Music Education Symposium: Input for Output 2014 by Nerve Centre

Music Education Symposium: Input for Output Held on the 16 October 2014, University of Ulster, Belfast

Music Education Symposium: Input for Output - 16 October 2014 Report on behalf of Generator NI and prepared on 18 December 2014

Table of Contents 1.0 Introduction .................................................................................................................................... 3 1.1 About Input for Output ............................................................................................................................................... 3 1.2 Terms of Reference ..................................................................................................................................................... 3 1.3 Recommendations Summary ................................................................................................................................ 4 1.4 Current Policy Context .......................................................................................................................................... 4

2.0 The Workshop ................................................................................................................................. 6 2.1 Introductory Address .................................................................................................................................................. 6 2.2 Presentations .............................................................................................................................................................. 6 2.3 Roundtables ................................................................................................................................................................ 6 2.4 Stakeholders ................................................................................................................................................................ 6

3.0 Group Discussions ............................................................................................................................ 7 3.1 Music skills a pathway to employment and entrepreneurism? ................................................................................ 7 3.2 Creating access to music within the curriculum, and beyond? ................................................................................. 8 2.3 How do we connect music education, and digital skills, to the needs of the industry? ........................................... 9 2.4 What are the core skills, experiences and training required to deliver better music education? ......................... 10

4.0 Findings & Recommendations ........................................................................................................ 11 4.1 Curriculum & Classroom Changes ....................................................................................................................... 11 4.2 Skills development and placements .................................................................................................................... 11 4.3 Careers Advice & Signposting ............................................................................................................................. 12 4.4 Music Education and Industry Forum.................................................................................................................. 13

5.0 Appendices .................................................................................................................................... 14 Attendees and registered interested parties: .................................................................................................................. 14

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1.0 Introduction Output, Northern Ireland’s largest ever one-day music conference, was held on the Thursday 16th October 2014. Presented by Generator NI and Creative Belfast (Belfast City Council) the daytime conference which took place in The Mac, University of Ulster’s Belfast Campus and the Oh Yeah Centre, featured panel discussions, music sessions, workshops and speed networking events. Keynote speeches from award-winning musicians and managers of globally recognised talent punctuated this first of a kind event which sought to recognise and celebrate the music industry in Northern Ireland, and its future potential. 1.1 About Input for Output As part of this programme of workshops, Generator NI and Honeycomb Creative Works hosted a Music Education Symposium; Input for Output. This workshop session focused on gathering music educators and representatives of the industry in one room to discuss the ‘inputs’ - education, skills, and training needed to generate maximum ‘output’ from Northern Ireland’s music industry; i.e. jobs, employment and industry development. Facilitated by Chambré Public Affairs, the symposium workshop took place at the University of Ulster’s Belfast campus.

1.2 Terms of Reference The purpose of the workshop was to bring together those working within music education, the music sector and those developing the music industry within Northern Ireland. The session was designed to explore, from firsthand accounts, how current policy and practice could be developed in order to facilitate better music education and training in the hopes of nuturing talent and creativity. The primary considerations were:

• How improvements could be made to the curriculum and delivery of music education, within formal and informal settings, to ensure talented students were adequately prepared, exposed to and signposted through a clear pathway of education and onto a successful career in the music industry;

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Secondarily, how the needs of the developing music industry could be reflected in the educational practices and skills development training undertaken by music educationalists at primary, secondary, further and higher, and university education in Northern Ireland.

In seeking these recommendations, four topics of focus were put forward to the symposium: 1) Can music skills offer a pathway for employment and entrepreneurism? 2) How do we create greater access to music within the curriculum and beyond? 3) How do we connect music education and digital skills to the music industries and wider creative industry? 4) What core skills, experiences and training [within music education] are required for the development of the music industry? The symposium workshop, and this report, have been instigated by Generator NI and independently facilitated and authored by Chambré Public Affairs. It hopes to provide an overview of the contributions made during the Inputs for Output symposium, and place those discussions within the wider context of education and skills development policy. The report’s findings have been developed directly from the suggestions made by delegates during the symposium. The report seeks to serve as a discussion paper of the views of key stakeholders represented at the conference, with recommendations and observations for policy makers within the Department of Education, Department of Employment and Chambré Public Affairs LLP I Ormeau Baths I Ormeau Avenue I Belfast BT2 8HS I T +44 (0)28 9026 8600 I F +44 (0) 28 9023 6869 E info@chambrepa.com W www.chambrepa.com T @chambrepa F facebook.com/Chambrepa

Learning, Department of Culture, Arts and Leisure, and Department if Enterprise, Trade and Investment, as well as their respective agencies. 1.3

Recommendations Summary

The following recommendations have been drawn from the detailed discussion found in the later sections of this report.          

