Relato da Primeira Reunião

FÓRUM PERMANENTE PAULISTA DE MÚSICA
Grupo de Trabalho Formação



Relato da Primeira Reunião


No dia 02 de dezembro de 2004, das 19h às 21h30, estiveram reunidos na sede da Funarte São Paulo (Alameda Nothman 1058) os seguintes músicos: Adyel Silva, Aída Machado, Antonio Herci, Cláudia Polastre, Flávia Motoyama Narita, Isabel Bertevelli, Itamar Vidal, João Ba, Mario Ficarelli, Sandra Viana e Susana E. Krüger. Cada um recebeu uma cópia do documento elaborado no Fórum de Diadema, a fim de que as discussões do grupo pudessem contribuir para aperfeiçoar e expandir o que foi tratado naquela ocasião.
O grupo optou por iniciar as atividades com as apresentações individuais dos participantes, sendo que cada um deveria destacar sua atuação profissional e as principais preocupações na área de Formação Musical (Ed. Musical, Form. Profissional e Form. de Platéia) as quais o levaram a querer contribuir neste GT.
A seguir são apresentados as principais preocupações e os pontos discutidos, de forma individual (nome do proponente) ou identificadas por “grupo” (vários proponentes).

Grupo: a música é um elemento universal, importante na formação integral do ser humano.
Adyel: a música deve ser trabalhada na educação básica e ser acessível a todos os brasileiros. Ela tem um importantíssimo papel como agente de inclusão social. O currículo deve ser elaborado com muito cuidado, tratando a música como observador e elemento provocador de miscigenações sociais. Explicar como e porque das influências é de suma importância. Explicar momentos históricos e falar de evolução social.
Ficarelli: é importante suprir a infraestrutura básica necessária à preparação dos futuros profissionais da educação musical e de música para o ingresso na universidade de música. Preocupação dos pais quando seus filhos optam pela música como carreira.
Grupo: falta um embasamento dos alunos e é necessário reforçar os primeiros anos de estudo devido a esta lacuna deixada na educação básica.
Ficarelli: a formação deficiente dos músicos e professores relaciona-se à falta de assessoria “oficial” para os cursos “livres” (básicos) de música, como os que são oferecidos por escolas especializadas.
Grupo: discussão sobre as igrejas evangélicas que preparam músicos para tocar nos cultos, embora seja muitas vezes apenas “de ouvido”, sem embasamento teórico ou aprofundamento técnico. (Herci comentou que alguns tem sim esse embasamento).
Herci: ressaltou a eminente criação do Fundo Estadual de Cultura, que poderá auxiliar a suprir esta lacuna. Preocupação com o acesso à música nas escolas. O ensino musical é caro e os recursos necessários (partituras, instrumentos) são de difícil acesso e aquisição. A importância de lutar pelo barateamento de partituras e instrumentos, entre outros.
João Ba: importância de oferecer um repertório musical diversificado e que contemple principalmente as músicas de raiz, populares, ou seja, a música brasileira em geral.
Itamar: luta para superar a dicotomia entre as classificações de música “popular” e “erudita”, O incômodo que é ser considerado músico popular num universo erudito e vice versa. Citou o profícuo trabalho realizado por ele e sua equipe nos CEUS/SP com big bands e fanfarras. Nestes centros as crianças têm de 6 a 8 horas de estudo musical por semana.
Aída: preocupação com a formação do músico que vai trabalhar como professor de música, e destacou a necessidade de se lutar pelas aulas de música (com qualidade e profundidade) nas escolas do ensino básico, tanto públicas quanto particulares.
Ficarelli: editais de concurso para professor de “artes” ou “educação artística” que ainda não visam a contratação específica do profissional de cada linguagem artística.
Susana: colocou que esta problemática é nacional, e que muitos concursos têm forte foco em uma das linguagens (como plásticas), o que privilegia a contratação de profissionais desta área. Ainda não há um equilíbrio entre os profissionais das diferentes linguagens artísticas.
Grupo: discussão de um dos pontos cruciais: no momento não temos profissionais suficientes no mercado para atender a demanda da educação musical caso ela fosse instituída como disciplina independente em todas as escolas brasileiras.
Aída: não seria apropriado que a música, enquanto componente curricular independente nas escolas, reprovasse os alunos. É necessário que os professores sejam muito bem preparados – que sejam bons educadores musicais. Por isso da importância das licenciaturas específicas em cada linguagem artística.
Grupo: discussão sobre o canto orfeônico realizado nas escolas na época de Villa-Lobos e G. Vargas.
Susana: proposta da Osesp que gravou um CD com vários hinos brasileiros e fez um folder pedagógico. O mesmo pretendeu voltar o foco de trabalho para os elementos e práticas essencialmente musicais (sugestões de composição, execução e apreciação musicais). Desta forma, quiseram promover o “uso musical” do repertório (e não apenas o cívico, histórico, social, etc).
