suggestthat our Tutors sample is biased towards tutors who work for localauthorities and for themselves. Alternatively, the result may reflect thewider situation of tutors working with young people. Since the questionasked respondents to indicate their main employment, a conclusionabout employment patterns might be drawn from the result: that fewtutors have their main employment at, say, arts venues.

Whatever the conclusion to be drawn from this result, we can beconfident that the views from this sample reflect the situation of localauthority tutors (Instrumental and Singing Instructors) and those who areworking for themselves.


Tutors: main employer


6.2 Respondents on their own situation

6.2.1 OrganisersWe asked Organisers qualitative questions relating to their ownorganisation. We sought information on their working environment andthe equipment available to them by asking them to select one of fourpredefined categories to rate these factors.

The results for both equipment and environment are spread across allcategories. Overall, however, respondents rated the equipment availablerather higher than the environment in which activities take place. Thisresult is reinforced by the priorities that respondents expressed in freetext (see below).

‘If we leave a set of drums or a guitar outin the centre, someone is straight over tothem the moment we open the door.’Questionnaire respondent


Equipment and environment


We also asked Organisers to rate the enthusiasm of their participants,both absolutely and relative to the other activities available to them.

Enthusiasm of participants for musical activities

Enthusiasm for musical activities compared with enthusiasm forother activities


It might be said that it is in the interests of the Organisers who respondedto the survey to say that their participants’ enthusiasm is very high, butthese responses are also reflected in the Participants survey. WhenOrganisers compare young people’s enthusiasm for musical activities withtheir enthusiasm for other activities, we might expect a concomitantlyhigh rating for musical activities. However, although many respondentssaid their participants have a higher enthusiasm for music (or that musicwas the ‘most popular’ activity), there were more respondents who saidthat young people’s enthusiasm for musical activities was the same as forother activities. This result suggests that responding Organisers havemade an effort to be objective in their questionnaire responses.

6.2.2 Tutors

Quick referenceTutors tend to teach regularly, but not full time.

Few Tutors are aware of funding opportunities.

Tutors were asked about the pattern of their teaching, by selecting froma predefined list. They were asked to select all categories that appliedto them.


Teaching patterns


The number of Tutors who teach regularly, but not fulltime, is more than three times the number that workfull time.

We also asked Tutors to say if they were aware offunding opportunities for them to work with youngpeople. The following chart shows the Tutors’awareness of funding opportunities.

We asked those Tutors who said they were aware offunding sources to list four sources. Responses wererather patchy, and less than a third (30%) of thosewho said they were aware of funding sources couldname four potential sources. This is around 7% of thetotal number of Tutor responses. Sources mentionedwere the Scottish Arts Council, local authorities andLocal Enterprise Companies. Several respondentsmentioned Youth Music.

6.2.3 Do respondents feel well supported intheir work?

Quick referenceAll respondents feel well supported by the parentsand carers of participants.

Only Co-ordinators feel supported by the ScottishArts Council and the Scottish Executive.

‘People involved in [youth music] arehighly motivated and show tremendousdedication. They deserve to be bettervalued and supported.’Questionnaire respondent

We asked all respondents to say how well supportedthey feel in their musical activities with young people.Six key groups or bodies that might have a stake insupporting youth music activities were identified, andrespondents were asked to say how well supportedthey felt by each group.

The groups were:

• parents and carers of young participants

• the wider community

• local authorities

• local arts agencies

• national arts agencies(that is, the Scottish Arts Council)

• the Scottish Executive.

The headline result, combining the data from theOrganisers, Tutors and Co-ordinators samples, is givenin the chart overleaf.

Tutors: aware of funding opportunities?

Yes

No



This headline result shows clear trends. The supporting groups or bodiesfall into three categories that follow distinct trends.

• Respondents feel well supported by parents and carers. The result forthis group is skewed towards positive results, with 73% of respondentssaying they felt either quite or very well supported by parents and carers.

• Respondents’ sense of support from the community and local artsagencies is varied. The results for these groups are centred on the middleresponse (OK) and suggest no particular positive or negative trend.

• Respondents feel less well supported by local authorities, national artsagencies and the Scottish Executive. The results for these groups areskewed towards negative results. Results for local authorities showmost variation, suggesting that respondents’ sense of support variesaccording to authority. Results for national arts agencies show lessvariation, whilst the result for the Scottish Executive shows leastvariation and the clearest negative bias.

Perception of support (%): All respondents

Organisers feel well supported by the parents and carers of youngparticipants, and by the wider community: 60% say they are quite or verywell supported by parents and carers. As with the headline result, theScottish Executive is not generally seen as supportive. However thepercentage of Organisers that say they feel very well supported by theScottish Executive (9%) is three times the percentage of all respondentswho feel very well supported (3%). This probably reflects the support theScottish Executive offers to specialist music schools through the excellencefund. Once again, there was a large number of ‘don’t know’ responses fornational arts agencies (30%) and the Scottish Executive (36%).


Additionally, the number of respondents who gave the ‘don’t know’response is very much greater in the results for national arts agencies (37%)and the Scottish Executive (40%) than for any other supporting group.

If the results are split up by sample (Organisers, Tutors, Co-ordinators) amore detailed picture emerges.

Perception of support (%): Organisers


Tutors feel well supported by parents and carers of young people: 79%said they felt either quite or very well supported by parents and carers.There was a very high percentage of ‘don’t know’ responses for nationalarts agencies (47%) and the Scottish Executive (48%). Tutors do not feelvery well supported by any group except parents and carers. Only 9% feltvery well supported by the wider community; only 7% felt very wellsupported by their local authority; only 4% felt very well supported bylocal arts agencies; only 3% felt very well supported by national artsagencies and only 1% felt very well supported by the Scottish Executive.

The results on support from the Tutors sample should be consideredalongside the results discussed earlier. Most of the practitioners wesurveyed in the Tutors sample work for local authorities or themselves.According to the results of the Activities survey (see above, 6.1.1), theTutors sample successfully targeted those who have the least involvementin managing the activities. When these results are combined with theabove spectrum of perceived support, our Tutors sample emerges as themost disenfranchised group, unsure of funding and the role of the nationalbodies and feeling poorly supported. At the same time, they are the groupthat has the greatest amount of contact with young participants.

‘Can someone pleasetell me what the[Scottish] Executive’spriorities are? We need more regularcommunication.’Questionnaire respondent: Tutors sample


Perception of support (%): Tutors


There is a strong tendency towards middle responses (‘OK’) for local artsagencies, national arts agencies and the Scottish Executive. The negativeresponses and ‘don’t knows’ that characterised other attitudes towardsnational arts agencies and the Scottish Executive are absent in theresponse from Co-ordinators. A comparatively high percentage feel ‘verywell’ supported by local authorities. This probably reflects the largenumber of local authority respondents in the sample. Parents and carersremain the most supportive group, with 73% of Co-ordinators saying theyfelt quite or very well supported by parents and carers.

Perception of support (%): Co-ordinators


6.3 Perspectives on the state of youthmusic in Scotland

6.3.1 Financial barriers

Quick referenceA majority of respondents perceived financialbarriers to young people taking part in music.

Fees levied for LAISI and access to instrumentswere seen as the greatest financial barriers toparticipation.

We asked all three of our qualitative samples if theyperceived any financial barriers to young peopletaking part in musical activities in Scotland. Theresults for each sample are given in the chart below.The inner ring represents the Co-ordinators sample;the middle represents the Organisers sample, whilstthe outer ring represents the Tutors sample.


There is almost uniform agreement that there arefinancial barriers to young people taking part inmusic. It is interesting to note that more Co-ordinators(who have the least contact with participants out ofour three samples, see above, 6.1.1) perceive thesebarriers than Tutors (who have the greatest contactwith participants). However the result for Tutors is stillunambiguous: four out of five tutors see financialbarriers to young people taking part in music.

Respondents were asked to explain in free text thefinancial barriers to participation that they perceive. Acontrolled vocabulary (see above, 4.6) was developedto interpret the responses, and two major issues,LAISI fees, and the cost of instruments, emerged. Asthe following chart shows, these issues were moreimportant to respondents than all other responsescombined.

This chart confirms that fees for LAISI are the greatestperceived financial barrier to participation in musicalactivities: 53% of those who perceived financial barriers(about 30% of all responses) single out fees for LAISI.

Do you perceive financial barriers to youngpeople taking part in musical activities?

Yes

No

Perceived financial barriers

All otherresponses

Cost ofinstruments

Local authoritytuition fees


6.3.2 Cultural, social or gender

Quick referenceAround half of those questioned perceived cultural,social or gender barriers affecting young peopletaking part in music.

‘Cultural approval’ and gender stereotyping are seenas the greatest non-financial barriers to participation.

‘Some families just wouldn’tconsider getting involved with music: it’s a cultural thing.’Questionnaire respondent

We asked all three of our qualitative samples if theyperceived any cultural, social or gender barriersaffecting young people taking part in musicalactivities in Scotland. The results for each sample arecombined in the chart below. Once again, the innerring represents Co-ordinators, the middle ringOrganisers and the outer ring Tutors.