Industry focused modules introduced into the curriculum by CCEA at Key Stage 3, 4 and 5. Creation of online resources for teachers to teach contemporary music based on industry input. Introduction of a Northern Ireland version of Skills and Schools programme. Co-ordination of digital and technical equipment resource sharing between schools, colleges and universities. Audit of work experience, work placement, apprenticeship, internship and entry level employment in music sector. Shift investment and policy from STEM to STEAM focus within DEL. Pilot a music industry apprenticeship or paid internship programme. Deliver industry focused training for careers advisors and teachers. Introduce a career tracking pilot study of final year students at Futher Education Colleges and University courses. Establishment of a bi-annual music education and industry forum.

1.4 Current Policy Context The music industry in Northern Ireland contributes almost £70m in annual gross value to the local economy, with a further £8m generated through music related tourism. According to the 2011 Department of Culture Arts and Leisure and Invest NI’s Music Industry Strategy for Northern Ireland,1 there is an abundance of musical talent in Northern Ireland. However, the industry infrastructure is weak, inhibiting development and limiting its full economic potential. Targets within the strategy aim to increase employment in the music industry in Northern Ireland by 780 jobs by 2016, and increase GVA per employee by 14%. Success in reaching these targets relies on harnessing young talent, and developing it into industry appropriate skills through training. The strategy recognises the part that formal education and community development has to play in building a sustainable and successful music industry. It also raises concerns that the supply of music related courses currently outstrips demand from employers. The strategy, however, does recognise that more support is needed to ensure music courses are relevant and connected to the industry. This assertion became one of the primary motives for hosting the symposium. It is also worth referring to the other current policy consultations and reviews that the findings of this report have consulted, or will seek to inform. Of most immediate relevance is the current review the Department of Education is undertaking into Music A-Level. The review aims to be finalised in autumn 2015 and implemented in September 2016. The symposium has served as the first opportunity for those delivering and preparing students for this qualification to collectively discuss its relevance with other educators at pre- and post-Key Stage 5, alongside those involved in skills development within the industry. Without an extant formal or informal sector group, it is hoped that the discussion regarding the relevancy of the current curriculum will be of direct interest to the Department and its review. Additionally, the Department for Employment and Learning (DEL), in collaboration with the Department for Education (DE), has also carried out a review into careers advice and guidance,2 following a Committee for Employment and Learning inquiry into careers education which was completed on 16 October 2013.3 The review was led by an independent panel comprised of representatives from industry and education, and focused on the future of the careers service and careers education in schools and tertiary education. The Careers Review report was published recently on 10 December 2014, but does not make specific reference to the music or creative industries. In broader skills and employment policy, Dr Stephen Farry, Minister for Employment and Learning, announced a consultation into a new youth training system in Northern Ireland in June 2014,4 with an interim report published in November of this year. Outside of the Department of Culture, Arts and Leisure, there is little specific references to education and skills development related specifically to the music industry.

Department of Culture, Arts and Leisure (2011) Music Industry Strategy for Northern Ireland. Available at: http://www.dcalni.gov.uk/northern_ireland_music_industry_strategy.pdf (Accessed: 26 November 2014). 2 Department for Employment and Learning (2014) Careers Review 2014: A report by an independent panel of experts from education and employers on careers education and guidance in Northern Ireland. Available at http://www.delni.gov.uk/careers-review-2014-final.pdf (Accessed 10 December 2014) 3NI Assembly Committee for Employment and Learning (2013) Inquiry into Careers Education, Information, Advice and Guidance in Northern Ireland. Available at http://www.niassembly.gov.uk/Assembly-Business/Committees/Employment-and-Learning/Reports/Inquiry-into-CareersEducation-Information-Advice-and-Guidance-in-Northern-Ireland/ (Accessed 26 November 2014) 4 Department for Employment and Learning (2014) Review of Youth Training. Available at: http://www.delni.gov.uk/royt-interim-report-ministerialstatement-v3-_2_.pdf (Accessed on 26 November 2014)