Adyel: cabe ao FPPM e aos demais Fóruns elencar os pontos considerados importantes para levar ao MINC. Não nos cabe fazer “economia” no que definimos como importante - que MEC e MINC se entendam. Sugeriu que saiamos da utopia e caminhemos para a realidade do que será realmente possível.
Claudia (e posteriormente Susana e outros): alguns assuntos terão que ser tratados com MEC e SESU, embora levemos as propostas ao MINC.
Flávia: as escolas paulistas da rede estadual receberam instrumentos para montar bandinhas rítmicas, mas falta capacitação dos professores. Poderiam ser criados cursinhos preparatórios para os vestibulares de música (Aída lembrou que algumas faculdades já os oferecem).
Claudia: preocupação com esta situação.
Susana: estes cursinhos podem ser interessantes nesta fase de transição (enquanto não há música em todas as escolas) e com certeza não substituem a implementação da música no ensino básico. O mesmo acontece com os cursos de formação continuada oferecidos para professores que não são da área, mas querem trabalhar música nas escolas – são paliativos e temporários.
Isabel: estes cursos cumprem uma função importante no sentido de mostrar a importância da contratação de professores que dominam os conhecimentos específicos da área para um trabalho conjunto.
Flávia: apontou um posicionamento político-pedagógico das faculdades que poderia ser eficiente: a realização dos estágios de licenciatura nas próprias escolas, o que poderia promover a consciência da importância da efetivação desta área do conhecimento no currículo. Ressaltou sua preocupação com o repertório trabalhado, pois constata certa distância entre o repertório dos alunos e o trabalhado em algumas escolas.
Grupo: discussão sobre o “status” dos cursos de licenciatura entre os vestibulandos (a idéia errônea de que são destinados àqueles que não são bons performers – exemplo da falta de valorização da profissão de professor). Muitos bacharéis acabam em sala de aula, ou pelo menos dando aulas de instrumento.
Susana: as faculdades deveriam oferecer também cursos de licenciatura para habilitar os professores de instrumento - para suprir a lacuna entre o curso de licenciatura (que deveria preparar professores para atuar na educação básica) e o curso de bacharelado (que deveria preparar o instrumentista).
Aída: “o que é ensinar música na escola?”, “quais são os métodos e o repertório ideais?”. Citou o método Kodaly e a experiência do ensino musical na Hungria, cujo principal foco é social. Ressaltou o valor social da música: ensinamos música para formar seres humanos melhores.
Herci: a inclusão social pela música pode ser feita a partir do canto, que é o instrumento musical natural de cada pessoa.
Grupo: discussão sobre as funções e justificativas da música na escola, elencando aspectos importantes como o desenvolvimento social, humano, etc.
Isabel: preocupação quanto ao equilíbrio das preferências musicais dos alunos e o repertório trazido pelos professores, tópico que pode ser contemplado na sua formação (entre outros). Problemas como disciplina e comportamento dos alunos e sua influência no ensino musical. É previsto que as escolas públicas incluam pessoas com necessidades especiais em todas as séries, e este aspecto precisa ser incluído na formação dos professores (apoio de Herci e Itamar). Há uma falta de material para este público (ex. deficientes visuais, auditivos, mentais).
Sandra: é importante que se contemple também a formação de platéia, visando o aumento do público que aprecia música ao vivo. Isto pode ser feito já nas próprias escolas.
Herci: um dos pontos importantes que precisamos lembrar em nossos trabalhos será o investimento a ser feito pelo MINC – questões de ordens financeiras mesmo.
Susana: talvez as propostas a serem levadas para a Câmara Setorial se subdividam em três áreas: legislativas (sugestões de mudanças em leis já existentes ou criação de novas); práticas, como projetos pontuais para o destino dos recursos financeiros do MINC; e “filosóficas” ou pedagógico-musicais, como as que tratam de conteúdos e materiais que poderiam integrar os currículos.
Cláudia: em todas estas áreas, perpassa a questão da vontade política, que é crucial para a sua efetivação.
Itamar: poderíamos fornecer dados concretos para o MINC sobre a situação das diversas sub-áreas da Câmara Setorial. Devemos avaliar bem onde queremos e podemos chegar. Criação do site do FPPM para a divulgação de nossas propostas.
Susana: site do Music Manifesto (http://www.musicmanifesto.co.uk/), um movimento parecido com o nosso e que despontou na Inglaterra em junho do corrente.
Grupo: a vontade de mudança dos músicos é muito forte, e que o momento é crucial para que possamos colaborar e ver as mudanças acontecendo.

