sound52 External Evaluation Round 2

sound52 – Second Round External Evaluation Final Report

External Evaluators Final Report Round 2 April 2004 – March 2005

By Phil Cosker

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Introduction Lincolnshire is England’s fourth largest administrative area and covers 2,286 square miles with a population density of over 269 persons per square mile (less than half the East Midlands average). It has significant areas of urban and rural deprivation and poverty. Incomes throughout the county are below the national average. There is much geographical isolation compounded by an inadequate transport infrastructure.

The Project This final external evaluation of sound52 is made against Youth Music’s mission statement: ‘To enable music making for children and young people, particularly those who have not had previous opportunities’ and in relation to Youth Music’s four strategic objectives: 1. Access – helping more young people to develop through music making, especially those whose access to music making is limited; 2. Breadth – encouraging the widest range of musical styles and cultural traditions in music making; 3. Coverage – improving provision for those who are isolated by geography, by lack of facilities, or by other circumstances; 4. Quality – providing the highest quality of musical experience for young people in order to encourage enjoyment and further involvement.

This final report has been prepared on the basis of:  Scrutiny of all relevant sound52 documentation;  Meetings with soundLINCS staff members who organise, plan and manage the YMAZ project; sound52 expressed its vision for the Second Round of the programme thus:  Creating sustainable opportunities and strategic, value-based relationships where music-making is firmly embedded in operational practice  Ensuring the availability of a wide range of music-making experiences for young people  Enabling progression routes both for young music-makers and for all those directly involved in supporting young people’s music-making The programme aims were:  To raise levels of awareness, understanding and enthusiasm for musicmaking for young people amongst strategic planners and decisionmakers, practitioners, parents and young people

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 To consolidate existing partnerships at strategic level and create new strategic partnerships aimed at increasing opportunities for young people to participate in music  To further build on sound52’s development work and begin to establish it as the pre-eminent music initiative working for and with young people across Lincolnshire The specific objectives of the second round programme are concerned with extending the work begun during the First Round and introducing new programmes as part of the Second Round, as follows: First Notes  To devise, manage and deliver 150 music-making residencies for the under 5s across the County of Lincolnshire  To create a CD to enhance and support the resource pack for musicians HeatUp!  To continue CPM residencies to develop into Area Music Programme teams  To revitalise the junk programme with a Junk Dance focus linked to local festivals  To revitalise vocal workshops through the implementation of Production Vox  To further develop links with the County Music Support Service through a County Choir and various vocal initiatives including boys singing days  To devise and deliver a series of three-day residencies to enable small groups of young people to work with a Producer/DJ Training and CPD  To create a programme of formal and informal music-specific and general opportunities for Music Facilitators  To continue to provide induction and awareness raising training through the application procedure  To continue the current Buddy Scheme  To create a programme of music-specific training sessions with a range of other agencies including youth, play and early years workers Second Round programme objectives First Notes 0-5 years  To explore the expansion of the programme into maintained settings  To work with “additional needs” groups  To undertake research and development into music in pre-natal settings  To enter into a research and development programme for the 0 –3 years age range  To develop a second resource pack to support First Notes in line with the first resource pack to support early years setting and parents within

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Lincolnshire to encourage creative development within the 0 – 3 age range Second Sounds 6 – 11 years  To implement a NOF Arts Project style programme with after schools music activities within the school who have completed participation of the three year NOF programme and who are still keen to further develop their music making. In conjunction with Lincolnshire LEA (CfBT – School Improvement Service)  To develop “additional needs” activity groups  To devise and implement bespoke residencies with Kids Clubs Lincolnshire  To devise and implement bespoke computer-based music sessions within after-schools settings  To devise and implement Breakfast Bashes in breakfast clubs HeatUp! 12-18 years  To create a CPM Development Programme throughout Lincolnshire, possibly linked with EmmNet team workers. sound52 recognises the success of the first round CPM work and the need to facilitate the young people to the next level, enabling them to continue their development within the industry. The programme will allow Music facilitators to work with the young people to make contact with local and regional promoters, studios, work with the young people to organise County tours, technical support, promotions and support bands through the legal mine fields of the industry. The programme will be led by the needs and requests of young people.  To develop work with the Alternative Curriculum (Solution4) – Key Stage 4 Groups – SOVA, YMCA, the Foyer  To commission a collaborative, “classical-combo” work for voices, orchestra and rock band and producers leading to a residential weekend for young people … in partnership with the County Music Support Service Training and CPD  To investigate the opportunities for, and demand for, peer mentoring  To create a series of short residencies for delivery as part of formal training programmes for child minders QTS courses, music students etc to raise awareness and give a basic grounding, where appropriate, in music activities  To develop a programme of INSET training for music teachers which raises awareness and understanding of participatory music making activities  To create a series of information packs for practitioners within Second Sounds and HeatUp! Settings  To create an information pack for young people providing signage to progression routes for their music-making and personal development  To undertake research into current and potential opportunities for people wishing to pursue a career in music in Lincolnshire Phil Cosker – August - 2005

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Implementation of Second Round programme The implementation of the second round programme will present a number of operational challenges for sound52 the most pressing of which concerns the creation of a staffing structure with the capacity to deliver the programme outlined above.

Anticipated benefits and outcomes of the Second Round programme:  Consolidation of the significant achievements of the First Round programme  Creation of new music making opportunities for young people in a range of settings throughout the county  Consolidation and further development of partnerships built during the First Round programme  Enhanced awareness and understanding amongst practitioners, parents, strategic planners, decision-makers and young people themselves of the power of participatory music activities  Continued employment opportunities for musicians involved in the programme  Enhanced professional practice amongst musicians involved in the programme  Increased access to music for young people  Enhanced breadth of coverage of music making opportunities for young people across Lincolnshire  Sustained and enhanced quality of music-making experiences for young people  Contribution to addressing social issues across the county including health, education, social development, economic development and safer communities  Enhanced profiling opportunities for sound52 and Youth Music  Creation of bona fide career paths within the music industry for young people  The creation and development of a legacy of music-making opportunities for young people across the county  The continuation of ground-breaking initiatives in music-making for young people in respect of rural and geographical constraints.