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However, the completion of this review may provide an opportunity to take into consideration the views of those with dedicated knowledge of skills and youth training within the music industry, such as Creative Skillset, Creative and Culture Skills / Skills Academy, or indeed Generator NI. The Output Symposium thus came at a crucial time in order to ensure that the music industry is thoroughly considered by policy makers, not only when implementing any changes to education, but also when considering or implementing changes to youth training, skills development and careers advice.

2.0 The Workshop 2.1 Introductory Address The symposium opened with two introductory addresses; •

British singer-songwriter and BBC 6 Radio Presenter Tom Robinson offered the first introductory address. His contribution centred on the importance of nurturing talent for its own sake, and how this was intrinsic to the true meaning of education as ‘educar’ or ‘to nurture’. Citing the example of Goldsmiths College, he encouraged educators to nurture creativity, claiming this would ultimately be of benefit to the music industry by nurturing artists whose individuality resulted in commercial success because their music was genuine.

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Professor Frank Lyons, Director of Arts and Humanities Research Institute welcomed delegates to the University of Ulster, Belfast Campus. His short address expressed approval of the conference’s focus on the Northern Ireland music industry, and continued by highlighting the University’s role in developing students talent into real world skills that could contribute to the industry and economy. His address centred on the building recognition of music as an industry, by government, and as a viable opportunity for growth in Northern Ireland. He stressed the need for this recognition to go further by fully incorporating the creative arts into the Department of Employment and Learning’s STEM agenda, turning STEM to STEAM.

2.2 Presentations Three experts in music education and skills development were invited to provided short presentations on their experiences of best practice in music education and skills development across Northern Ireland. •

Sarah Graham - Northern Ireland Manager at Creative and Cultural Skills/Skills Academy presented on the gap between music education and music industry employment, and highlighted the ‘Creative Choices’ and ‘Creative Apprenticeship’ programmes efforts to signpost and develop work placements and professional experience for students and young creative professionals.

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Marty McGill – Coordinator of the Derry~Londonderry project SYNC – Stimulating Youth Nurturing Creativity focused on the challenges of delivering music education, and the promotion of wider community based participation in music for an entire city. He continued by relating how during the City of Culture year the SYNC project had been established to deliver and collaborate directly with community and music delivery partners, auditing resources, up skilling the workforce and giving them the capacity to deliver music education to young people. He highlighted key drivers for youth engagement and SYNCs, innovative use of creativity and performance, which lead to the production of over 30 original pieces of music and live performances at community, club and festival events and showcases.

•

Paddy Craig - Music HND Coordinator in Southern Regional Colleges focused on the importance of peer communication and training across the sector; opportunities for collaboration of educators and joint delivery between schools/FE Colleges/Universities; the need to shift education and skills development towards skills in demand from the music industry; and the importance of advancing the aspirations of talented young people to seek out employment, or develop a commercial offering for a global industry.

2.3 Roundtables Participants were split into four groups of 8-10 people, chaired by one of four facilitators. Each chair facilitated a ten minute conversation on the four symposium discussion topics. Chairs rotated between each of the four groups to ensure that an even representation of views were expressed from those in attendance. Following the round table discussions, each of the table hosts contributed their findings to a wider group discussion, the findings of which are reflected below. 2.4 Stakeholders Generator NI invited a diverse range of participants from across the music education sector including; teaching staff at Key Stage levels 1-5, lecturers, facilitators and course co-ordinators from Further and Higher Education Colleges, University of Ulster, DKIT and Queens University Belfast. They joined representatives from the Education and Library Boards, Arts Council, CCEA, and Departments of Education (DE) and Employment & Learning (DEL), alongside professional musicians, performers, and representatives from the creative industries such as Oh Yeah, the Nerve Centre, Creative & Cultural Skills, Creative SkillSet, amongst others. In total more than 35 delegates from across the music education and music industry attend the symposium (see Appendix for full list).