Os tópicos previstos na pauta foram abordados, com concentração na definição dos pontos educacionais considerados importantes para o início dos trabalhos.
Claudia ressaltou que muitos pontos coincidem com o que foi exposto em Diadema. Como cada um recebeu em sua cópia, Susana sugeriu que o documento fosse analisado e que cada um trouxesse outras contribuições para trabalharmos a partir dele na reunião seguinte.
A segunda reunião foi marcada para o dia 09 de outubro às 19h, na Funarte, na expectativa de que todos os presentes e também os demais inscritos possam comparecer.

Music Manisfeto integral

Music Manifesto
Music can be magic. It calls for and calls forth all human virtues: imagination, discipline, teamwork, determination. It enriches and inspires.

We have come together because we share a passion for the power of music. We believe that music is important in itself and for its ability to change how we think, feel and act. For this reason, music plays a prominent part in young people’s lives, both in and out of school, and from the very earliest age.

We believe music has a unique contribution to make to education - and by that we mean the education of all children, not just those with the potential to become great professional musicians and composers. We know that the creativity at the heart of music-making can help raise attainment and motivate young people. We believe that music is important for the social and cultural values it represents and promotes, and for the communities it can help to build and to unite. We share the conviction that music education should reflect the diversity of Britain today and should be accessible to everyone. We also recognise music for the important contribution it makes to the economy.

In this country, we are extremely fortunate in the richness of our musical heritage - and in the breadth and quality of our contemporary resources. From professional orchestras to aspiring DJs, from composers and songwriters to music publishers, from adult and mixed age ensembles to the youngest musicians, we have many strengths. But we believe that music can do more.

The signatories to this manifesto are committed to working together to deliver an exciting range of musical experiences to all young people, helping to create the soundtrack to their lives. The manifesto sets out our shared priorities over the next five years. It is not a conventional kind of manifesto. Most significantly, it is not a one-off statement. The first part of the manifesto represents our joint commitment – a shared strategy and set of priorities for the future. The second part allows each organisation to showcase its own distinctive contribution. As each of our organisations moves forward, we will use this manifesto as a benchmark for our activity and Government will use it as a guide for future policy development. In this way we hope it will continue to inspire new supporters, and support initiatives, rather than gathering dust.

The music manifesto has been developed by DfES and DCMS in collaboration with music organisations and arts practitioners, with the music industry, the Musicians’ Union, the TTA, the Specialist Schools Trust, Arts Council England, QCA, Ofsted, and Youth Music. Its purpose is to:

• act as a statement of common intent that helps align currently disparate activity.
• set out a shared agenda for future planning, because we know that real progress depends on action by all of us.
• make it easier for more organisations and individuals to see how they can contribute to music education.
• guide Government’s own commitment.
• call on the wider community, in the public, private and community sectors, to join us in enriching the lives of schoolchildren.
The time is ripe for a music manifesto. There is a groundswell of interest, energy and support from people who want to work together to ensure better music opportunities for all. There is an increasing belief in the power of music to contribute to whole school development and community regeneration. There is greater understanding about what young people want and an increased recognition of the need to bring music education into the 21st century.

Our vision is simple. We want to build pathways for progression in music so that all young people, whatever their background or abilities, have access to a rich and diverse range of musical experiences, within and outside school. We want to create opportunities for young people to pursue their interest wherever it takes them and to develop their talents to the full. For some, the guidance and support they receive will lead to a passion for music which will last throughout their lives. For others it will lead directly to careers in music - as teachers, producers, composers or performers. Finally, we want to develop a flourishing music sector, strongly supported by music technology and the broadcast media.

The experience of each individual must lie at the heart of this vision. Working together, we have five key aims:


