Henley Review of the
Funding and Delivery of
Music Education – Call
for Evidence
Call for Evidence Response Form
The closing date for this consultation is: 1
November 2010.
Your comments should come to us as soon as
possible, and must reach us by that date.
THIS FORM IS NOT INTERACTIVE. Please complete it and return it by email to [email protected]
Information provided in response to this Call for Evidence, including personal
information, may be subject to publication or disclosure in accordance with the
access to information regimes, primarily the Freedom of Information Act 2000
and the Data Protection Act 1998.
If you want all, or any part, of your response to be treated as confidential, please
explain why you consider it to be confidential.
If a request for disclosure of the information you have provided is received, your
explanation about why you consider it to be confidential will be taken into
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itself, be regarded as binding on the Department.
The Department will process your personal data (name and address and any
other identifying material) in accordance with the Data Protection Act 1998, and
in the majority of circumstances, this will mean that your personal data will not be
disclosed to third parties.
Please tick if you want us to keep your response confidential.
Reason for confidentiality:
Name
Simon Yeo
Organisation (if applicable) Cumbria Music Service
Address:
5 Portland Square, Carlisle, CA1 1PU
If your enquiry is related to the policy content of the Call for Evidence you can
contact us on: [email protected]
Please tick one category that best describes you as a respondent.
Parent/Carer
School Teacher
(music or
otherwise)
Music Teacher /
Leader
(not school
based)
LA Music
Service
Maintained school
Independent
school
Independent Music
Service
√ Local Authority
Voluntary sector music
organisation
Music industry
Representative
organisation
Other
If “other” please specify:
Call for Evidence
All of the questions are relevant to both individuals and organisations with an
interest in music education. The final comments box could be used to provide
details of proven (evaluated) good practice in music education or any other
comments that you feel do not fit within the answers to the specific
questions. Thank you for taking the time to submit your views.
Questions
1 What is it that works best about the way music education is currently delivered?
Comments:
National Curriculum Universal offer served by quality training
 Cross Curricular links leading to performance and engagement with
families
 E- learning modules support cross curricular links e.g www.tuned-in.org
 Live music performances with curricular theme e.g World War 2, Rhyme
of the Ancient Mariner and Titanic
 Cross Phase e.g. transition choirs
 Collaborative working e.g. school to school collaboration
 Career Pathway for aspiring musicians and those wishing to work in the
creative industry
 Opportunity for gifted and talented
 Engagement of pupils with SEN
Wider Opportunities –
 No barriers to engagement
 Quality resources
 Highly skilled workforce
 Opportunity to learn instrument with rigour, discipline and progression
 Range of instruments available which are fit for purpose
 Inbuilt CPD for class based teachers
 Building and cementing relations between Schools and Music Service
 Cross partnership working e.g. sing up, schools & music services
 Regular singing – When singing is high profile e.g. sing up and wider
opportunities it underpins musical progress
Ensembles –
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As an outcome of the universal offer of wider opportunities there are now
community organisations where young people can access performance
opportunities e.g. brass bands establishing with the music service a
junior band
Music Service facilitating and brokering activities. Cumbria being a large
authority requires a mixed approach to provision e.g. directly supporting
outreach programmes run by performing arts college as part of their
specialist status, working in partnership with cathedral outreach, working
with area youth orchestra operating under charitable status, running own
service led activities
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Music Service input ensures quality as evidenced through MSEP 2010
Opportunities to perform outside school setting e.g. Carlisle Castle and
Cumbria Flood Relief Concert
Intergenerational community cohesion e.g. Local Brass Band,
Community Orchestras and Windband
Instrumental/Vocal Teaching 
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Pathways to progression such as transition groups following wider
opporutnties class work, large group tuition, small group tuition and
individual opportunities
Music Service offers a range of instruments and opportunity for students
and supports schools in facilitating and achieving good outcomes at
GCSE, BTEC and A Level
Supporting career aspirations for students and staff
Highly skilled workforce enhances cultural achievements e.g. choral
leaders, orchestral societies, operatic groups, big bands, jazz
ensembles, rock bands etc
Wider Partnerships 
Through development of Local Authority Music Plan a Cumbria Music
Education Partnership has now been established. This focuses on
strategic intentions and is open to any organisation who is a regular
funded organistion for music education e.g theatres and arts venues,
social enterprises
2
What is it that could / should be working better in the way that music
education is currently delivered?