Cultural, social and gender barriers are evidently notperceived as consistently as financial barriers (thoughmany respondents pointed out that it was difficult todraw a distinction between social and financialbarriers). For the Organisers and Tutors samples, thenumber of respondents who see such barriers isalmost exactly matched by those who don’t. More Co-ordinators, however, perceived these barriers.

Respondents were asked to explain in free text thefinancial barriers to participation that they perceive. A controlled vocabulary (see above, 4.6) was developedto interpret the responses, and as with financialbarriers, two major issues emerged: gender stereotypesand what we have termed ‘cultural approval’.

38% of respondents who perceived a cultural, socialor gender barrier (15% of all respondents) told us thatgender stereotypes in youth music are a barrier toparticipation.

‘Rock, Pop and Dance styles aretraditionally male dominated.’Questionnaire respondent: Organisers sample

Do you perceive cultural, social or gender barriersto young people taking part in musical activities?

Yes

No

Perceived cultural, social or gender barriers

All other responses

Gender

Culturalapproval


Many respondents involved in LAISI explained thatthey had seen a drop in the number of boys takingpart in instruction and explained that they simplycould not ‘sell’ instruction to a young male audience.In the community sector and especially in the Rock,Pop and Dance styles, practitioners told us thatparticipation from girls is restricted to traditionalroles, such as singing.

‘It’s what I call the “get a proper job syndrome”.’Questionnaire respondent: Tutors sample

Nearly half (48%, representing 20% of all respondents)of those who perceived a cultural, social or genderbarrier mentioned the cultural position of music inScottish society. We coined the term ‘cultural approval’to describe a set of trends associated with a feelingthat youth music, and the work of practitioners, isundervalued and misunderstood.

Although this feeling was expressed in many differentforms, the main themes came across clearly in thefree text responses.

• Musicians in each stylistic sector (Western Classical,Traditional etc) feel undervalued by and sometimessuspicious of their colleagues in other sectors.

• Musicians across all stylistic sectors feelundervalued by politicians and the media.

• There is a resultant impact on participants.


There were surprisingly clear trends in the responsesfrom different stylistic sectors, and a strong patternemerged in all samples. It can be caricatured like this.

• Traditional sector respondents: ‘We’re getting moremoney now, but the establishment is all classicaland they don’t respect us.’

• Rock, Pop and Dance sector respondents: ‘We can’tget any money, and the classical and traditionalmusicians don’t respect us.’

• Western Classical sector respondents: ‘Nobodyseems to respect us any more.’

• All sectors: ‘Politicians and the media simply don’tunderstand and support what we’re doing.’

‘There’s something about music thatjust doesn’t push politicians’ buttons.’Key informant

‘There’s an institutional narrow-mindedness that ostracises traditional music.’

‘Rock and Pop are way down the list.’

‘Classical music suffers from a kind of inverted snobbery: it carries with it the social baggage of “being posh”.’

‘Everyone works to their own agenda.’Questionnaire responses


6.3.3 Role for new agency

Quick referenceA majority of respondents believe there is a role fora new youth music agency in Scotland.

Co-ordinators would need to be persuaded of theneed for such an agency.

Without giving significant detail or descriptions ofremit, we contrasted the funding situation for youthmusic activities in England with the presentframework in Scotland, and asked our Organisers andCo-ordinators samples whether they believed therewould be a role in Scotland for an agency similar toYouth Music.

The results from each sample are combined on thechart below. The inner ring represents the Co-ordinators sample, whilst the outer ring represents theOrganisers sample.

A clear majority of respondents are in favour of a newagency. The result shows considerable variationacross the samples, and suggests in particular thatany attempt to set up such an agency would requirecareful advocacy to the managerial-level practitionersrepresented in our Co-ordinators sample.

We asked respondents to explain their answer in freetext. Broadly speaking, Organisers were keen thatmore money be made available and were lessconcerned with any other implications that a newagency might bring in its wake. Some Co-ordinators(perhaps only too aware of the complexities of thecurrent arrangements) feared that a new agency wouldobscure rather than solve current problems. Ironically,a need for clarity and strategic coherence was citedboth by those who supported and opposed thefounding of a new agency.

Is there a role for a new youth music agency inScotland?

Yes

No


6.3.4 Priorities

Quick referenceAccess to instruments emerges as the top priorityamong respondents by a considerable margin.

The importance of staff development andcontinuing professional development to ourrespondents is underlined by its position as thirdpriority (in comparison to pay and conditions, forexample, which emerges as eighteenth.)

We asked all three qualitative samples to list sixthings that would improve the quality of the work inwhich they are involved – their own priorities fordevelopment.

To get to issues beyond scarcity of funding, we askedrespondents to give three priorities ‘excludingincreased funds’, and then to list their three prioritieswere more funds to be available. These priorities weregiven in free text and analysed using a controlledvocabulary. The combined top ten priorities, for allthree samples, are given in the table below. In somecases respondents repeated the same priority foremphasis and in these cases, the repeats have beenincorporated into the results.


Access to instruments was the most important priorityby a considerable margin, but respondents pointedout that it was not just a matter of more money fornew instruments. Problems of insurance were alsomentioned as was maintenance of existing stock.There were anecdotes about broken instrumentscluttering up cupboards.

Note that staff development and continuingprofessional development are ranked third whilst payand conditions are ranked eighteenth. Fees forInstrumental and Singing Instruction are once again amajor issue.

Priority Responses

1 123 Better access to instruments2 93 Better facilities3 70 Staff development and continuing professional development4 59 More practitioners5 54 Making LAISI free6 45 Promotion for youth music activities7 41 Equipment8 39 Support from professional organisations9 38 More regular teaching

10 36 Networks for practitioners(18) 17 Pay and conditions


7 Participant findings

7.1 Samples and analysis

Our Participants sample was designed to gauge the reactions ofparticipants to their musical activities. Initially we sent two questionnairesto each organisation we contacted (sample 1), but responses were patchy,owing in part to the timing of the survey, which reached organisations in thesummer months during which their activities were reduced. Subsequently,we decided to target specific groups of participants (sample 2) to achievea spread of styles, modes of delivery and geography in the sample.

Responses from these two samples were analysed separately and foundto give broadly the same results: they have been combined here.Although we tried to achieve a spread of styles, deliveries and geography,the sample was not rigorously controlled, so the results below should betreated with some caution.

Throughout the Participants survey, we used the expression ‘musicsessions’ to describe the activities in which the Participants take part.This was to make the questionnaire as inclusive as possible.

7.2 Results

We asked Participants if they had been involved in musical activitiesoutside school before taking part in their current sessions. The followinggraph shows the results.

Before you got involved in these sessions, hadyou done any music-making outside school?


We asked Participants to say why they went to music sessions, bychoosing from six predefined responses. The following graph shows theresults received.

‘Why do I go? Because I can.’Questionnaire respondent: Participants sample

7 Participant findings

Why do you come to these sessions?

Finally, we asked Participants to rate their music sessions.

Clearly, the young people whoformed our Participants sample are overwhelmingly positive abouttheir musical activities.


We asked Participants what kinds of activities they took part in duringtheir music sessions, by choosing from six predefined responses. Thefollowing graph show the results received.

What activities do you do in your sessions?

What do you think of these sessions?


Introduction

The evidence presented in the previous section paintsa diverse and complex picture that has emergedthrough the analysis of data, interviews with keyinformants, project visits, focus group meetings, andthe National Seminar. The aim of this section is to tryto make sense of it all by identifying key issues andmaking recommendations.

For the sake of clarity, we have gathered these issuesunder the following sub-sections:

• Strengths in existing provision

• Gaps and weaknesses in existing provision

• Barriers to participation

• Strategic and developmental priorities.

8.1 Strengths in existing provision

We have been made aware of strengths in severalareas, most notably the following.

8.1.1 A diversity of music styles catered forAlmost all respondents have identified a wide range ofopportunities, particularly in the informal sector.Understandably the diversity is greater within thecentral belt, but there are still good examples in themore sparsely populated areas.

8.1.2 A solid foundation for participation uponwhich to build

Instrumental Co-ordinators report that, despite theincreased competition of leisure opportunitieselsewhere (and a growing body of commercialproviders), participation rates in formal provisionremain consistent. However, actual nationalparticipation rates of around 1 in 10 are felt to be noreal indication of demand. Community-based projectsreport ever-increasing requests for workshops, andare straining to cope with the multiplier effect of goodpractice in areas where access has previously beendenied. The statistics for Shetland Islands Council(which can legitimately claim to be Scotland’s mostmusical authority) offer a glimpse of what genuinedemand may be – and may provide an importantsource of research in measuring the impact upon youngpeople’s development in a music-rich environment.

8 Key issues and recommendations

‘The demand is far greater than we allimagine, and this is the challenge for all of us committed to creating musicalopportunities for young people – all stylesof music-making should be encouraged,supported and resourced with equalaccess for those hard to reach, difficultyoung people.’Susan White-Aktemel, Director, Impact Arts

8.1.3 A willingness to experiment with deliverymodels

Many of those interviewed felt that funders hadencouraged projects to be innovative and there wasnow a plethora of delivery models in operation. Someof these models could, and should, be duplicatedelsewhere. Within LAISI there was evidence of anincreasing flexibility of delivery, with some authoritiesintroducing less formal delivery mechanisms(rehearsals, workshops, sessions) to complementmore curriculum/examination focused tuition.