Facts First Notes 3 - 5 years Between April 2004 and March 2005 there were:  189 First Notes Residencies (the target was 150);

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 1,170 workshop sessions involving 3,393 children;  710 Early Years Practitioners and 412 parents/carers;  over 2,000 parents/carers joined in to celebrate at Minimelts.

The cumulative totals (i.e. recorded attendances) show the following levels of participation:  16,994 children;  3,331 practitioners;  642 parents.

Round2 delivered 39 more residencies than Round 1 in a shorter time period. It is suggested that there are three possible reasons for this increase in addition to exceeding the target set for Round 2. These are:  Sustained demand from new settings and return visits to Round1 settings;  Increased capacity due to larger First Notes workforce (11 at end of Round1, 18 at end Round2);  Structure for First Notes residency adapted to 6 weeks (previously 8) from September 2004 to suit changes in school term arrangements (6 term year) in Lincolnshire. Therefore more phases of residencies could be arranged.

This latter point is interesting as in my Interim Report it was felt that this would make it more difficult to organise settings; the change in the school year has proved beneficial in opening up more opportunities.

The distribution of residencies across the county was as follows (Round 1 in brackets): Boston Borough Council: 17 (13) East Lindsey District Council: 30 (30) North Kesteven District Council: 34 (33) City of Lincoln Council: 21 (15) South Holland District Council: 21 (11) South Kesteven District Council: 38 (31) West Lindsey District Council: 28 (17) This represents not only an increase in the number of residencies but also a good geographical distribution throughout the county: every setting that requested a residency got a residency!

Increased delivery has a direct relationship with the increased sound52 workforce capacity that allows the project to: respond dynamically to requests from the Early Years sector; service maximum demand, 'tread water' during periods of minimum demand (July-September school holidays) and still retain music facilitators. This capacity is not only about numbers but also due to the fact that most First Notes music facilitators are able to work across the entire sound52 project. Furthermore, they can also obtain work on core soundLINCS projects (ie, not sound52 funded) during the school holidays.

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The previously established project relationship with Lincolnshire Toy Libraries in Round1 has been consolidated. In Round 2 the team helped them to catalogue 12 instrument kits similar to those used by First Notes music facilitators. Early Years settings are accessing these kits following their First Notes residency. 3 residencies were delivered into Lincolshire Toy Libraries during January and February 2005. Similarly, the relationship established with NCH in Round 1 has been developed with 4 residencies delivered to NCH settings between April-July 2004 and another 3 in February-March 2005.

The success of First Notes has generated a substantial demand from the maintained sector during Rounds 1&2. It is recommended that this demand be addressed in Round 3.

Second Sounds 6 – 11 years 39 Second Sounds Residencies were provided between October 2004 and March 2005. 273 workshop sessions involved 599 children (9-11 yrs old).

Recorded attendances were 3,183.

Second Sounds is designed and implemented to sustain musical activities with the transitions age group in Lincolnshire districts where the NOF Arts Project has concluded. Therefore the majority of residencies (34) were in West Lindsey and South Holland where NOF has completed. Additionally there were 3 residencies delivered into KidsClubs and 3 into Special Needs settings. These were distributed throughout the county.

Each residency consisted of 7 sessions and delivered wide ranging musical experiences to participants from African & Bhangra drumming to singing & songwriting. The project was delivered through a partnership between CfBT and sound52. soundLINCS and sound52 provided a large range of colourful hand drums, percussion instruments and electronic ‘beat boxes’ for the use of music facilitators employed on the project. These resources were enhanced by music facilitators who used their own instruments such as guitars and electronic keyboards.

The vision underlying the sound52 and CfBT partnership was to try and create a sustainable future for Arts Activities in the transitions age group in the wake of NOF Arts Project. It is understood that Round3 will address this aspiration by charging a nominal amount for each residency. It is recommended that this arrangement proceeds.

HeatUp! 12-18 years 36 residencies were provided between June 2004 and March 2005 and 374 workshop sessions involved 672 young people. In total HeatUp! recorded 2,246 attendances at workshops.

There were three strands to the project: CPM (Contemporary Popular Music – or Rock & Pop) - 14 residencies

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These were very similar in structure and content to the successful model developed during Round1. Participating groups established themselves as a Rock & Pop band and were facilitated by one or two musicians at regular weekly sessions. sound52 provided most of the musical instruments and other necessary resources. These were originally purchased as a capital investment during Round 1.

Some participating groups carried their musical development forward from Round1. Towards the end of Round2 a series of performance events (Burn52) were planned but these will not now actually take place until the first quarter of Round3 (April-June 2005).

Around 20 musicians from CPM were involved in ClassicCombo (see below).

A new initiative in Round2 was the Travelling Musician Scheme. This was piloted in November and December 2004. A skilled and experienced drummer visited 7 HeatUp! settings to support the 'regular' music facilitator and offer specific support, advice, encouragement and skill sharing to young drummers. This was regarded by participants, the facilitator and sound52 as a big success. It was hoped to develop the scheme further in the JanuaryMarch period with other Travelling Musicians (ie, guitarist, keyboard player, singer, bass guitarist and songwriter/composer). The development was postponed due to pressure upon resources. It is recommended that developments to the scheme are implemented in Round 3.

Following monitoring visits and discussions with young people at HeatUp! sessions, the idea of Development Groups arose and these are discussed below in relation to Sustainability.