Comments:
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More joined up working should ensure that best outcomes are
achievable for children and young people – child as learner
Improved signposting for musical opportunities
Universal offer starting with schools
Equality of opportunities e.g fair charging policies, access to tuition
following wider opportunities programmes
Cohesive and clear offer to schools that is understood by headteachers
Better transition opportunities from KS2 to 3
Universal training for primary teachers and better initial teacher training
input
KS3 need for greater participation in singing and playing
3
What would be the ideal way to ensure that every child learns a musical
instrument and learns to sing?
Comments:
Inclusivity
 Maintain music within the national curriculum
 Maintain and further develop wider opportunites offer
 The need for instrumental learning at the heart of the national curriculum
building upon the success of whole class learning
 High profile singing opportunities from early years through to post 16
 Ensure music services are key providers of quality monitored provision
 Avoid dilution of funding streams to prevent a recurrence of 1993 when
delegation of funds to schools led to disparate provision and lack of
opportunity
 Local solutions for local contexts e.g. community engagement as well as
local authority provision
 A range of learning opportunities e.g. e-learning modules as well as
traditional face to face engagement
 Key providers are highly trained and are able to access good quality
continuing professional development
 Ensure that there are no barriers to engagement e.g., cost, geographical
access, SEN, Disability and Gifted & Talented
4
If we had a blank sheet of paper, what would be your view of the ideal
funding and delivery structure for music education?
Comments:
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5
In order for music education to be holistic, all strands from national
curriculum through to current discretionary provision e.g. wider
opportunities should form and entitlement for all to access
Continued development and access to quality resources e.g. sing up
song bank
Local solutions for local contexts overseen by umbrella organisation such
as a music service to ensure good links through partnership working e,g,
Cumbria Music Education Partnership currently consisting of:
Cumbria Music Service
Soundwave (sing up provider/social enterprise)
Lake District Summer Music
Whitewood and Flemming
Brewery Arts Kendal
The Sands Centre Carslise
Creative Futures
LA Cultural Unit
Cross reference funding in localities to ensure best musical opportunities
for children families and communities and build upon successes already
experienced e,g, chorister outreach, sing up, community supported
ensembles e,g, brass bands
Willingness to share passion for music to provide best opportunities that
may lead to future employment within the music industry as well as
developing the next generation of audiences
Single source funding via DFE to facilitate work in schools as a first point
of engagement
Music Services are organisations with a record of delivering high quality
provision. In order to succeed in the future they will need central funding
to continue the overarching role currently within their remit
Do you have any other comments you'd like to make?
Comments:
Thank you for taking the time to let us have your views. We do not intend to
acknowledge individual responses unless you place an 'X' in the box below.
Please acknowledge this reply √
Here at the Department for Education we carry out our research on many
different topics and consultations. As your views are valuable to us, would it be
alright if we were to contact you again from time to time either for research or to
send through consultation documents?
√Yes
No
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to influence the policy outcome.
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process, what is being proposed, the scope to influence and the expected costs
and benefits of the proposals.
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Criterion 5: Keeping the burden of consultation to a minimum is essential if
consultations are to be effective and if consultees’ buy-in to the process is to be
obtained.
Criterion 6: Consultation responses should be analysed carefully and clear
feedback should be provided to participants following the consultation.
Criterion 7: Officials running consultations should seek guidance in how to run an
effective consultation exercise and share what they have learned from the
experience.
Thank you for taking time to respond to this Call for Evidence.
Completed questionnaires and other responses should be e-mailed by 1
November to [email protected]