8.1.4 A good pool of available musiciansRecent initiatives have helped encourage musicians tostay involved and contribute to developing youngmusical talent. There is, of course, a different range ofskills involved in leading workshops and teaching, butwith professional development support, a ready-madesupply of home-grown tutors could meet increaseddemand.

‘The music industry remains one of theUK’s major exports: it is a national successstory. This makes it all the more difficult tounderstand why projects such as this arenot properly resourced and supported.’Pete Wishart MP, Ex-Runrig


8.1.5 A thriving traditional music scene The statistics relating to participation according tostyle provide a graphic illustration of what can happenwhen earmarked funds are combined withdetermination from within the musical community tocontribute to educational provision. The contributionmade by volunteers has been noted earlier, but it isworth stating that this support needs to be nourished.A number of requests for training support programmes(eg group skills, fundraising, etc) were made, and apositive response would be a relatively cheap way tosustain volunteer involvement.

The impact upon local community cultural life byFèisean nan Gàidheal has been documentedelsewhere,4 but the dual impact of direct ScottishExecutive support for traditional arts and thedevolution of funds to an arts development agency,provides a model which many think could bereplicated with other musical styles. It is perhaps nocoincidence that traditional music with young peoplehas flourished in areas (eg Highlands and Islands,and Dumfries and Galloway) where there areindependent arts development agencies operatingand there is strong commitment from volunteers (notedearlier). It must also be said that some commentedthat support for traditional arts (particularly those withGaelic origins) had been so effective that perhaps itwas time for priorities to shift elsewhere – though nosuch comments were made by traditional music tutors!

8.1.6 A growing number of effectivepartnerships

We have been made aware of excellent projects whichhave come about through cross-agency partnerships,and all focus groups welcomed their development andwanted to see more in the future. Local authoritiescan play a key role in brokering partnerships andwhilst many officers referred to a ‘silo’ mentality withinauthority departments, there was a general recognitionof the benefits in sustaining partnership ways ofworking. In this respect, the Scottish Executive’s recentguidance to local authorities in devising culturalstrategies (currently out to consultation), and Edinburghand Glasgow City Councils’ recent strategic initiativesand public consultations involving music and youngpeople, are to be welcomed.

8.1.7 A hugely enthusiastic response fromyoung people

None of the above strengths would count for muchwithout the passion, commitment and enthusiasm ofyoung people. Wherever we went, we found universalpraise for young musicians, and occasionalbewilderment that the popular media portrayal ofyoung people as bored, disaffected and dangerouswas not reflected in their musical practice. Theseresponses could easily, but should not, be taken forgranted. At a time when there is great concern aboutlow motivation levels and drop-out rates withinadolescent learners, such powerful evidence –supported by independent research5 – should beshared more widely.

4 Matarrasso, ‘Northern Lights: the Social Impact of the Fèisean(Gaelic Festivals)’, The Social Impact of Arts Programmes (Stroud:Comedia, 1996).

5 Heath, ‘Living the Arts through Language and Learning: a Reporton Community-Based Youth Organisations’, Americans for the ArtsMonographs (Washington DC and New York: Americans for the Arts,November 1998).

8.1.8 Recommendations

• Document the range of delivery models as aguide to start-up projects, client groups and for external promotion.

• Promote involvement in youth music as a careerprogression path for professional musicians.

• Commission case studies in successfulpartnership projects.

• Encourage Further and Higher Educationresearch to carry out medium- to long-termimpact assessment studies in personal/educational development through involvementin youth music.

• Identify a national training programme forvolunteers.


8.2 Gaps and weaknesses in existingprovision

As one might expect, responses to questions aroundgaps and weaknesses covered many viewpoints andapparently contradictory positions. We include hereonly those where a degree of consensus was present.

8.2.1 Lack of diversityWhilst we highlighted above the diversity of musicalstyles, there was considerable concern over access tomusic-making from two communities in particular –minority ethnic communities and young people withspecial needs. Discussions on how best to supportyoung people from minority ethnic communitiesfocused upon two main areas – a broadening ofinstruments offered through instruction and strategiesfor better engagement with communities which wereoften described as musically self-sufficient. TheEdinburgh Mela provides a strong image of culturallydiverse musics which are presented within the contextof living and changing traditions. The Mela’s organiserraised important questions of definition whenreference is made to ‘traditional music(s) of Scotland’– how often is traditional music of well-establishedimmigrant communities here thought of within such adefinition?

We heard of innovative projects working with asylumseekers and contemporary music fusion projects withyoung Asians which were highly successful, but thesewere isolated examples. Nor should an automaticassumption be made that young people from minorityethnic communities are only interested in non-westernmusic. The recent publication of Youth Music’s reportcommissioned by the Higher Education FundingCouncil for England6 identifies the challenge facingconservatoires, colleges and music organisations inwidening participation.

Similar concerns were expressed in relation to youngpeople with special needs. While many Co-ordinatorsof instruction were conscious of the need to do more,the prime obstacle seems to be a lack of expertise.The Drake Music Project was regularly cited as anexample of partners in special needs projects, but theorganisation has limited capacity to respond torequests for direct delivery – its recently developedtraining programmes may offer a model for


encouraging music organisations and co-ordinators todevelop their own in-house practitioners.

8.2.2 Less visible groupsWe found common agreement that there has been asignificant increase in work with young people in themiddle band of our age range (6–18). Perhaps it hasbeen a result of the additional funds available withinsocial inclusion and education priorities, but the twogroups at either end of the age range, 0–5 and 19–25,appear to be missing out in comparison. Many peoplemade the observation that more work with under-fivesis likely to create less drop-out in later years and thatthis particular age range is likely to develop musicalskills much more quickly than has been assumed inthe past.

8.2.3 Delivery weaknessesA number of key areas have been identified as eitherunder-developed or not responding sufficiently todemand. By some margin, singing (particularlyoutwith the choral context) was seen as the mostobvious weakness. The statistical evidence showshow little singing tuition is currently available throughLocal Authority Instrumental and Singing Instruction.On the surface, opportunities within the informalsector would appear to be better, particularly incontemporary music, but most occur in a workshopsetting, where the leader is invariably an instrumentalrather than vocal specialist.

Like or loathe it, the glut of Pop Idol-style TVprogrammes has generated enormous interest insinging (even from young men). Opportunities todevelop singing skills are, at best, extremely patchy.In part, this is due to a shortage of suitably trainedand qualified tutors (particularly in contemporaryfields), but many interviewees complained that thevoice is still not considered an ‘instrument’.

If a young person’s entitlement to participate in themusic of their choice was to be the cornerstone of anoverarching national strategy – as we believe it shouldbe – then there are clear, historically rootedinconsistencies in current delivery patterns.

6 Rogers, Creating a Land with Music: the Work, Education andTraining of Professional Musicians in the 21st Century (London:Youth Music, 2002).


8.2.4 Music tuition in Primary schoolsAlthough not within the central focus of this study,support for Primary classroom teachers (eg help inovercoming the ‘fear factor’) is a significant concern tomany we spoke to. If the perceived lack of support forthe classroom teacher is correct, the importance ofaccess to instrumental tuition becomes even morecritical. Our findings suggest that the provision oftuition to Primary-age children is barely adequate insome areas, and almost non-existent in many others.A number of respondents criticised the opportunitieswhich, according to recent cognitive developmentstudies, are being missed through neglecting thisage-range.

8.2.5 Composition and improvisationWithin youth music provision across all sectors, itwould appear that there has been a historical over-emphasis upon performance, at the expense ofcomposition/improvisation. A number of delegates atthe National Seminar observed that education moregenerally is focusing upon developing young people’screativity but provision is still dominated by the re-creation of existing music.

8.2.6 Music technologyMusic technology is seen as another neglected, andmuch misunderstood, subject area. As one Organisercommented, ‘I could be running DJ workshops everynight, such is the demand,’ but for many organisersand co-ordinators it remains a foreign land. The scopeof music technology is broad – from performance (DJ-ing) to composition (sequencing) and soundmanipulation (sampling) and engineering/recording,and there is still a reluctance to acknowledge many ofthese disciplines in developing musical skills. Thereis, however, no doubting their popularity with youngpeople. As in singing, there is a shortage of goodtutors, but unlike singing, it requires an awareness ofand investment in up-to-date equipment. A recurringrequest within continuing professional developmentneeds (see below) was regular updating of musictechnology skills.

‘Provision could be improved byrecognising DJing and decks as (both)performance (and) instrument. Basicmusic programming software is nowavailable and no more complex thangames technology.’Allan Dumbreck, Course Leader BA (Hons)Commercial Music, University of Paisley


• Funding agencies should consider prioritisingsupport for projects involving young people with special needs, and from minority ethniccommunities.

• Assist more musicians/volunteers from minority ethnic communities to develop skillsin workshop techniques, project planning andfundraising.