3.0 Group Discussions The following collectively reports the captured group discussions made at each table. Whilst it cannot be comprehensive, it represents an accurate reflection of the composite contributions made at the symposium. 3.1 Music skills a pathway to employment and entrepreneurism?

• It was the general opinion of the symposium that Northern Ireland was not bereft of exceptional talent, but that it lacked the required investment in relevant skills to create employment and foster entrepreneurialism.

• Unpaid internships and work placements devalued the skills of performers and music industry professionals, and more support was required from government and industry to support paid work placements and apprenticeships for young people.

• Delegates agreed that as the vast majority of musicians created their career through self-employment, therefore education and skills development programmes needed to reflect this in order to ensure musicians were supported in building a ‘portfolio career’, particularly during the early part of their career.

• There was agreement that the government led focus on STEM subjects should be widened to include a focus on the arts and creative sector (STEAM) in education, training and apprenticeships. It was reflected that the current focus on Science, Technology, Engineering and Math, was ignoring the cross-over of creative skills and their contribution to a broader range of careers and disciplines.

• The STEM agenda was considered to have had a detrimental impact on industry building within both the music and performing arts professions, and a greater financial investment in creative skills was now required.

• It was felt that educators and policy makers needed to recognise and value the ‘portfolio career’, and plan skills development accordingly. The continuing economic climate had ensured that permanent roles and careers were not as ‘neat’ as they once were and most music professionals took on various roles in addition to performance, such as facilitators, producers, promoters and educators.

• Despite some positive initiatives such as the Skills Academy’s ‘Creative Choices’ programme, educators felt there was a perceived lack of signposting on offer to students about relevant opportunities for work placements and training within the music industry.

• A secondary issue raised was that few, if any, students who pursued music at further or higher level education were tracked onwards into their careers. There was therefore limited basis for comparison of the career outcomes of students choosing music over other qualifications at HND or Degree level, or for determining the most effective route to a successful career in the music industry. The lack of career tracking was also considered to contribute to insufficient signposting of music students to the available range of careers in the music and wider creative industry.

• Where career signposting did exist, provision for industry led work placement was inconsistent. This was considered a key issue that required greater support from the industry and government in order to boost employment and entrepreneurism in young people.

• It was felt that while music education at primary and secondary level focused predominantly on building competencies in music performance, it presented limited opportunities to explore other relevant professions within the music industry such as music PR, marketing, management, engineering, production, intellectual property and media law.

• Delegates concluded that the skills focus in schools and further education required the addition of an industry led approach to help students create their own music and intellectual property. This would help them develop their performing and composition talents alongside entrepreneurial skills.

• Furthermore, it was considered essential for all music performers within FE colleges or at A’ Level to learn business skills, such as self-marketing and basic accounting, to ensure they could manage their own portfolio career.

• It was recognised that whilst FE colleges often taught students a business skills module, provision was inconsistent across colleges and was not available within secondary schools.

• Delegates agreed there needs to be an earlier introduction in schools of music production, composition and songwriting, and music industry skills and knowledge including music marketing and intellectual property. Focus at further and higher education required more opportunities for project based learning with a direct relevancy or involvement from industry.

3.2 Creating access to music within the curriculum, and beyond?

• Delegates discussed the progress made at primary and secondary level, and considered it extremely positive that every 11-14 year old had compulsory music lessons as part of the curriculum.

• However, delegates criticised the focus on attaining academic qualifications, or passing grades in music performance or theory, without an equal focus on developing interests and skills that could be directly applied to a career within the music industry. Some progress was recognised with the introduction of a industry focused question at GCSE.

• Delegates felt it was positive that the Department of Education / CCEA were reviewing the A Level and GCSE curriculum, and would review Key Stage 3 in 2016. This was considered a key opportunity for music qualifications to become more vocational, with an emphasis on music production and digital skills, and a refocusing on advanced music education for industry requirements and the opportunities of a global economy.

• It was suggested that at secondary level education, and particularly within grammar schools, music skills and grades were largely considered an extracurricular activity relevant only as a component of a UCAS form, aiding a candidates application to attend university ‘after which it was common for students to hand back their instruments’ and study another subject.