Junk Dance - 16 residencies Junk Dance was a development of Junk Percussion, a HeatUp! activity during Round 1. The intention was to reinvigorate Junk Percussion which was felt to be an area of work that didn’t quite realise it’s full potential. Junk Dance was a successful intiative and increased participation with the project.

16 groups participated in Round 2, compared to 12 in Round 1.

The initiative was made possible through a collaboration with Lincolnshire Dance. Both organisation recognised the need for training and development for facilitators and agreed that attendance should be paid for training opportunities. Lincolnshire Dance identified the dancers and soundLINCS 'paired' each dancer with a musician. soundLINCS also undertook all the coordination and contracting for the project.

Two development days were organised using Croft Street Community Centre, Lincoln: on 17th October 2004 (attendance 10 facilitators), and on 12th December 2004 (attendance 10 facilitators). The first day comprised an induction to the project, a sharing of combined warm up games, and seeking an answer to the question "What is Junk Dance". The second day was arranged partway through the initial residencies so that most attendees had some experience of JunkDance. It was arranged to explore and share successes, failures and issues arising from the workshop process. It also presented an opportunity to explore the potential for Junk Dance performances at ClassicCombo. (3 groups, involving 17 young people, performed at ClassicCombo).

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Vocal Production - 6 residencies The 'Production' development was designed to introduce greater flexibility into the previous Vox programme as there were only 4 vocal groups in Round1. This initiative was a success as participation was increased to 6 groups.

It was imagined that Vocal Production Groups might work with a DJ, or use programmed rhythm tracks (in a Hip Hop style) or write new work. It is unclear as to how much of this imaginative stuff actually happened. “Maybe young singers just want to work with existing repertoire?” Monitoring shows that young vocalists enjoyed the social group, developed skills and techniques, gained confidence, and were exposed to a repertoire that was completely new to them and therefore responded to as challenging and exciting. Around 5 young people from Vocal Production performed at ClassicCombo.

The Producers Two projects were undertaken.

The first, in September 2004, was in collaboration with the Louth Literature Festival and celebrated the poetry of Lord Alfred Tennyson. 2 young people worked alongside a professional music producer to create two rap tunes, featuring funky music samples and drawing on Tennyson's poetry for lyrical inspiration. The two tracks were premiered at the Louth Wolds Words Festival – ‘a celebration of reading, performance and writing’. One of the tracks also featured in ClassicCombo.

The second, in October 2004, brought together 22 young people and five professional music producers to create tracks based upon the themes and issues inspired by the story of Anne Frank and the Holocaust. The whole group visited the touring exhibition Anne Frank: A History For Today, at Southwell Minster in Nottinghamshire. The young people divided into 5 small groups and each worked with a Producer in a recording studio for 3 days to explore the themes of the exhibition in musical and lyrical ways. The groups produced 12 original tracks that were made available on an interactive CD ROM. The tracks were premiered when the Anne Frank touring exhibition came to Lincoln Cathedral in January 2005. 3000 CDs were produced and each visiter to the exhibition received a free copy. The tracks received a second public performance during ClassicCombo, but with an exciting twist.

Each track was interpreted by a video artist and their visual work was projected during the performance.

ClassicCombo The ClassicCombo performance took place at Lincoln Cathedral on Friday 18 February and involved over 100 young performers with an audience of around 500. 14 students from Bishop Grosseteste College (BGC) participated as musicians and helpers throughout the rehearsal and performance process.

ClassicCombo involved performances of Junk Dance, Producers tracks and the premier of a specially composed work ‘Space’ for rock band, orchestra and voices. The recruitment of orchestral musicians was undertaken in partnership with Music Services (Lincolnshire County Council) with 4 peripatetic teaching staff being involved in rehearsals and Phil Cosker – August - 2005

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performance. 1 day was given over to a ‘play through’ of the commissioned piece by adult, mostly professional, musicians, music facilitators and teachers. 1 day was allocated for rehearsal for CPM musicians and 2 days rehearsal for all young musicians.

The Orchestra for Space comprised: 21 singers (7 of whom BGC, 3 music facilitators) 15 woodwind (3 of whom BGC, 3 music facilitators) 19 string (2 of whom BGC, 1 music facilitators) 12 brass (1 music facilitator) 9 drummers and percussionists (1 music facilitator) 16 guitarists (2 music facilitators) 6 bass guitar (1 of whom BGC, 2 music facilitators) 4 keyboard (1 music facilitators)

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Evaluation sound52 – Second Round programme objectives 3 anticipated sources of funding were not obtained for the Second Round programme. The impact of reduced funding was to create priorities and therefore to reduce or postpone programme objectives. The funding shortfalls were:  Sure Start-sound52 were unsuccessful in their approaches to the 9 Sure Start programmes in Lincolnshire.  Applications to ACE and ESF were postponed and will be carried forward to Round 3 The programme objectives were outlined at the beginning of this report but for the sake of evaluation they are repeated here.

First Notes 0-5 years  To explore the expansion of the programme into maintained settings This has begun with further development now made possible for Round Three.  To work with “additional needs” groups Initial progress has been made.  To undertake research and development into music in pre-natal settings Initial work has begun with fruitful discussions involving Lincolnshire PLA and Lincoln University regarding the approach for this work. The work has not yet been undertaken.  To enter into a research and development programme for the 0 –3 years age range As above (pre-natal research). Toy Library work has begun but this work remains to be completed.  To develop a second resource pack to support First Notes in line with the first resource pack to support early years setting and parents within Lincolnshire to encourage creative development within the 0 – 3 age range Resource pack opportunities continue to be developed. The original pack continues to be an exceptional resource for all settings and participants.