• Encourage/assist national music organisationsand academies to diversify their social andcultural base.

• National and regional agencies should balanceexisting provision by supporting projects with0–5 and 19–25 age groups.

• Consider national participatory schemes forsinging, and for music technology, withaccompanying training support.

• Document/disseminate best practice examplesof creative song-writing, composition andimprovisation projects.

• Consider ways of targeting support to Primaryschools, informed by the needs of classroomteachers.


8.3 Barriers to participation

Both surveys and interviews identified a number ofbarriers to further extending participation. We havegrouped them under financial and cultural barriers.

8.3.1 Financial barriers

8.3.1.1 Fees for Local Authority Instrumental andSinging Instruction

This issue has regularly been the subject of mostpublic debate when discussing youth music. Asignificant proportion (almost one-third) of thoseconsulted believed it to be the single biggestimpediment to participation. It is not difficult to seewhy it has generated considerable emotion – theinconsistency in deciding to charge fees across localauthorities appears to penalise unfairly some youngmusicians purely on the basis of their postcode. Thewide variation in fees across authorities (from no feein some authorities to £308 per annum in one forindividual lessons) is equally difficult for the layperson to understand. The commonly assumedconsequence of this is that children from families whocan least afford it are being denied access, and anumber of national co-ordinating agencies (includingthe National Youth Orchestras of Scotland) haveexpressed their concern that the social backgroundsof its young musicians are narrowing.

As in previous surveys,7 we are unable to prove ordisprove the above assumptions, for the reasonsgiven in 5.4.5 above.

8.3.1.2 No clear pattern in fee-chargingauthorities

Somewhat disappointingly, very few of all authoritiesappear to hold information relating to demand fortuition. Waiting lists are not commonly kept, and insome cases responsibility for keeping records isassigned to individual tutors who usually (andunderstandably) do not follow up enquiries oncetarget numbers are achieved. It can be safelyassumed, furthermore, that those applying in fee-charging authorities have not been deterred by fees,but falling numbers of applications here would stillnot necessarily mean that fees were a disincentive –the question of disincentive can only be answered byconsulting with applicants and non-applicants alike.


This was not part of our brief, but should be anessential future task for local authorities, sincewithout the necessary evidence no clear conclusionscan be drawn.

Our qualitative survey did, however, present plenty ofanecdotal evidence from tutors who suggested that:

• numbers of students from families whose incomelevel was just above the threshold for fee remissionwere being deterred from applying

• increasing numbers of students were registering forStandard Grade and Higher exams, not in pursuitof the award, but because of the relief from fees.The implication here is that retention rates andgrade results would show a decline, and furtheranalysis may establish a pattern.

There would appear to be some cause for questioningthe cost-benefits derived from fee-collection. At leastone co-ordinator believes that current administrationcosts in collecting fees outweighs the income derived.Another estimated fee-charging as less than 10% oftotal turnover, but as 100% of complaints.

8.3.1.3 Other factors impacting upon demandInterviews revealed a profile of instruction deliverywhich had remained consistent for a number of years.In short, tutors were generally on long-term contracts,group lists were full, budgets were capped, thereforelittle scope for further expansion existed. In someauthorities – Shetland would be a good example –arts development services work sufficiently closelywith Instrumental Instruction Services to ‘fill the gaps’and offer complementary instruction on a range ofpopular traditional and contemporary instruments.

For reasons outlined above, it is impossible toascertain unmet demand for instruments currentlyoffered, and therefore we can only guess at demand inareas (for example, singing, electric guitars andkeyboards, fiddle and accordion) in which choices arelimited or non-existent – colleagues in the informalsector suggest that interest would be very high.

7 Most recently Hall, John, A Review of Musical InstrumentInstruction in Scotland (Edinburgh: Scottish Council for Researchin Education, 1999).


Conversely, youth orchestras have concerns abouttheir ability to perform the existing repertoire if thecurrent pattern of young people ignoring the‘unpopular instruments’ continues. Whilst there maybe cost and availability issues which are contributingto this dilemma, it is also possible that we arewitnessing a changing profile of instrument popularity,and if local authorities are unable to meet alldemands, they may wish to reassess their currentprovision in a more strategic context.

‘In Shetland, the local authority’s vision toinvest in widespread instrumental tuitionin schools is creating a solid foundation tosupport our tradition and culture now andhopefully well into the future. It is also aninvestment in both social and economicalterms of inestimable value.’Davie Gardner, Shetland Music Development Project

8.3.1.4 Demand outstrips supplyInstrumental co-ordinators, and others, have called forthe removal of tuition fees, so that access andparticipation can be made much wider. Few wouldargue with this assertion, and it would certainly easecurrent frustrations. We would suggest, however, thatwe should also ask the question: ‘access for whom?’We have tried to show the range of complexitiesinvolved and urge that a full assessment of demandbe undertaken, together with a cost-benefit analysis ofdelivery methods and agencies. The best solution willbe youth- rather than provision-led.

8.3.1.5 Access to instruments/equipmentAs noted in this report’s introduction, the ability topurchase appropriate instruments and equipment is acommon problem for individual students andorganisations alike. A number of respondents alsoexpressed concern that instruments available for loanor use in workshops were not representative of thecurrent stylistic interests of young people – particularlythe resurgence of interest in traditional music.

Others expressed frustration that they had comeacross instruments, but they were unavailable for usefor a number of reasons (needing repair, insuranceissues, etc).

A similar picture exists with regard to equipment,particularly music technology. Sometimes organisersmistakenly assume exorbitant costs in developingfacilities, or have made mistakes in purchasinginappropriate equipment, thus consigning it to thestore-room. There would be, we believe, considerablesupport for some form of ‘instrument/equipmenthelpline’, where advice and guidance could be givenand unused resources could be traded in orreallocated, along the lines of Youth Music’sInstrument Amnesty and Instrument Swap schemes.

‘Certain instruments – drums, guitar etc –are most popular but flute and recorderare usually provided by schools out offinancial necessity.’Allan Dumbreck, Course Leader BA (Hons) Commercial Music, University of Paisley

Some felt that, whilst funding schemes hadencouraged increases in musical activity, thedifficulties in securing small grants for equipment hadhindered that objective. Mention here should bemade of the Prince’s Trust Small Development Grants,which enables young musicians to make modest bidsfor instruments and equipment, as well as YouthMusic’s funding schemes, which enable small capitalallowances within project funding and the ScottishArts Council’s capital funds which are available forequipment and instruments.


8.3.2 Cultural barriers

8.3.2.1 Cultural approvalIn order to foster healthy participation levels, tutors,workshop leaders and organisers clearly need to feelthat their skills (and those of the young people theywork with) are valued and supported. From a veryearly stage in our investigation it became apparent thatperceptions were unexpectedly downbeat, particularlyin the informal sector. The graphs in 6.2.3 show that,despite considerable intervention from Scottish ArtsCouncil and Scottish Executive initiatives, the youthmusic community does not feel well supported. Focusgroup participants regularly complained that policymakers and politicians ‘don’t know how effective ourwork is because they never see it or hear about it’. Thehigh levels of ‘don’t know’ responses suggest thatboth the Scottish Arts Council and the ScottishExecutive would benefit from closer direct contact withyouth music projects across all sectors.

There are some sector-specific issues around approvalfor particular styles. Within the formal sector someTraditional and Pop, Rock and Dance tutors felt(perhaps understandably given the figures onparticipation in 5.2.6) that there was little respect fortheir musics. Certainly we encountered personalanecdotes and direct comments (from the ‘that’s notreally music’ variety, to open hostility from electedcouncil representatives) that suggested such instanceswere not widespread, but neither were they isolated.

Within the informal sector, Western Classical co-ordinators voiced concerns that their activities are stillperceived as elitist and not seen as appropriate tosocial priorities and that there was a discernible shiftaway from support for classical projects.


‘The National Youth Orchestras of Scotlandare able to operate education andperformance activities as a direct result ofthe quality and quantity of instrumentalteaching in Scotland. The teaching oforchestral instruments in Scotland'sschools has been developed withsignificant success for over 50 years.’Richard Chester, Director NYOS

8.3.2.2 Gender imbalanceThere are indications of stereotypes emerging in thegender profile of participation. In Rock, Pop andDance, whilst there is a growing number of girls andyoung women taking part, the balance (especially in‘back-line’ instruments [bass and electric guitar,drums] and DJ-ing/rapping) is overwhelmingly male. In Western Classical music a different pattern ispresent. Some orchestra co-ordinators reportsignificant declines in the take-up of strings (egformerly 50:50 boy to girl ratios, now 20:80) and brass(formerly almost exclusively boys, now 50:50).Instrumental instructors report a similar fall-off inparticipation (eg North Ayrshire reports only 25% maleparticipation) and this is now considered a criticalissue by 1 in 6 respondents.

‘Out of the 91 pupils I see each week, only 6 are boys.’Questionnaire respondent

Reasons for these participation patterns are diverse.In Rock, Pop and Dance music there is still a strongsocial and cultural conditioning at play – perpetratedby the music industry and reflected, almost inevitably,in garage band line-ups. Community musicians haveworked hard at challenging these stereotypes, andthere are signs that attitudes are changing, but realsuccess will arrive when there are as many femaledrummers and bass-players as there are lead vocalists.