• This attitude had a devaluing effect on students pursuing music as a viable career, and acted as an impediment to students pursuing the development of their music skills particularly at Key Stage 4 and 5. This resulted in talented musicians giving up on formally developing their music skills or being discouraged from pursuing music qualifications at a higher level.

• A provocative view amongst some delegates was that some schools were not always acting in the best interests of talented individuals, and hoarding talented students ‘as income assets’ at Key Stage 5.

• Funding arrangements meant that some talented individual students were being discouraged from pursuing qualifications and courses at FE colleges more relevant to their career aspiration. Due to the arrangements other opportunities for collaboration and partnerships between schools and FE Colleges were also being missed.

• The group agreed that from around the age of 14, many students became disaffected with music taught in school, but continued to be excited about music. Delegates felt that it was important to bring their interest in music and music production ‘out of the bedroom' and into the classroom or other settings.

• Some delegates felt that this was linked to a focus in school settings on classical music education. As colleges favoured contemporary music education, placing a greater focus on music production, engineering, and sound design, a gap was opening up; with less industry relevant experience on offer to students who continued the music education in school settings.

• It was accepted that talented students within a classical music education setting would still be able to reach their career aspirations. However, it was proposed that a cultural shift was required within schools in order that students could benefit from opportunities to explore their talent through career led projects and experiences already on offer at FE colleges and Universities.

• It was recognised that the intake of colleges represented a larger percentage of students who had become disaffected with music education at school (Key Stage 2 and 3). However, in many cases FE colleges offered qualifications more directly relevant to the industry’s needs with a greater focus on contemporary music, production and sound engineering and design.

• Concerns were raised that access to peripatetic music teachers was being lost, with schools having to pay for private tutorials. As a result of restricted funding the quality of provision was being affected. This was considered as undervaluing both access to music skills, and music as a career.

2.3 How do we connect music education, and digital skills, to the needs of the industry?

• There was some debate about the difficulty in defining ‘Digital Skills’, with delegates unsure whether this applied merely to music production software, or encompassed technical skills for sound engineering, hardware and post production techniques. However, delegates largely agreed that programmes such as Sibelius, GarageBand and Logic, did advance and improve students digital literacy.

• Without access to expensive studio equipment, it was recognised that software, such as GarageBand, was opening up the ability for young students to create music themselves without first having to undertake ‘seven years of study’.

• However, it was pointed out that as ‘digital natives’, younger students competencies could quickly outstrip the knowledge of their teachers. Therefore, without access to more advanced Pro-tools used in professional music production, the benefits of digital skills in music education were being limited by resources and the difficulty of teachers keeping pace with technology.

• Delegates again stressed the need to make education more industry focused, exposing teachers to digital skills in an industry context so they could then pass the knowledge on to their students.

• It was considered important to reflect in the teaching of ‘Digital Skills’ broader abilities to create content, moderate social media, create digital marketing campaigns, or use digital music services as a platform for artists to distribute and generate income from their work. All entrepreunrial skills that also had a relevance to other professions.

• It was recognised that circumstances where improved at FE Colleges and Universities, where there was greater access to equipment and software, and where tutors were more likely to have higher digital skills and experience of their application within the industry.

• However, provision of accredited industry specific qualifications in Music Technology were extremely limited with only 2 of 165 further education colleges providing the course.

• A desire was expressed to expand access at an early age, recognising the need to share resources, with up-skilled teachers. Exposing teachers to the same industry practices that their counterparts in further, higher and tertiary education were more accustomed with.

• It was suggested that classroom learning could be aided by outside industry specialists providing workshops to ensure relevant digital skills were being taught to students. This would also have the dual benefit of providing students and teachers with the opportunity to meet professionals working in the music industry.

2.4 What are the core skills, experiences and training required to deliver better music education?

• Delegates spoke positively about the longterm impact of music trips and concerts, often described by students as “their best experiences of education”. It was felt that resources to continue these ‘high-value’ events were becoming restricted, and that if lost would damage the ability of educators to inspire young people to set higher aspirations.