First Notes Anecdotal Evidence: First Notes - Early Years Practitioners ‘The facilitator was excellent and could maintain the attention of a wide range of children with additional needs. Parents’ and children’s’ confidence has grown over the weeks’. (Lin CC) ‘Excellent! The children and parents thoroughly enjoyed themselves and always looked forward to the facilitators next visit. Thank you very much’.

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‘We would like to express our thanks for the chance to take part in such a programme. Our facilitator was excellent. She was highly professional and enthusiastic. The children and staff alike looked forward to her visits and we all learned much from her expertise’. (NKDC) ‘We have all enjoyed the residency. We have been doing some of the ideas this morning and have integrated the ideas into our curriculum. Thank you to everyone at soundLINCS’. (ELDC) ‘Thank you very much for organising our second residency. The children and staff enjoyed the six weeks so very much and the parents were so thrilled with the minimelt that they could not praise your facilitator enough. She was extremely pleasant, affable and obliging. Her approach towards and work with our children was excellent and we thank her that wholeheartedly’.

(WLDC) ‘The children and staff very much enjoyed the experience of soundLINCS and felt we gained a lot from it. The music facilitator was very good working with the staff and children and everyone was keen to participate’. (SHDC) First Notes - Parents ‘I’ve learnt a lot and used a lot at home. The facilitator was brilliant I know my son will miss her and her instruments’. (Lin CC) ‘The facilitator has given me great ideas to show my daughter new sounds.

We’ve enjoyed her sessions, they have been good with interacting together, and exploring other sounds’. (Lin CC) ‘We both enjoyed having the facilitator here and the music sessions were really good for the parents and the child’. (Lin CC) First Notes - Resource Pack ‘Resource Pack is excellent – we have been using it a lot.’ Early Years Practitioner (NKDC) ‘We are so pleased with the Resource Pack as it has given us so many music ideas for activities with the children’. Early Years Practitioner (SKDC) ‘We are thoroughly enjoying the Resource Pack. It’s given us lots of new ideas’. Early Years Practitioner (NKDC) Second Sounds 6 – 11 years  To implement a NOF Arts Project style programme with after schools music activities within the school who have completed participation of the three year NOF programme and who are still keen to further

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develop their music making. In conjunction with Lincolnshire LEA (CfBT – School Improvement Service) Objective fully achieved.  To develop “additional needs” activity groups Three Special Needs settings were included in the programme.  To devise and implement bespoke residencies with Kids Clubs Lincolnshire One initial training event for playworkers followed by 3 residencies provided into Kids Clubs. Further work is planned for Round 3 in light of the positive experience s learnt in Round 2.  To devise and implement bespoke computer-based music sessions within after-schools settings This was not included in the programme of activity but was replaced with activities around African & Bhangra drumming, singing and songwriting as a response to the groups wishes.  To devise and implement Breakfast Bashes in breakfast clubs This was not attempted in Round 2 due to funding shortfalls.

Second Sounds Anecdotal Evidence Seconds Sounds - Primary School Teachers ‘The facilitator had an excellent rapport with challenging children. She allowed leeway for individual responses and the use of drums was great’ (SHDC) ‘The activities were interesting and fun. We had an excellent performance with parents joining in' (WLDC) ‘The facilitator has an excellent way of working with the children and they have responded very well to him, producing some excellent music’ (WLDC) ‘The facilitator inspired the children so much that they have stayed in at lunchtime to practice’ (WLDC) ‘The facilitator were good at getting children to work co-operatively’ (SHDC) 'On the whole it proved to be a valuable and enjoyable series of visits, giving the children a good musical experience. A variety of instruments were brought in that the children don't often have a chance to see or try out' (BBC) 'The sessions built up as we went along, the facilitator feeling her way with assistance from the staff. As the weeks went by she became more familiar with the children and their abilities. The instruments were fun for children and they experimented with starting and stopping, being still and silent, turn taking, slow and fast beats, and dynamics. It all culminated with a performance for other pupils in the school' (ELDC) 'The children really enjoyed the range of instruments and the various sound that they could make' (NKDC) HeatUp! 12-18 years  To create a CPM Development Programme throughout Lincolnshire, possibly linked with EmmNet team workers…sound52 recognises the success of the first round CPM work and the need to facilitate the Phil Cosker – August - 2005

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young people to the next level, enabling them to continue their development within the industry. The programme will allow Music facilitators to work with the young people to make contact with local and regional promoters, studios, work with the young people to organise County tours, technical support, promotions and support bands through the legal mine fields of the industry. The programme will be led by the needs and requests of young people…

This was a complex objective and has been achieved through a variety of means. It is clear that the achievments gained, and the preparatory work for Round 3, is based upon the views and needs of the young people involved. Of particular note is the collaborative work with Lincolnshire Dance.  To develop work with the Alternative Curriculum (Solution4) – Key Stage 4 Groups – SOVA, YMCA, the Foyer This work was directly undertaken within the HeatUp! programme.

Developing good partnerships took longer than expected but have been achieved. It is expected that more opportunities for Alternatice Curriculum groups will be developed within Round 3 To commission a collaborative, “classical-combo” work for voices, orchestra and rock band and producers leading to a residential weekend for young people … in partnership with the County Music Support Service This has been spectacularly achieved through the Classic Combo and The Producers. The initiative around voice was less successful but beneficial to those who took part.

Perhaps it is worth providing a little more detail in respect of the Classic Combo event. The following text is taken from soundLINCS documentation.

‘ClassicCombo took the form of a spectacular party to celebrate the second birthday of sound52 within the magnificent setting of Lincoln Cathedral. It was a unique evening of uncompromising entertainment that premiered 3 JunkDance performances, 13 Producers tracks and the ambitious commission “Space”.