Western Classical tuition is suffering from a seriousimage problem with boys, who now, according tomany respondents, see it as not ‘cool’. Anecdotally,we were told that there may be a number of factorsaffecting attitudes: delivery of Instrumental Instructionis seen as relatively formal, particularly in comparisonwith more workshop-based delivery in other styles;other forms are less directorial, offering morecreativity, responsibility and ability to make decisions;there is still an associated tendency towardexamination and competition and, in a society whichincreasingly values immediacy, other opportunities formusical participation offer faster results.

Questions of gender affect those enabling youthparticipation on a daily basis (though perhaps less soin traditional music and jazz, which are seen asrelatively gender neutral). Should strategies seek toreverse these trends through trying to changeattitudes? Or are co-ordinators faced with someinevitabilities in changing tastes, and therefore shouldre-align provision to accommodate those shifts?

8.4 Strategic and developmentalpriorities

‘We hope that [this study] will not onlybring about key debate, but fully engagewith the Scottish Executive to informpolicy that will benefit all Scotland'scitizens, ensuring lifelong access to andenjoyment of music.’Ian Smith, Musicians’ Union

This closing section attempts to identify the keystrategic and developmental needs which futurepolicy makers, and others involved strategically inyouth music, may wish to consider. We have listedthem under three broad headings: supporting musicalpractice, funding, and infrastructure.

8.4.1 Supporting musical practiceAs noted earlier there is a wide range of musicalpractices which takes place across an equally widerange of styles and contexts. Each has specific needswhich differ according to context, but there was broadagreement that the following areas of support wouldimprove the quality of provision.

8.4.1.1 TrainingThere is an urgent need for a framework ofopportunities for practitioners to gain initial training,and to update existing skills. Some important traininginitiatives have been established in some areas (mostrecently in traditional music), and instrumentalinstructors have an entitlement to staff development.Elsewhere, especially in the informal sector, trainingopportunities for freelancers are minimal. Somespecific needs identified were: creative approaches tocomposition; singing (especially for Primary teachersand those teaching Rock, Pop and Dance); projectmanagement and fundraising – but these weregenerated informally and not resulting from a substantiveinvestigation. The significant increase in youth musicwork has led to a UK-wide shortage of suitablyprepared practitioners, so there is an urgent need todevelop flexible solutions which match practitionercircumstances with training delivery partners.


• Undertake a comprehensive national review ofLocal Authority Instrumental and SingingInstruction.

• Investigate feasibility of franchised instrumentand equipment advice and re-distributionservice.

• Establish a scheme to enable small grants forinstrument purchase/hire to groups in need.

• Consider ways of improving dialogue betweenthe Scottish Arts Council/Scottish Executive andyouth music organisations.


‘Some artists, in my experience, haveproblems with simple matters such asissuing invoices and many have littleexperience of managing projects. Ruralorganisations (and townies) haveproblems in matching plans and demandswith a steady resource of artists.’Bill Muir, Founder, Junior Acoustic Music and Trash Music Project

8.4.1.2 AdvocacyThe call of arts practitioners for more and betteradvocacy has become axiomatic. In this case, however,there is a real sense that there is a transformationtaking place which goes largely unnoticed. AnthonyEverritt’s confession that he had little knowledge ofparticipatory music whilst Secretary-General of theArts Council of Great Britain is symptomatic of what hedescribed as ‘a long-standing lack of serious attentionor value accorded to the field’.8 Everritt’s subsequentDamascene conversion vividly illustrates the potentialpower of getting the message across.

We often felt that people referred to advocacy, whenperhaps publicity was what they envisaged. Advocacyis a more complex process and may involve latersubstantiation of claims advanced for the work. Seniorarts figures have warned of the dangers of embracingperformance criteria and impact measurement in non-arts related areas. But it was our impression that asizeable proportion of those working in areas, forexample, of social justice, health or education, had adegree of confidence in the outcome of closerscrutiny, particularly if that led to increased support.Others, however, expressed concern that politicians,in particular, were steering artists toward a reductionismwhich could compromise the integrity of delivery.

‘The best single improvement that couldbe made for youth music would be aconsistent recognition, from governmentdown, that active participation in musichas a range of proven personal andcommunity benefits.’Questionnaire respondent


All agreed that support for advocacy has been inrelatively short supply – aside from the sterling effortsof some of the national organisations, very feworganisations feel they have either the necessary timeor ‘clout’. Progress has also been hindered due tosome of the infrastructure issues discussed below. We received many suggested examples of advocacymeasures (high profile public events, newsletters,celebrity patrons, etc), but a coherently consistentbanging of the drum would require a more integratedapproach.

8.4.1.3 Increase and diversify the range of instrumental tuition

Instrumental tuition is provided through a range ofdelivery agents. Clearly the largest group is the localauthority instructors, but this process has revealed alarge range of private providers and others, includingFurther Education and Higher Education institutionsand community-based initiatives, which operatethrough a mix of subsidy and fee income. What isclear is that there is a large body of young people inScotland which, whether through lack of instrument ortutor availability, or cost, is currently not able toaccess tuition. By our estimation this could be asmany as 100,000 young people.9 All those who wereconsulted agreed on the singular importance ofmeeting this challenge, though there were a numberof opinions on how this might be addressed and whomight be best placed to meet the additional needs.

8.4.1.4 Research Whilst many organisations regularly evaluate theirwork, there is very little evidence-based researchtaking place. There is now international interest in theeffect upon social and educational developmentthrough music, and the UK is a subject of particularfocus through its innovative study support andcommunity music programmes.

8 Everritt, Joining In: an Investigation Into Participatory Music(London: Calouste Gulbenkian Foundation, 1997).

9 Based upon the differentials in participation across the country(see Section 5.2.3).


8.4.3 Funding

8.4.3.1 More consolidation, less innovation There is widespread concern that funding sourceshave been increasingly prioritising ‘innovative’projects within their awards. Re-applications ofsuccessful projects, aiming for consolidation,therefore face rejection on the grounds of self-definition. Whilst recognising the importance ofpartnership working in achieving sustainability,longer-term support (ie two- to three-year agreements)is seen as essential for strategic growth.

‘The current approach in Scotland is notworking. Funding can be there one minuteand away the next.’Questionnaire respondent

8.4.3.2 Minding the gapsThis study has identified a number of ‘provision gaps’where it is felt that targeted support for these areas,across formal and informal sectors, should be afunding priority:

• projects/tuition aimed at young people of minorityethnic origin and culturally diverse projects/tuition

• projects/tuition aimed at young people withspecial needs

• singing

• music technology

• projects/tuition seeking to develop creativitythrough music, eg composition, improvisation,inter-disciplinary projects

• projects/tuition for work with under-fives and post-school young people.

8.4.3.3 Helping smaller, experimental projectsMore than one respondent complained that ‘they cannever do the wee thing – the seed-corn money’. Itwas deemed by organisers easier to apply for£50,000 than £5,000. For many grassroots projects,however, particularly start-ups, larger sums of moneywere both inappropriate and often intimidating. There was widespread support for smaller, possiblydevolved, funding schemes which would entail less ofan administrative burden.

‘I feel there is a need for groups to be able to readily access smaller amounts offunding – up to £10k at a time – and thisis perhaps the difficulty. [It’s] a bit toomuch for [the Scottish Arts Council] votedfunds budget, and a bit too small for thelottery.’Susan White-Aktemel, Director, Impact Arts


• Undertake further research into levels ofunrealised demand in tuition and informalopportunities.

• Develop national framework of training andcontinuing professional developmentopportunities across Higher/Further Educationand informal providers.

• Consider high-profile events aimed at wideningunderstanding of youth music’s benefits.

• Commission a range of longitudinal evidence-based studies on impact of youth music onsocial, personal, educational and creativedevelopment of young people.

• Establish links with educational researchers(eg National Foundation for Education Research)to compare experiences within and outwithclassroom teaching, particularly 5- to 11-year-olds.


8.4.3.4 Support for access to instruments and equipment

Whilst funding agencies and local authorities areunderstandably wary of requests for capital support,it is clear that future growth and development may becompromised by lack of instruments and equipment.Once again, large-scale capital projects have been awelcome development through structural and lotteryfunds, but grassroots groups and ensembles are feltto be disadvantaged in seeking support.

8.4.5 InfrastructureThis final section of possible developments reflectsthe fundamental issue that could serve to inform allothers: the widespread contention from thoseconsulted that the necessary support structures thatcould build upon progress achieved are:

• too fragmented• confusing to volunteers and professionals alike• not encouraging cross-sector collaborations.

The following are the most commonly articulatedinfrastructure needs.

8.4.5.1 Access to information and networksThere are a number of information services andwebsites which we have found useful in our research,although none deals directly with the needs of youthmusic practitioners. As we have seen, many projectsfeel a sense of isolation and a lack of awareness ofothers’ practice. Ideas abounded on the range ofinformation (directories of tutors and workshopleaders, project reports, practical teaching workshopmaterials, funding digests, etc) which could be sharedif the means could be provided.