• Public events such as those on offer during Derry~Londonderry City of Culture year added opportunities to inspire young people, and contributions from programmes run by the Nerve Centre and the Oh Yeah needed to be brought regularly into all schools to help raise the profile of the music industry within education.

• It was reflected that there was no real access to music on the curriculum for students with special education needs. Online resources were suggested as possible means of broadening access, and one contributor raised the work of Replay Theatre Company’s tailored theatre performances for children with profound and multiple learning difficulties.5

• This precipitated a discussion on the need to broaden access to professional musicians, and performances within the classroom across all sectors of music education. At present, there is only limited resources available to bring musicians into music classes.

• Delegates spoke in-depth about the personal or so called ‘soft’ skills that music education can develop, such as personal confidence through performance, which can be transferrable to other areas of students’ lives, and later careers.

• A persistent theme from all delegates was the need for more opportunities for peer to peer networking among music educators and professionals as an opportunity to share and learn and to reflect on the needs of those involved in developing the industry.

• Delegates praised the symposium for its efforts to bring together so many professionals from across the sector in a forum that otherwise did not exist. Maintaining contact was seen as critical, and better communication between primary /secondary /FE colleges/Universities and the wider sector was as seen as essential to creating a genuine pathway for students to enter into the industry.

• The ability to connect with peers and those representing the industry and its skills development was seen as critical for achieving outcomes set by the government for the sector. A bi-annual forum was also considered an important opportunity to gather feedback from music educator to government, thereby ensuring that both the curriculum and departmental funding was well targeted and achieving the best outcomes for students and the industry.

• It was also suggested that students would benefit from more opportunities, like the Output conference, to network with professionals within the industry from the UK and Ireland.

• It was felt that career advice needed to better reflect both the opportunities and realities of the industry. Delegates again discussed portfolio careers, and stressed the need for specific training for career councillors to better understand the nature of careers within the industry, and the breadth of skills required.

• It was made clear that music as a business, and the nature of portfolio careers, needed to be better reflected in broader skills, careers and education policy.

• Whilst industry specific support was available through national bodies such as Creative & Cultural Skills and Creative Skillset, the youth training, skills development and careers advice on offer from NI Departments and their agencies were rarely applicable to models operating in the music industry.

• Training and greater access to digital technology and industry methods were seen as being essential for music teachers who were classically trained. A greater emphasis on industry experience was also required during teacher training and professional development.

Further information on Replay Theatre Company’s work for audiences with profound and multiple learning difficulties can be found online at http://www.replaytheatreco.org/projects/project-single.php?v=36 (Accessed: 26 November 2014). Chambré Public Affairs LLP I Ormeau Baths I Ormeau Avenue I Belfast BT2 8HS I T +44 (0)28 9026 8600 I F +44 (0) 28 9023 6869 E info@chambrepa.com W www.chambrepa.com T @chambrepa F facebook.com/Chambrepa