Meltdown (Round 1) created an opportunity for HeatUp! musicians from all over Lincolnshire to meet up and work together for a single purpose: to rehearse and perform three songs. soundLINCS wished to build upon the huge success of Meltdown and create a visionary event of similar proportions. It conceived ClassicCombo as a celebration of sound52 and the rich diversity of music making that has bloomed over the two years that the project has been in existence.

ClassicCombo also aspired to create a unique platform that could be shared by young musicians from within all the flourishing musical traditions of Lincolnshire.

To achieve this soundLINCS commissioned a new musical work that would draw together young musicians from two distinct musical traditions within Lincolnshire and a wider cultural context:

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Contemporary Popular Music (Rock and Pop) and Orchestral. Each tradition boasts a tremendous range of skills and experiences that are not mutually exclusive, although are often perceived to be. soundLINCS believes that dividing musicians into their traditions tends to reinforce their differences rather than recognise what they have in common: they all enjoy music!

The commissioned work was a platform for young musicians to share and learn from each other about their respective traditions whilst also celebrating their common love of music. It was also intended that the musicians involved in playing the commissioned work might learn something new about their instrument and also experience rhythmic, melodic or compositional ideas that may be new for them. But most importantly, the commissioned work should be accessible, playable and fun! Furthermore, it was intended that the commissioned work should be of a sustained length - taking on a symphonic form - rather than simply a collection of songs so that the musicians and audience could gain an experience more closely related to a concert than a ‘gig’. soundLINCS wanted to recognise the wealth of talent within it’s workforce and commissioned 3 of it’s music facilitators to create the new work and they developed the piece between October 2004 and February 2005. The work comprised 3 movements with a coda, of around 40 minutes in total length, and explored musical and lyrical interpretations inspired by the theme of Space.

The rehearsal process encompassed 4 consecutive days and was supported by sound52 music facilitators and the three composers.

The young musicians worked together brilliantly during rehearsals and sustained a formidable work rate. They behaved with huge self discipline and great respect towards the conductor, the music facilitators and their fellow musicians. Adults working with the young people were amazed at the concentration and focus that was being invested in ClassicCombo. They needed to remind themselves that this group were supposed to be enjoying a well deserved half term break from hard work! What they did, in fact, was to work hard from 10:00 until 4:00 for three days with short lunch and drinks breaks.

Every adult who participated in the rehearsal process expressed a genuine respect for the young musicians skills, openness, flexibility and work rate. It was felt that ClassicCombo was a huge success before the much anticipated performance.’

Here follows some direct observation from the sound52 team regarding the successes, faliures and lessons learnt from ClassicCombo: ClassicCombo is considered to be a huge success. The event benefitted from a really important lesson from Meltdown-don't start work at 6:00 am on the day of a major event. soundLINCS planned

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more time into the event to allow the necessary work to be done within a reasonable length workday. Additionally, a professional sound company and crew with a national reputation were contracted for the event. This arrangement removed technical pressures from the sound52 team and demonstrated total commitment and respect for the young musicians involved. soundLINCS learnt about building and negotiating a relationship with a working Cathedral. So whereas the space was hired for an entire day, there were restrictions about how the day could be used. This was very particularly about not creating noise during times of organised prayer. The impact of this was that much of the performance day could not be used in rehearsals with the musicians. In fact-the musicians played the piece just once in a Cathedral rehearsal prior to the performance. For a similar event soundLINCS would ensure that more time was made available for musicians to become familiar and 'at ease' with the venue prior to performing. soundLINCS would plan in an additional day or half day to 'play through' the commissioned work. On the third day of rehearsal at Gartree School, the commissioned piece was played through in it's entirety. This was definitely a huge achievement and reflects the hard work that everyone invested during the whole rehearsal process. But in it's own way it also marks the start of another process in which the ranges of musical expression are 'teased' from the players. Dynamics, Phrasing, Tempo Changes, Transitions, Orchestral Balance. The additional day or half day would have enabled more attention to be given to the process of musical expression. soundLINCS arranged a catering deal with McDonalds to provide a teatime meal on the performance day for everyone involved. The delivered meals were not clearly marked, nor were they ‘bagged’ together by type. The result was a time consuming and tedious process to distribute the meals. soundLINCS has learnt that every detail of an event must be thought through and nothing can be left to chance. soundLINCS was pleased with it's decision to arrange a 'chill out' area (Chapterhouse) for the performers . It was a delight to be with over 100 young people from across the county, from different musical traditions, all with their own musical/cultural differences-and obviously getting on with each other so brilliantly. There is no report of a single incident of tension arising in the Chapterhouse. soundLINCS celebrates the positive public profile that young people transmitted. Everyone involved in the project, including Cathedral Staff, all described their delight at working with such a cooperative and sensitive group of young people. It would be understandable for misgivings to be felt prior to such an innovative event and it is a testament to all involved who put their fears aside and trusted that

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everything would be ok. This ‘speaks’ about soundLINCS growing stature as a professional and experienced organisation with a proven track record of successful project and events management. soundLINCS considers Meltdown and ClassicCombo offered young people the opportunity of an experience they wouldn't usually be able to access. Neither event was simply a gig for a band which is, in fact, a process that many young musicians (with support) can organise for themselves.

The quality of these observations gives immense confidence in the capacity of the organisation to fulfil its objectives and young people’s expectations. It is understood that a substantial 'Orchestral Experience' is planned for Round3. Based on the experience of Meltdown and ClassicCombo, it is certain that the opportunities for children and young people will be those that they would not usually be able to access for themselves.”

HeatUp! Anecdotal Evidence HeatUp! - Youth Workers 'The young people loved taking part in the event and would love the opportunity to do something similar again' (NKDC) 'The music facilitator was very patient with a challenging group of young people-enabling them to achieve success'. (NKDC) 'xxx had never picked up a guitar before he joined the sound52 project and now he's joining the music department at Lincoln College to study for a career in music' (NKDC) HeatUp! - Participants A summary of responses to the question 'What is the most rewarding experience of HeatUp!' Meeting new people Having fun Gaining confidence Learning to play an instrument Watching the group come together and improve each week Writing songs Playing a gig The Producers - Participants A summary of responses to the question 'Do you feel you have achieved anything?'