8.4.5.2 Clarity over UK-wide agenciesThere is continuing confusion over the remit of UK-wide agencies working in Scotland. A number ofsmall-scale organisations consulted had unnecessarilyspent time applying to Youth Music only to discoverthat they were ineligible for support. Withindependently raised funds, Youth Music has beenable to support a relatively limited number of projectsin Scotland. It has not been able to do more owing tothe fact that currently Youth Music receives its mainsource of funding as delegate distributor of lotteryfunds through the Arts Council of England. This meansthat these funds can only be spent in England. Thesame scenario affects Sound Sense, the UKcommunity music association: since membershipbenefits often favour English-funded initiatives, it ishardly surprising that Scottish membership isdisproportionately small. Experience south of theborder, however, has shown that both organisers andtutors have valued the support that both agencieshave been able to provide. Currently, no equivalent toeither agency exists in Scotland.

8.4.5.3 Coherence across local authoritydepartments

‘Our work has grown and diversified quitedramatically in recent years. But we nowface ever-increasing demands on our time– particularly associated with the newCultural Co-ordinators project in Scotland.We cannot continue to meet thosedemands, and must find more strategicways of working.’ Stephen Deazley, Education Development Director, Scottish Chamber Orchestra

The success of youth music often lies in the sheerrange of multi-agency approaches: health, education,crime prevention, social services, culture and leisure,youth services and many more are regularly involved.Even for large-scale companies communication canprove difficult, not helped by the often discrete natureof delivery of local authority departments. We heardregular praise for the Scottish Arts Council’s linksofficers, and the news that the scheme is to be


• More support for longer-term (ie three- to five-year) partnership projects.

• Consider earmarked youth music ‘minor awardschemes’ for start-ups, smaller organisationsand voluntary groups, with simplified applicationprocess.

• Targeted support in the areas of cultural diversity,special needs, singing, music technology, creativity,under-fives and post-school age groups.


extended across all 32 authorities is widely welcomed.Respondents and interviewees frequently complainedthat small-scale organisations struggle to establishmeaningful partnerships simply because of the timerequired to find relevant contacts.

8.4.5.4 Fewer co-ordinating agencies?Many respondents have highlighted the fragmentednature of youth music co-ordinating agencies: ourresearch identified at least a hundred, manyrepresenting small constituencies of interest. Someappeared to have little communication with others,despite working in almost identical contexts. Youthmusic has become a significant industry in itself andmany feel its ability to create a better dialogue withnational government agencies, or to devise cross-sectoral policy, is not helped by the need to consultwith so many.

8.4.5.5 Stronger cross-sectoral linksThe National Seminar was, for many, the firstopportunity to meet with colleagues working in othersectors. In formal education youth music is deliveredby all three sectors, and Further Education and HigherEducation have a particularly important role to play intraining and continuing professional development,support for Primary and Secondary teachers andoutreach activity.

Many felt that the Seminar was simply the start ofwhat might be possible in developing better links, andwere anxious that the momentum created by theevent, and the audit itself, should not be lost.

8.4.5.6 National strategy and agency fordeveloping youth music

An ambitious, but oft-repeated wish from organisationswas to tie many of the perceived needs, priorities andpolicies identified in this section into an over-archingnational strategy. Some felt that such a strategy shouldfocus purely on the informal sector. Others argued that:

• the lived experience of young musicians (andmusic tutors very often) made little distinctionbetween formal and informal delivery, so whyshould policy formulation?

• having separate strategies across formal andinformal sectors would simply perpetuate theseparation between the two.

If such a strategy were considered achievable, thenthere remains the question of who might be chargedwith its formulation and how it might be implemented.Since this arose from, but was not the prime focus of,our qualitative analysis, we were unable to pursuethis with respondents, but in our view it points to astrong desire for coherence, and thereby guidance,across a broad and complex field.

One area where we were asked to elicit views was onthe possibility of a national youth music developmentagency. As the findings show, there is again strongsupport from practitioners and organisations for thisidea, though less so from co-ordinating and nationalbodies. A number of respondents had directlybenefited from the Youth Music initiatives referred toearlier. There was a perception that Scottishorganisations do not enjoy the same fundingopportunities, within specific initiatives, as theircolleagues in England.

‘There are many different agenciesoperating in Scotland. One organisation to run the whole funding side would savea lot of grief.’Questionnaire respondent

There is some evidence that independentdevelopment agencies can be effective in stimulatingpartnerships, responding to emerging needs, havingcloser contact with work on the ground and end-users,and levering additional support. To this end, somerespondents asserted that there were regional models(for example Fèisean nan Gàidheal or the quasi-autonomous arts development agencies) which wereworthy of further investigation.

There have also been calls for a national umbrellabody for youth music, without devolved fundingresponsibilities, which could act as lobbyist, advocateand policy convener. It is hard to see how effectivethis might be, however, until the presentfragmentation (referred to above) is addressed.



‘A national youth music developmentagency would be another level ofbureaucracy with which to contend.’Questionnaire respondent

What is clear is that there is a specific history andcontext within Scottish youth music which cannot beignored, and will require specific solutions. It is likelyto be the responsibility of the Scottish Executive todetermine the appropriateness of the range ofpossible options.

8.5 Coda

It is worth commenting upon the context in which ourinvestigations took place. Many practitioners can onlyget a sense of developments outside their immediateenvironment. The isolation referred to earlierpotentially means that some will be surprised at thestrength and variety of youth music-making going onelsewhere, while for others, envy may be theoverriding emotion. Those who were unable to attendthe National Seminar will hopefully learn through thisstudy of the issues affecting others in their field, andperhaps be reassured that they share many of thesame concerns.

Questions such as ‘what do you think the maindevelopment priorities should be?’, occasionally elicitself-serving, and often unrealistic, wish-lists. Theysometimes offer respondents an opportunity tocriticise or complain. Through our experiences ininterviews, focus group sessions, correspondence andthe National Seminar, neither was the case.

In the executive summary we make clearrecommendations for new strategies and structuresfor the support of youth music. We believe that theserecommendations, combined with the dedication ofpractitioners and enthusiasm of participants, will actas a springboard for young people’s music-making inScotland, reinforcing the spirit of our communitiesand the cultural vitality of our nation.

As our investigation progressed it became clear thatthis is a unique moment of opportunity. If betterdialogue between policy-makers and practitioners iscombined with consolidated support and sufficientvision, the transformational power of music canbecome a permanent feature in the lives of all ouryoung people.


• Develop a National Youth Music Strategy forScotland, recognising the unique contexts oftradition, geography and executive power.

• Establish a National Youth Music DevelopmentAgency to advocate, co-ordinate, fund andsupport youth music opportunities.

• Create a youth music practitioner/projectdatabase with access to tutor/project directories,music materials, advice and guidance.

• Provide clarity of role and remit of UK-wideorganisations (eg Youth Music, Sound Sense)receiving national funding.

• Encourage rationalising numbers of co-ordinating agencies, and investigate feasibilityof a single body for music in schools(curriculum and instrumental instruction).

• Support more cross-sectoral events acrossformal education, youth, community and leisure sectors.


Appendix 1

Project commissioners and Steering Groupmembership

The project was commissioned by:

• Nod Knowles, Head of Music, Scottish Arts Council

• Christina Coker, Chief Executive, Youth Music

• Ian Smith, Scotland and Northern IrelandOrganiser, Musicians’ Union.

The Steering Group comprised the projectcommissioners and:

Louise Mitchell, Director, The Glasgow Royal Concert Hall (Chair)

Adam Armitt, Music Course Co-ordinator, Jewel and Esk Valley College

Jill Carrick, Instrumental Music Co-ordinator, East Renfrewshire Council

Victor Carroll, Tourism, Culture and Sport Division, Education Department, Scottish Executive

Richard Chester, Director, National Youth Orchestras of Scotland

Arthur Cormack, Director, Fèisean nan Gàidheal

Sylvia Dow, Head of Education, Scottish Arts Council

Jim Gaitens, Arts Manager, Highland Council

David Hughes, Hidden Talents Manager, Prince’s Trust

Ian Mills, General Manager, National Youth Choir of Scotland

Bert Richardson, Advisor for Music and Social Subjects,Advisory Services, Highland Council

Denise Swanson, Qualifications, Assessmentand Curriculum Division, Education Department,Scottish Executive

Paul Warren, National Piping Centre

Susan White-Aktemel, Director, Impact Arts.


Individuals andorganisations consulted

IntervieweesThe following people wereinterviewed by the research team(either in face-to-face or telephoneinterviews).