4.0 Findings & Recommendations 4.1 Curriculum & Classroom Changes There was consensus among delegates that the curriculum remained too focused on a classical music education and, although this had merit, did not reflect the diversity of musical expression or opportunities, demands and reality of the global music industry. When comparing music education in schools and in further education colleges, it was recognised that in both contexts, music education should become more project and skills based to ensure students developed experience in managing a program from beginning to completion. Such projects also needed to better reflect the reality of the skills and career opportunities common across the music industry such as; sound engineering, production and design, and introduce broader knowledge and concepts like intellectual property and copyright, music marketing and promotion, or media law. It was accepted that many school teachers, many of whom would have qualified up to 20 years ago, did not have the confidence, experience or skills to adequately teach students about digital programmes, or relate their knowledge to the contemporary music industry. It was felt that this industry focus needed to be introduced into the curriculum at a much earlier stage, and young peoples’ passion for contemporary music should be harnessed to their ability to learn music skills. It is suggested that greater access to online resources for teachers is required to encourage the introduction contemporary music education into the classroom with a direct industry relevance. Pop4Schools is an example of an Ofsted approved resource developed former EMI Executive, Ruth Katz supported by the British Phonographic Industry for use in schools for children aged 5-15.6 Similar resources based on the Northern Ireland curriculum are currently unavailable, but could be developed or adapted to aid teachers. Addressing the need to have a more industry relevant context to learning, Skills and Schools is an initiative of UK Music, which together with Creative & Culture Skills, Sector Skills Council and Intellectual Property Office (IPO) introduces industry spokespeople and musicians into schools to talk about working the music business.7 The initiative is not yet available in Northern Ireland schools but a similar initiative would introduce the skills requirement and industry involvement desired by teachers. It was also recognised that due to budgetary constraints the price of digital music software, technical resources and equipment placed limitations on school resources resulting in a barrier to access for students. It is suggested this could be overcome through the sharing of resources with schools by FE Colleges and Universities. Whilst this practice did occur in some areas it was accepted to be limited. As such it is suggested that school requirements are co-ordinated between the single Education Authority, and regional further education colleges. It is recommended that digital skills training, and music performance, production or sound design could also be offered through partnerships developed by music entreprenuers, businesses, further and higher institutions, and should feature as a part of the curriculum as early as Key Stage 3. 4.2 Skills development and placements The present reliance on the industry on self-employed entpreneurs and portfolio career musicians, is a continuing limiting factor in Northern Ireland’s music industry’s ability to provide quality work placements. Whilst the ‘Build a Creative Nation’ campaign aims to create 6,500 jobs for young people across the creative industries in the UK, and the Generator NI programme exists to stimulate the development of new markets, knowledge and networks for the NI music business; creating opportunities for music based work placements remains restrictive. It is recommended that a module with a focus on the experiences and skills required for a portfolio career becomes a core requirement of all music qualifications beyond Key Stage 4 to better equip those leaving education with music qualifications. It was concluded that a clear baseline must be established of the available opportunities for work experience, work placements, apprenticeships, internships and entry level employment for 14-24 years interested in a music sector career. It is proposed that an audit is undertaken, in co-operation with the Department of Employment, to assess availability of such opportunities in Northern Ireland, and to aid the creating or supplement existing online registers of opportunities made available to schools, colleges, universities, career advisors and job seekers.

Pops4School, an intiative of the British Phonographic Industry more information available at: http://www.dcalni.gov.uk/northern_ireland_music_industry_strategy.pdf (Accessed: 26 November 2014). 7 Skills and Schools, an initiative of UK Music more information available at: http://www.ukmusic.org/skills-academy/skills-and-schools/ (Accessed: 26 November 2014).

Whilst it is recognised that significant support is available across industres and sectors, through government established schemes such as Steps 2 Success and Skill to Succeed, the current departmental focus on promoting skills development in STEM (Science Technology Engineering and Maths) has overlooked the potential for creative industries and music sector to create high value jobs. As a consequence apprenticeships and work placements in the sector had been largely underinvested in. Whilst some industry relevant programmes such as Managing A Music Business (MMBE) have been delivered in Northern Ireland,8 a policy shift from STEM to STEAM is encouraged to rebalance investment in creative skills and develop work placement programmes and skills training that will develop the economic potential of music and related industries. It was apparent to delegates that the development of the music industry required other professional skills and occupations related to the music industry, and conversely the creative skills of creative professionals had applications in other industries. It is therefore recommended that the Department of Employment and Learning and Department of Culture Arts and Leisure pilot a music industry apprenticeship or paid internship programme, in co-ordination with Generator NI and selected colleges and university programmes. 4.3 Careers Advice & Signposting Careers provision in schools was criticised for not signposting or encouraging students, who possessed musical talent, to consider careers in the music. Consequently, traditional career pathways were preferred when advising students and school leavers on their career choices. This was considered to be a particulary acute problem in the grammar sector, where in some cases music had been treated as an extracurricular activity that served only to improve students’ chances within the UCAS system. It was concluded that communication to school leavers about the opportunities for musicians lacked an appropriate understanding of the portfolio careers common within the industry. Significantly, entrepreuniarial opportunities for developing intellectual property through music composition and song-writing were not adequately understood, or promoted, and students were not being given sufficient guidance on how to best develop and exploit their own intellectual product. In both school and further eduction settings signposting failed to adequately promote the broader scale of direct employment prospects in music production, promotion, and artist management, or highlight the application and relevance of music skills, or interest, to adjacent careers in areas such as marketing, PR, event management, teaching or media law. It was concluded that that there was currently not enough promotion, or knowledge, amongst career counsellors of the scale of opportunities available within the music industry. It was recognised that if external experts were brought into further education colleges and schools more regularly to support career advisors, teachers and tutors with a more industry focused curriculum, this could also have the dual benefit of exposing students to people working directly within the industry and create networking opportunities for students hoping to gain more of an insight into a potential career. In the past year the appetite amongst young people to find out more about the industry, as a career opportunity, has been demonstrated by their involvement in one-off events like the Output Conference and The Big Music Project.9 These limited opportunities to take part in in CV workshops and one-to-one careers advice need continued support to become more common place, and transfer effectively into classroom and careers settings. It is recognised that further education colleges are often better at signposting, as tutors have more direct experience of working within the industry. However, with no current career tracking in place it is recommended that a pilot scheme is introduced to track students leaving FE Colleges or University courses through their first five years of employment. This will become a means of identifying the most successful career pathways into the music industry, and it is recommended that this could form the basis of establishing a minimum baseline, and future threshold, for early employment or work placements in the sector. This will complement the prior recommendation for an audit of all existing work placements. In tandem establishing a clear baseline target for sector specific placements and entry positions within music and wider creative industries. Such an audit could also form the basis of a register of available employment opportunities.