I feel I know a bit more about the music business I feel I have achieved more knowledge

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Learned lots of recording processes Successful group work Learning to improvise over different chords Understanding more about how tracks are pasted together Working as a group and getting our own CD ClassicCombo - Participants A summary of responses to the question 'Do you feel you have achieved anything?'

Confidence Ability to play in a band with guitars Co-ordination and cooperation skills Singing so many top A's!!

Playing in a big orchestra and reading new types of music Working as part of of a large musical group I have gained confidence because the music is totally different to what I am used to.

Got a feel for what a fusion of rock and classical instruments would sound like Got better with my violin Learned to read music better Learned to sing with different instruments.

Training and CPD  To investigate the opportunities for and demand for peer mentoring  To create a series of short residencies for delivery as part of formal training programmes for child minders QTS courses, music students etc to raise awareness and give a basic grounding, where appropriate, in music activities  To develop a programme of INSET training for music teachers which raises awareness and understanding of participatory music making activities  To create a series of information packs for practitioners within Second Sound and HeatUp! Settings  To create an information pack for young people providing signage to progression routes for their music-making and personal development  To undertake research into current and potential opportunities for people wishing to pursue a career in music in Lincolnshire Although these elements have always been important to the sound52 team, this was an area of Round 2 that suffered from a funding shortfall although much was achieved. The area is complex and it is better to summarise some of the activities that have been undertaken and suggest the benefits secured.

The following formal CPD Development Days were organised: April 8th 2004 First Notes 11 music facilitators met to share ideas, games, and experiences.

They explored the residency structure and content in detail, including Phil Cosker – August - 2005

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sound52 – Second Round External Evaluation Final Report

work with practitioners and parents. The day also enabled newer music faciltators to meet with more established workers. sound52 staff gave a briefing about progress on Resource Pack and distributed proofs of Activity Cards. The facilitators enjoyed a tour of Early Years Library resources throughout the county.

The day was hosted by Library Services at Lincoln Central Library.

June 23rd 2004 HeatUp! 6 music facilitators met to share ideas and experiences. A discussion about Round 1 clarified 20 ideas to shape plans for Round2, of which at least 12 have been accommodated. They met with the newly appointed sound52 staff .

The day was hosted at soundLINCS offices in Lincoln.

September 19th 2004 Second Sounds 13 music facilitators met to share ideas, games, and experiences. A very practical day with facilitators leading short workshops about specific musical ideas such as WarmUps, Name Games, Pulse, Tempo, Pitch etc. The day was arranged to 'Kick Start' the project. soundLINCS provided each worker with a copy of the Come and Play resource pack which it developed during previous year.

The day was hosted by soundLINCS at Croft Street Community Centre, Lincoln.

October 17th 2004 Junk Dance 10 facilitators (music and dance) met to attend an induction and explore the potentials of the project.

The day was hosted jointly by soundLINCS and Lincolnshire Dance at Croft Street Community Centre, Lincoln.

December 12th 2004 Junk Dance 10 facilitators (music and dance) met to share ideas, games, and experiences based on their work during ongoing residencies. The day explored successes, failures, and issues arising from the workshop process and also looked forward to ClassicCombo.

The day was hosted jointly by soundLINCS and Lincolnshire Dance at Croft Street Community Centre, Lincoln.

March 20th 2005 Open to all Facilitators and Staff 24 music facilitators and staff met with More Music Morecombe. MMM facilitated a workshop that provided a wealth of good practice considerations together with many practical games and activities. All attendees received free copy of MMMs recently published 'Practical Handbook' for workshop leaders. The day had a positive impact on facilitators who took and used new ideas in their sound52 work across all project strands.

The day was jointly hosted by soundLINCS and Bishop Grosseteste College.

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sound52 – Second Round External Evaluation Final Report

Implementation of Second Round programme The implementation of the second round programme will present a number of operational challenges for sound52 the most pressing of which concerns the creation of a staffing structure with the capacity to deliver the programme outlined above.

The organisation has made significant progress in its staffing structure and capacity building over the second period of the programme.

The following recruitment information has been provided by the team: May 2004 Recruit and appoint: 1 Project Manager-Full Time 2 Programme Leaders-Part Time (1 for First Notes 1 for HeatUP!) 1 General Project Assistant (GPA)-Full Time 1 GPA-Part Time Failed to appoint 1 Finance Officer-Part Time.

June 14 2004 Core Induction for recently recruited staff (see above) June 18 2004 Early Years Induction facilitated by Lincs PLA for recently appointed Project Manager and 2 Programme Leaders. The induction was also attended by 3 HeatUP! workers who had been interviewed and selected for First Notes.

August 2004 Open recruitment process for music facilitators. Local, regional, and national media. Identical processes as Round1.

18 music facilitators recruited whos skills and interests are spread amongst the whole project.

Project Manager and First Notes Programme Leader resigned. Programme Leader post filled promptly.

September 5 2004 Core Induction for 18 new music facilitators. Very similar to Round1 but includes tour of Central Library music resources.

Held at Lincoln Central library.

October 15 2004 Early Years Induction facilitated by Lincs PLA for 5 new First Notes workers.

November 2004 HeatUp! Programme Leader resigned. Post filled promptly.

1 GPA-Full Time recruited and appointed.

January 2005 1 GPA-Part Time resigns.

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The project continued with both 'shadowing' and 'buddying' arrangements.