Penny Aberdein (Orkney Islands Council)

Chris Achenbach (Nordoff-Robbins Music Therapy)

Rachael Arnold (Impact Arts)

Alisdair Campbell (Tolbooth, Stirling)

Sheila Capewell(Adult Learning Project, Edinburgh)

Jill Carrick (East Renfrewshire Council)

Vic Carroll (Scottish Executive)

Richard Chester (National Youth Orchestras of Scotland)

Paul Chisholm (Oasis Youth Project Dumfries)

Adrian Clark (Highland Council)

Christina Coker (Youth Music)

Arthur Cormack (Fèisean nan Gàidheal)

Grainne Curtis (Random Access)

Stephen Deazley(Scottish Chamber Orchestra)

Sylvia Dow (Scottish Arts Council)

Brian Duguid (West Lothian Council)

Pamela Flanagan (Royal Scottish Academy of Music and Drama)

Jim Gaitens (Highland Council)

Davie Gardner (Shetland Arts Trust )

John Hall(Scottish Council for Research in Education)

David Hughes (Princes Trust Scotland)

Pat Hymers (Scottish Executive)

Helen Jamieson (Scottish Arts Council)

Brian Kerr (North Ayrshire Council)

Nod Knowles (Scottish Arts Council)

Janice Lafferty (Torry Youth Music Project)

Gica Loening (Adult Learning Project, Edinburgh)

Appendix 2

Rita McAllister (Royal Scottish Academy of Music and Drama)

Bridget McConnell (Glasgow City Council)

Roxana Meechan (Highland Council)

Jill Miller (Glasgow City Council)

Jo Miller (Royal Scottish Academy of Music and Drama)

Ian Mills(National Youth Choirs of Scotland)

Louise Mitchell(Glasgow Royal Concert Hall)

Phil Robertson (Torry Youth Music Project)

Clare Robertson (Scottish Academy of Asian Arts)

Thursa Sanderson (Drake Music Project, Edinburgh)

Rosemary Slessor (Edinburgh Youth Gaitherin)

Ian Smith (Musicians’ Union)

Tommy Smith (Jazz Musician)

Dave Stewart(Aberdeen Foyer Music Project)

Sheila Tate (Scottish Executive)

Joan Thomas(North East of Scotland Music School)

Alan Tweedie (Edinburgh Mela)

John Wallace (Royal Scottish Academy of Music and Drama)

Paul Warren (National Piping Centre)

Sheena Wellington (Fife Traditional Arts Project)

Susan White-Aktemel (Impact Arts)

Graeme Wilson (Fife Council)

Jane Young (Piano Teacher, Sutherland)

Focus group attendeesThe following people attended thefocus groups that formed part ofthe qualitative investigation.

Adam ArmittRachael ArnoldBridget BlackAlasdair CampbellClaire CampbellJill CarrickNaheed CruikshankStephen DeazleySue DoddsPam Flanagan

Eva FlanneryJulie FowlisJim GaitensAlison GaukrogerJoe HerdGordon HorsburghDavid HughesChika InatimiCarol IrvineRobert LivingstoneJeff MacLeanMargo MacLennanHugh MarwickIain MasseyMary McGookinRoxanna MeechanAnne MurphySam PatersonLynda PeacheyAndrew RossAudrey ScottMaggie SingletonKen ThomsonMary TroupRachel WalkerKit WatsonSheena WellingtonSusan White-AktemelKate WimpressJacquie Wiseman

Questionnaire respondents

The following people returned asurvey that gave their perspectiveon youth music in Scotland, orprovided data on an organisation.This list does not include thosewho responded on an official basisas part of the investigation intoLAISI (though some of thoserespondents do appear herebecause they returned otherquestionnaires).

Please note that somequestionnaires were returnedanonymously.

James M AlexanderNaomi AllisonJulian AppleyardSophie AskewLinda BabbsJanet BainSophie BancroftMay BarnesSue Baxendale


Roxanne BenezraAnne BinnieW A BlackwoodJean BoardmanFrank BolamGregor BorlandEwan BoydKathleen BoyleMichael Dylan BrawleyColin M BrettJon BromwichLorna BrooksW Ray BruceJohn ButtDouglas CampbellMairi CampbellMorag CampbellSheila CapewellIain CarletonJ CarpenterJill CarrickMary Anne CarrollPaul ChisholmMarion ClarkJulian ClaytonTrudi ClaytonMat ClementsVeronica CooperHeather CorbettLucy CowanNicholas CowanLinsey P CoxEona CraigJohn CrawfordWilliam George CrookstonClare CushingGuy DadgeJane DavidsonMarilyn de BleickJames DeanSharon DesboisShaun DillonKevin DobieNeil DonnachieGwen DonoghueAnna DouganAileen DouthwaiteIsabella DovastonAlan DuncanVeronica DyasonLiz EastonMorag-Anne ElderColin ElliottRuth EllisJane EmmanuelRuss EvansMysie FergusonArmando FerriMike FindlayDavid FinkelsteinEdward Foley

Stewart W ForbesDavid FrancisIain FraserLorraine E FraserHenry FullertonC R GarnettAlison GaukrogerAmy GeddesR GibsonClaire GiffithsArchibald GilliesDobie GilmourRonnie GoodmanJan GreenEunice GroatJohn GuerrierD GuildDorothy GunneeLiam HackettYvonne HallCatriona HendersonIngrid HendersonP HendersonRich HerringtonCorrina HewatDella HickeySue HillmanLiz HolmesGordon HorsburghJuliet HosieKen HoustonColin HunterTom HunterLouis IsbrandJohn JacksonJennifer JaelLaura JarretSusan JarvisMarilyn JeffcoatPaula JenkinsKaren JonesAndrew M Keachie MBERana KeaneCharles KeenanGeorge KellyBrian KerrSteve KingPaul KleinJanice LaffertyMary LamontChris L'AnsonRobert C LawsonDavid LedinghamHazel LeitchJohn LeitchJohn LeithJean LeonardRobert LivingstonStuart LoweRanald MacArthurA MacDonald

Alex MacDonaldCarol-Anne MacKayRonnie MackieCaroline MacLennanMargo MacLennanAoife MageeDavid MarrKaren MarshalsayIain MasseyCharlie MaynesGary McBretneyCatherine McCallumMaddy McClarkinKevin McCraeAlistair McCullochGordon McDermidBrian McGeochMary A McGookinRoss McGowanRonald McIntoshRonald McKaySusan McKenzieAudrey McKirdyKen McLeodSharon McPhersonHaftor MedboeRoxana MeechanRichard MichaelSimon MiltonBrian MorrisKathleen MorrisonJane MortonBill MuirIain MuirheadJean MurrayFrances MusslewhiteJohn MustardSarah E NaishDavid O'ConnorClare O'NeillLynne O'NeillGavin J A PaganJim ParkCatherine ParkinsonSam PatersonDavid PatrickGail PenmanJoanna PetrieHilary PhillipsDougie PincockStephen PinnockJennifer PortJohn P PowerKaren ReynoldsJennifer RimerLindsay RobertsonMorag RobertsonAndrew RoddenSonia RoseAlistair SalmondThursa Sanderson


J ShepherdRobert SimBob SimansDeborah SimontonSusan SimpsonChristine SinclairAlan SmallMargaret SmithRosalind SmythYla StevenAnna-Wendy StevensonDave StewartThomas StewartWendy StewartFraser StoneMartin StrachanRhona SutherlandTony SwainsonRachael SwanickWilliam SweeneyCaroline TariqRebecca TavenerBill TaylorFiona TaylorMargaret TaylorGillian ThomsonRobin ThortonN ToneriCharlie TraceyAlison TuckerPamela TurleyIan WallaceRobert WallaceSarah WalshEileen WaterstonDavid H WatsonKit WatsonMichelle WealleansAndrew WebsterRick WellsStephen WestClare WhistonRB WilliamsGraeme WilsonLesley WilsonSally WilsonW WilsonNeil WintonAllan YoungMargaret Young

OrganisationsThe following organisations providedquantitative data on their activities.47th Culter Boys' Brigade Pipe Band6th/8th Dundee Company, Boys' BrigadePipe BandAberdeen City Music School

Aberdeen City Schools Elementary StringsAberdeen City Schools Guitar GroupAberdeen City Schools Initial StringsAberdeen City Schools Intermediate BrassBandAberdeen City Schools Intermediate StringsAberdeen City Schools Intermediate WindBandAberdeen City Schools Junior Big BandAberdeen City Schools Junior Brass BandAberdeen City Schools Junior ChoirAberdeen City Schools Junior StringsAberdeen City Schools Junior Wind BandAberdeen City Schools PercussionEnsembleAberdeen City Schools Senior ChoirAberdeen City Schools Training OrchestraAberdeen City Schools Youth Big BandAberdeen City Schools Youth Brass BandAberdeen City Schools Youth OrchestraAberdeen City Schools Youth StringOrchestraAberdeen City Schools Youth Wind BandAberdeen City Schools Youth WindEnsembleAberdeen Foyer Music RoomALP Scots Music GroupAn LanntairAn TobarAssembly DirectAyrshire VoicesBanchory Youth SingersBon-Accord Silver BandCall That Singing!Cappella NovaChinese Community DevelopmentPartnershipCOMADouglas Community Centre and LibraryDrake Music Project ScotlandDunbar Belhaven Best Music FestivalDundee Schools Big BandDundee Schools Concert BandDundee Schools Intermediate StringOrchestraDundee Schools Junior Brass EnsembleDundee Schools Music TheatreDundee Schools Senior String OrchestraDundee Schools Senior Wind EnsembleDundee Schools Symphony OrchestraDundee Schools Training OrchestraEast End Community Arts Project