For further information on the Managing a Music Business Enterprise course can be found at http://mmbe.co.uk/the-course/ (Accessed: 26 November 2014). 9 More than 300 young people took part in the BPI’s “On Track” careers initiative as part of The Big Music Project in Befast, October 2014. More information available at http://www.thebigmusicproject.co.uk/ (Accessed: 26 November 2014).

4.4 Music Education and Industry Forum Throughout all four discussions, there was a consensus that a forum must be established to provide a regular opportunity for music educators, industry represenatives, and policy makers to discuss how talent could be nurtured, and skills developed. This would have a dual purpose of firstly, feeding back concerns and ideas to policy makers to ensure they understand the concerns â&#x20AC;&#x2DC;on the groundâ&#x20AC;&#x2122;, and secondly, to ensure there is an opportunity for shared learning between those working within music education. The forum could also serve to educate the educators on the scale of opportunities within the music industry so that they could better advise their students, develop resources, and create partnerships across the music industry and education sector.

5.0 Appendices Attendees and registered interested parties: Thomas McElroy Sam McDonald Ciaran Scullion Maria McAlister Rosemary Smyth Claire Heuston Janice Leaden Linley Hamilton Teresa Livingston Andrew McAfee Ian Kennedy Niall Coghlan Damian Martin Pat McCaul Caroline O'Sullivan John Hart Roisin McCurry Fiona McIroy Jonathan Rea Jennifer Crotty John Peto Martin Coyle Marty McGill Meabh McCaffrey-Lau Jimmy Devlin Ronan O'Callaghan Eoin Murphy Charlotte Dryden Stuart Bailie Chris Corrigan Sara Graham Dolores McCardle Antoine Rivoire Trevor England Shiona Croft Corrine Courtney Lee Carol Viney Paddy Craig Gary Bradley Heather Lowry Philip Conn Frank Lyons Maria Prinze

Andersonstown Traditional and Contemporary Music School Armstrong NI Arts Council Northern Ireland Arts Council Northern Ireland Ballyholme Primary School Belfast Met Belfast Met Broadcaster/Educator/Musician CCEA CCEA Creative Skills Set Dundalk Institute of Technology Department of Employment and Learning Dundalk Institute of Technology Dundalk Institute of Technology Freelance Music Education Consultant Holy Trinity College Honeycomb Creative Works Musician Nerve Belfast - Creative Learning Centre Nerve Centre Nerve Centre Nerve Centre Nerve Centre No Dancing Records North Western Regional College Northern Ireland Assembly Oh Yeah Music Centre Oh Yeah Music Centre Queen’s University Belfast Skills Academy South Eastern Education and Library Board South Eastern Regional College South Eastern Regional College South Eastern Regional College South Eastern Regional College South West College Southern Regional College Southern Regional College St Mallachy’s College Tuned In University of Ulster University of Ulster