Shadowing is an arrangement in which a new worker observes a more experienced worker facilitating a session/s. The shadow might observe more than one experienced worker and so be exposed to a variety of workshop styles. The new worker is not paid and the experienced worker is paid their usual fee. This idea was originally developed for First Notes workers but has now migrated across the project.

Buddying is more formal and is (so far) restricted to First Notes. The buddy attends 3 sessions with an experienced worker. The buddy learns about planning and delivering 2 sessions from the experienced worker, observes the 2 sessions, and then explores what worked and what didn't and also works to to identify why.

The buddy plans and delivers the 3rd session whilst the experienced worker observes. The same exploration about the outcome of the session occurs.

The buddy can telephone the experienced worker for support and encouragement. The experienced worker makes a short written report to soundLINCS about the process. The 3 sessions occur within a single residency to ensure sustained contact with a group and setting. The buddy is paid half of their usual fee (plus expenses) for the 3 sessions. The experienced worker is paid double their usual fee for the 3 sessions.

Buddying is a mandatory requirement for those invited and must be completed before they can proceed to lead First Notes workshops on their own. The scheme is offered to new workers who have all the essential core skills, abilities and appropriate approach to lead First Notes workshops but may be lacking in specific Early Years experiences. sound52 has managed to retain facilitators who joined the project in November 2002. Not all, but most. One of the most interesting developments of work patterns during Round 2 was the migration of workers across the project. Some workers obtain paid work on all strands of sound52. A Producer works with HeatUp! and Second Sounds. This offers tremendous capacity and flexibility to soundLINCS, whilst it offers the potential of paid work throughout the day and evening for workers. It facilitates work patterns with the potential of reduced travel time for facilitators (and potentially less expenses for the project) . It fosters productive relationships between the company and workers because everybody becomes more familiar with each others styles, needs and requirements. It gives facilitators 'the bigger picture' about sound52 and soundLINCS. Anticipated benefits and outcomes of the second round programme  Consolidation of the significant achievements of the first round programme  Creation of new music making opportunities for young people in a range of settings throughout the county  Consolidation and further development of partnerships built during the first round programme

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sound52 – Second Round External Evaluation Final Report

 Enhanced awareness and understanding amongst practitioners, parents, strategic planners, decision-makers and young people themselves of the power of participatory music activities  Continued employment opportunities for musicians involved in the programme  Enhanced professional practice amongst musicians involved in the programme  Increased access to music for young people  Enhanced breadth of coverage of music making opportunities for young people across Lincolnshire  Sustained and enhanced quality of music-making experiences for young people  Contribution to addressing social issues across the county including health, education, social development, economic development and safer communities  Enhanced profiling opportunities for sound52 and Youth Music  Creation of bona fide career paths within the music industry for young people  The creation and development of a legacy of music-making opportunities for young people across the county  The continuation of ground-breaking initiatives in music-making for young people in respect of rural and geographical constraints.

The evidence secured clearly demonstrates the achievements of sound52 in realising the challenging objectives they set themselves.

I should like to draw particular attention to a number of issues that illustrate their achievements.

Legacy & Sustainability First Notes  Resource Packs have been provided to all settings hosting a residency.

There is anecdotal evidence from settings that they are using the Resource Pack to continue with music making - sometimes on the same day and time that the residency originally occurred. The Resource Pack is being marketed nationally and is available for purchase. This is stimulating interest in sound52 both locally and nationally, which is likely to translate into a demand for more services.  Toy Library instrument kits. These enable settings to: repeat and develop the original residency; explore the Resource Pack at a greater creative depth.  It is understood that proposals to deliver services into the maintained sector on a contributory basis are being developed. If successful this move should help to create a self financing culture and also an expectation from settings to contribute towards the cost of professional arts-based services.

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sound52 – Second Round External Evaluation Final Report

 A developed relationship with Early Years organisations throughout the county means that sound52 is increasingly perceived as a high quality and responsible provider of services into the Early Years sector. This translates into additional demands for services which are self financing and frequently provided as a soundLINCS project rather than a First Notes residency.

Second Sounds  It is understood that proposals to develop the NOF model to include financial contributions from participating schools is being developed.

This implies similar benefits as detailed for First Notes (above).  Being directly involved in contracting, managing and delivering services into Primary Schools is likely to translate into demands for more services as the PPA (Planning Preparation Assessment) model becomes more widely distributed throughout the sector.  Developed relationship with CfBT keeps soundLINCS profile high in the ongoing NOF project.

HeatUp!  Increased participation of Junk Dance and Vocal Production in Round 2 will result in continued support in Round 3.  Producers projects will continue to be developed and supported during Round3.  Positive feedback from Alternative Curriculum groups is very encouraging and opportunities for these groups will be expanded and developed during Round3.

At this juncture it is worth describing in the words of the sound52 team their plans for Development Groups in the next round.

“The idea of Development Groups arose from discussions with HeatUp! participants during sound52 monitoring visits. An intensive series of visits were made to CPM HeatUp! groups in the period October-December 2004.

In addition to many conversations young people, 38 completed Evaluation Forms. The process was called 'CPM Survey'.