East Glasgow Music SchoolEast Renfrewshire JuniorChoir/Intermediate ChoirEast Renfrewshire Schools Concert BandEast Renfrewshire Schools IntermediateBandEast Renfrewshire Schools Training BandEast Renfrewshire String OrchestrasEasterhouse Arts ProjectEastfield and Harthill Flute OrchestraEdinburgh City Junior Schools SymphonyOrchestraEdinburgh City Senior Schools SymphonyOrchestraEdinburgh International Harp FestivalEdinburgh Schools Clarsach EnsembleEdinburgh Schools Classical GuitarEnsembleEdinburgh Schools Elementary Wind BandEdinburgh Schools Primary StringOrchestraEdinburgh Schools Rock EnsembleEdinburgh Schools Senior Jazz OrchestraEdinburgh Schools Senior Wind BandEdinburgh Schools Training Jazz OrchestraEdinburgh Schools Training Wind BandEdinburgh Young MusiciansEdinburgh Youth ChoirEdinburgh Youth GaitherinFèisen nan GàidhealFiddle AttractionFiddle FinaleFife Youth Jazz OrchestraFPR Community Radio, Tannahill CentreGarths of Deugh Upland HeritageAssociationGirvan FestivalGlasgow City Council Choral AnimationProjectGrey Lodge SettlementHebridean Celtic FestivalHigh StringsHighland Council Alness and Tain BrassHighland Council Alness PipesHighland Council Caithness Junior Pipe BandHighland Council Caithness Junior StringsHighland Council Charleston OrchestraHighland Council Charleston PipesHighland Council Charleston StringsHighland Council Charleston WoodwindHighland Council Culloden WindHighland Council Dingwall Hooters andTooters


Highland Council Dingwall Scottish StringsHighland Council Dornoch Pipe BandHighland Council Fortrose BrassHighland Council Fortrose StringsHighland Council Gizzen BriggsHighland Council Invergordon OrchestraHighland Council Invergordon Wind BandHighland Council Inverness Pipe BandHighland Council Inverness StringOrchestraHighland Council Inverness Wind BandHighland Council Lochaber CommunityBandHighland Council Lochaber Junior WindBandHighland Council Lochaber Pipe BandHighland Council Lochaber Senior WindBandHIghland Council Lochaber String GroupHighland Council Mid-Highland OrchestraHighland Council Mid-Highland WindHIghland Council Millburn StringsHighland Council Millburn WindHighland Council New Culloden StringsHighland Council New Nairn StringsHighland Council New Wick WindHighland Council Strontian StringsHighland Council Sutherland OrchestraHighland Council Sutherland SchoolsJunior Pipe BandHighland Council Sutherland SchoolsSenior Pipe BandHighland Council Tain Baroque EnsembleHighland Council Tain Concert BandHighland Council Tain Junior StringsHighland Council Tain RA OrchestraHighland Council Tain Senior StringsHighland Council Tain Senior WindHighland Council Thurso StringsHighland Council Thurso Wind BandHighland Council Wind BandHighland Council Youth ChoirHighland Council Youth OrchestraHighland Traditional Music FestivalHighlands and Islands Arts Ltd (HI Arts)Inverclyde and Renfrew Music FestivalInverclyde Juvenile Pipe BandInverness Festival AssociationInverness Junior SingersInverness Traditional Music ProjectIsle of Bute Jazz FestivalJAM Abbey Row

JAM DJ Workshops JedburghJAM Learn Together, Play TogetherJAM Rehearsal space (ex. Abbey Row)JAM Toddler TimeJAM Traditional Music GroupsKenneth van Barthold Piano WorkshopLeith Community Concert BandLoch Fyne Branch of An ComunnGàidhealachLochaber Music SchoolLomond Folk ClubLomond Folk FestivalLossiemouth Folk FestivalLyth Arts CentreMearns Community CentreMendelssohn on Mull FestivalMoray Schools ChoirMoray Schools Concert BandMoray Schools Intermediate StringsMoray Schools Junior StringsMoray Schools Junior WindbandMoray Schools OrchestraMoray Schools Senior StringsMoray Schools Senior WindbandMoray Schools Youth OrchestraMulti-ethnic Aberdeen Limited (MEAL)Music CornerMusic School of Douglas AcademyNaga MasNapier University (Ian Tomlin School ofMusic)National Centre Of Excellence In TraditionalMusic, Plockton High SchoolNational Recorder School of ScotlandNational Youth Brass Band ScotlandNational Youth Choirs of ScotlandNational Youth Jazz Orchestra of ScotlandNational Youth Orchestras of ScotlandNational Youth String Orchestra of ScotlandNational Youth Wind Ensemble of ScotlandNCOSNCOS String Training OrchestraNorthfield Community Education CentreNYOS Camerata ScotlandNYOS Jazz CourseNYOS Orkney WorkshopsNYOS Primary School WorkshopsNYOS Repertoire CourseNYOS Secondary School WorkshopsOasis Youth CentreOrkney Arts Society Young Musicians'Festival

Orkney Traditional Music Project

Peebles Youth Orchestra

Portlethen Community Education Centre

Random Rhythms

Rap Management

Red School Youth Centre

Redburn Rock School

Royal Scottish National Orchestra

RSAMD ReachOut Projects

Sambalistic (West Lothian Samba Band)

Saturday Morning Music Club (Lerwick)

Scottish Academy of Asian Arts

Scottish Chamber Orchestra

Scottish Opera for All

Scottish Schools Orchestra Trust

Shetland Arts Trust Schools Music Festival

Shetland Youth Jazz

Shetland Youth Wind Band

South Ayrshire Council Ayrshire YouthOrchestras

South Ayrshire Council South Ayrshire JazzBand

South West Arts and Music Project

St. Mary's Music School, Edinburgh

St. Thomas' Junction Road Pipe Band, Leith

Stonehaven Folk Festival

Strathspey in May

Taigh Dhonnchaidh

The Bridge Centre Music Project

The Children's Music Centre

The College of Piping, Glasgow

The Highland Festival

The Music Room

The National Piping Centre Evening Classes

The National Piping Centre VacationActivities

The National Youth Music Theatre

The National Youth Pipe Band of Scotland

The Princes Trust Scotland

The Scottish Fiddle School

The Toll Centre

Tolbooth

Torry Youth Project

Trash Music Projects

West Dunbartonshire Primary Orchestra

West Dunbartonshire Senior SchoolsOrchestra

West Lothian Council Bands andOrchestras

West Lothian Youth Theatre

Young's School of Music


‘What’s Going On?’ National Seminar, 5 October 2002

‘This would be a great annual event.’

‘Excellent! Please can we have similardays in the not too distant future.’

‘We need to find a way to continue the networks established today in the short, medium and long term.’

‘Please take this forward – don’t let it be a waste of time.’

‘Looking forward to next year!’Feedback from delegates

Appendix 3

Around a hundred delegates attended the ‘What’sGoing On?’ National Seminar held on 5 October 2002at the RSAMD. Keynote presentations were made byChristina Coker, Chief Executive of Youth Music; Bob Irvine, Head of Sport, the Arts and Culture at theScottish Executive Education Department; and JamesBoyle, Chairman of the Scottish Arts Council. Theresearch team presented some interim findings fordiscussion, and the day was hosted by John Wallace,Principal of the RSAMD and overall director of theproject.

We asked seminar delegates for their reactions to theday. These were overwhelmingly positive:

• 100% of delegates who completed an evaluationsurvey described the day as useful

• 92% of delegates who completed an evaluationsurvey said that the interim findings of theresearch team were in line with their ownperception of the position of youth music inScotland

• 98% of delegates who completed an evaluationsurvey said they found the discussion sessionsuseful

• 87% of delegates who completed an evaluationsurvey said that the research was getting to gripswith the issues that concerned them most.

We believe this seminar, which brought togetherpractitioners from all sectors, was the first of its kindto take place in Scotland. Useful (and occasionallyheated) discussion was provoked by the interimfindings that were presented, and many of the issuesraised have been incorporated into this report.


Appendix 4

A historical comparison of data on LAISI

The survey of Local Authority Instrumental and Singing Instruction (LAISI)was based on that carried out by Dr John Hall of the Scottish Council forResearch in Education in 1999, allowing historical comparisons to bemade between the two sets of data. For selected measures made in themain text, these are presented below, based on the results of the survey,and figures published in Dr Hall’s report A Review of Musical InstrumentInstruction in Scotland.

Some caution should be exercised in the interpretation of thesecomparisons since the number of responding authorities may be differentin each year.

Participation in LAISI Percentage participation in LAISI

Financing LAISI Budgets for LAISI


Financing LAISI Spend per capita on LAISI

Financing LAISI Spend per music student on LAISI

Financing LAISI Maximum annual fee for LAISI


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Scottish Arts Council12 Manor Place, Edinburgh EH3 7DD

Telephone 0131 226 6051Facsimile 0131 225 9833Help Desk 0845 603 6000 (local rate)E-mail [email protected] www.scottisharts.org.uk

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