by Author Steve Hawker

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First Access and creative learning - time for a rethink?

One of the core roles of music hubs is to provide First Access (WCET) - to ensure every child has access to instrumental learning. The National Plan for Music Education (NPME) and the formation of hubs was the end result of a long process of research. Is it time to take stock and look at the role of non-formal approaches in igniting the first spark of musical creativity in young people?

A quick history might help show how we've got to where we are (courtesy of a talk by Kathryn Deane of Sound Sense):

  • When the "Wider Opportunities" pledge was made in 2001, a lot of work was done by varying organisations to evaluate what worked and what didn't. Sound Sense looked at community music approaches. Benefits were found over the traditional formal style of classroom instrumental teaching, e.g.: "Standards are higher where partnerships have been formed between school staff, music service teachers, and professional musicians."
  • In 2003 Musical Futures was launched which very successfully showed the benefits of non-formal teaching and informal learning in secondary schools. The Musical Futures Primary project is now taking this approach into primary schools.
  • In 2004 the DfE set up the Music Manifesto and promoted collaboration across the formal and informal music sectors and the music industry: "Its aim is to bring all formal and informal music activities of young people together to enable them to reach their full potential." Wider Opportunities was one of the key investments alongside SingUp and In Harmony.
  • In 2006, for the Music Manifesto's "Making Every Child's Music Matter" report, Sound Sense's contribution was the idea of music hubs.
  • In 2010 the Music Manifesto was brought to a close by Darren Henley, who submitted his final report "Music Education in England" including a recommendation for music hubs. In 2011 the NPME and music hubs were launched.

Given this history it seems that the role of non-formal education and community musicians in First Access hasn't borne fruit in the way it might have. First Access is mostly delivered by music services, and in many that I've come across (so this is anecdotal), there is often little or no training provided for the teachers delivering it. Perhaps limited funding means hubs are under pressure to just get on with it as best they can to produce good stats, without spending time and money on developing a thought-out programme and training staff. I would also say, anecdotally, that in many cases music service and music hub leaders may not be aware of the above research showing the benefits of partnerships and of community music practices for whole-class first access.

It would be great to hear how you think a quality First Access course can do this - how to combine the creative and non-formal (e.g., composition, improvisation, self-directed learning) with the formal (e.g., instrumental technique, notation, theory).

It would be good to hear of any examples of good practice within music services. Or where community music organisations are involved in First Access (whether in delivery, partnership, or training).

And it would be interesting to hear any thoughts on how to get the message across to hub leaders. There's enough research around that it should be possible to write some guidelines for what First Access should look like, whilst leaving room for variation and innovation.