Apart from the usual needs to monitor and evaluate, sound52 was interested in discovering how groups wished to develop their musical interests and aspirations at the termination of their involvement with the project. (The process also collected information that would be useful for the planning and delivery of ClassicCombo). Unsurprisingly, a variety of developments were identified by the groups-such that each group really needed to be at the centre of the process rather than the project. Examples of Development would be: recording a CD writing original songs organising a tour Phil Cosker – August - 2005

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sound52 – Second Round External Evaluation Final Report

doing gig swaps with other bands in Lincolnshire fundraising to buy equipment sound52 was also interested in working with long standing HeatUp! groups for them to become autonomous and to exist independently of the project. (some groups have been working with the project since February/March 2003 and have participated in both Meltdown and ClassicCombo) The proposal for Round3 is to invite long standing CPM groups (generally those who have worked in excess of 20 sessions) to participate as a Development Group. The chronology of the process would be:  Their 'regular' music facilitator/s engage them in a discussion about specific and realistic goals that they wish to achieve.  A Development worker is selected to work with the group. They are selected because they have all the essential skills, knowledge and experience that match with the groups goals. The Development worker is an existing music facilitator.  The Development worker meets with the group to agree a realistic timetable and creates a schedule with the group that details all the milestones that lead towards their goals. A calendar of milestones is agreed.  A written contract is exchanged between the group and the Development worker (on behalf of sound52)  The regular facilitator makes visits to the group to support and encourage them in their endeavours to fulfil their goals. But the visits would not be weekly as at present. If a group meet weekly over 10 sessions, the music facilitator might make 5 visits (once every fortnight). The concept is to reduce visits so that the group become used to taking responsibility for themselves and to gain confidence in their own competency to operate independently.  The Development worker might make 3 visits. Once at the timetabling session, once in the middle, once at the end session.  Hopefully the group achieve their goals and simultaneously their independence. sound52 will carefully monitor and evaluate the pilot Development Groups.

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sound52 – Second Round External Evaluation Final Report

This provides clear evidence of the insight and lessons that have been learnt and their use in the next stage of work.

Facilitator Workforce  Greater capacity enables sound52 to be dynamic and flexible. The diverse skill base of music facilitators enables soundLINCS to place the right person into the right job whilst controlling travel expenses due to the spread of workers throughout the county (and beyond). Greater capacity enables soundLINCS to satisfy peak demands from sound52 whilst also being able to provide services for self financing projects.  Facilitators migrating throughout sound52 gives them greater earning potential. Many workers are able to rely on facilitation as a full time career, which in turn allows them to offer more capacity to soundLINCS.  soundLINCS interest in organising sharing days, and continuing the shadowing and buddying scheme offers facilitators a rich and diverse environment to gather new skills, experiences and confidence. soundLINCS plans to recruit and appoint a Training and Resources Programme Leader in Round3 to continue supporting and developing facilitators.

Youth Music Objectives Objective 1: Access Did the project help young people to develop through music making, especially those whose access to music making is limited?

Objective 2: Breadth Did the project encourage the widest range of musical styles and cultural traditions in music making?

Objective 3: Coverage Did the project improve provision for those who are isolated by geography, by lack of facilities, or by other circumstances?

Objective 4: Quality Did the project provide the highest quality of musical experience for young people in order to encourage enjoyment and further involvement?

The evidence collected and inspected demonstrates that these four objectives have been fully met within all elements of the sound52 programme of work.

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sound52 – Second Round External Evaluation Final Report

Management and Organisation The staffing structure for Round1 was not ideal even though it successfully delivered the project outcomes. soundLINCS learnt from this experience and amended and developed it's planning for Round2.

The staffing structure for Round2 has enabled the company to deliver the project efficiently, on time, and within budget. The accumulation of excess overtime/lieu time is now being managed within an agreed company structure.

The incidence of excess time is under review and soundLINCS have conducted individual meetings with all staff members to examine roles/responsibilities/contracts/job descriptions. The company is determined to continue examining these matters during Round3.

The staffing structure has enabled a degree of 'promotion' or 'career path' within the organisation. An example would be Rebecca who was originally employed at the start of Round2 as a full time GPA . She clearly had the ability to undertake a more demanding role. When the HeatUp! programme leader resigned (to take up a more attractive job offer closer to home) she applied for the vacancy and was successful. Rebecca has gained in terms of salary, status, and a more creative and stimulating role.

The role of Project Manager was a full time post during Round2. Although an appointment was made, it didn't work out for the company or the applicant.

The post was not re-advertised. The role was to handle day to day management of the project and to work with the Director on structural matters and new initiatives. So, in theory, the Director could devote more time to developing the whole company. As the Project Manager post didn't work out, the Director continued to manage sound52 in a similar way to Round1.

The plan for Round3 is to recruit an Associate Director for soundLINCS who will undertake day to day management of sound52, thus releasing the Director to devote more time for the development plans of soundLINCS. Ideally the Associate Director will be familiar with sound52 and it's ethos and models of practice.

The new role of Training and Development programme leader will support the project in 3 major ways:  Undertaking a training audit of music facilitators and arranging training/sharing days in response to the results.  Arranging training to continue support/development of existing staff team  To bring maintenance, development and management of Resource Packs under a single umbrella. They are plans to develop the First Notes resource pack in Round3 and also to create a new one for Second Sounds. The training role is very much a sign of soundLINCS commitment to continue investing in it's existing staff and music facilitators.

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sound52 – Second Round External Evaluation Final Report

Conclusions and Recommendations The most significant conclusion is that soundLINCS though sound52 have clearly demonstrated that they are a development agency and not just a delivery organisation. This is clearly demonstrated by e.g. their plans for Round 3.

Of particular interest is the concept of the Development Group and worker. If the cycle of dependency upon public subsidy is to be broken and young people making popular music in ‘bands’ is to be successful then they need to be offered the professional skills that enable them to do this. soundLINCS plans clearly demonstrate that they have a way of brining this about.

Over and above the strategic direction in which the organisation is moving we should not forget the extraordinary numbers of young people who have benefited from this second round. To organise something of this scale and complexity is not easy and the team should be congratulated on the quality of their achievements.

The evolving company structure gives confidence that not only will they be able to continue to deliver an exceptional programme but that they will also be able to generate new ideas for bringing musical opportunities to young people from early years to those who are more mature.

Their reputation with other partner bodies continues to grow and this provides an opportunity not only to consolidate but also to bring about new opportunities through partnership.

Phil Cosker August 2005

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