1. To provide every young person with first access to a range of music experiences.
Music is part of young people’s lives from their earliest days: they are surrounded by music in their homes and nursery schools; they hear music played on CDs, the television and radio and, for some, there are opportunities to make their own music during the Foundation Stage of their schooling or through projects such as Sure Start and Youth Music’s First Steps programme.
For many young children their first active engagement with music-making will be through the statutory National Curriculum and its delivery in schools. The National Curriculum entitles all children aged 5-14 to a music education which includes opportunities to play musical instruments, to sing, to listen and appraise, to compose and perform.
To deliver a sound foundation for music education we are committed to the following priorities that will support and build upon early years activities:
• We believe that, over time, every primary school child should have opportunities for sustained and progressive instrumental tuition, offered free of charge or at a reduced rate. The OFSTED report ‘Tuning In’, on the 'Wider Opportunities' pilots (published 3rd March), provides first class models of delivery.
• As part of their statutory entitlement in schools, we believe that every child, including those with special needs, should have access to a wide range of high quality live music experiences and a sound foundation in general musicianship.
• We are committed to broadening the range and skills of teachers, support staff, artists and other adults so that they are able to work more effectively as music leaders in schools and in community and youth settings.
• We believe that a rich mix of teaching methods, genres and musical activities must be provided, both in and out of school hours.
• We will support the development of new partnerships between schools, LEAs and LEA Music Services, the community music sector and the music industry to ensure that this rich diversity of provision is available to all.

2. To provide more opportunities for young people to deepen and broaden their musical interests and skills.
Having captured their imaginations in the early years, it is vital that young people are able to build on their previous achievements and to access the support they need to broaden and deepen their interests and skills. For this to happen, the right ‘pathways for progression’ must be in place - and clearly signposted. The pathways must be multiple and flexible, accessible to all and take in a diverse range of musical styles. They must cover the full spectrum of involvement; from joining choirs and ensembles to attending live performances and gigs and, for some, taking up music qualifications and building towards careers in composition, performance, teaching and music production. We see the following as priorities for broadening young people’s musical interest and skills:

• We will promote effective curriculum delivery for music throughout secondary schools, building on what is being developed in Key Stages 1 and 2 and including the flexible use of time, space and teaching methods.
• We will capitalise on the potential of Further and Higher Education Institutions, and of the more than 200 Specialist Schools in Music or the Performing Arts, to act as future centres of excellence in music education.
• We will identify new opportunities for young people to create, record and promote their own music, complemented by effective copyright education and support for live performance.
• We will exploit the power of new technology and broadcast media to bring music and music-making into even more schools, community settings and homes.
• We will identify peer and adult role models for young musicians and continue to build stronger connections between young people’s own music-making and that experienced in schools.
• We will think creatively about ways young people can access the space, time, guidance and equipment they need to fulfil their potential - including making the best use of local authority spaces, recording spaces, extended schools, community centres and commercial performance venues.
• We will signpost young people who want to deepen their involvement in music towards the opportunities available through school, youth arts organisations, the music industry and others; and advise them about potential career paths in music.
• We will ensure that all young people have access to a range of appropriate accreditation and recognition schemes in music and the arts, from grade exams through to the new national arts award.

3. To identify and nurture our most talented young musicians.
We want all young people to develop a music habit they will sustain and that will sustain them throughout their lives. For some, however, music will be more than a hobby, it will be a career. We need to ensure that our most talented young musicians are given all the support and tuition they need to fulfil their potential.

Over the next five years an extension of the Music and Dance Scheme programme will provide opportunities for greater numbers of talented young musicians to prepare for a career in music. This extension will be supported by a new national scholarship award for the exceptionally talented in music. The Department for Education and Skills and the Department for Culture, Media and Sport will continue to support the National Youth Music Organisations. Building on this work we believe the following to be priorities:

• We will work together to ensure that all young musicians who wish to pursue their music-making as a career have access to high level tuition and appropriate regional and national opportunities to develop their talent.
• We will explore the potential for developing meaningful apprenticeships with professional music organisations and industry bodies.

• We will forge stronger links between Conservatoires, other Higher and Further Education Institutions specialising in music, schools and the music industry to ensure that young musicians are equipped with the skills they need to prosper in the world of work.

4. To develop a world class workforce in music education.

Quality music provision depends on having a strong workforce. Many people – school teachers, community musicians, orchestral players and instrumental teachers – are already involved in helping to develop young people’s musical interest and skills. But there is more that can be done, especially in encouraging the different agencies and individuals involved to work and learn more closely together and from each other.

Contractual changes over the next three years will mean significant development in the ways teachers work and in the role of paraprofessional support staff in schools. Our goal is to maintain and improve quality in the teaching workforce by increasing the intake of quality teachers, developing an even broader specialist support network, and improving training opportunities and career progression for all.

Working together we will create a music education system where:

• Ongoing, high quality continuing professional development is available to classroom teachers, support staff, LEA Music Services and community musicians and delivered locally, regionally or nationally.
• Young people are supported by a wide range of teachers, music leaders and other adults, and encouraged to consider and seek advice on making a career in music.
• Teachers and music leaders work collaboratively together across schools and with other professionals.
• Classroom teachers are supported in their use of ICT and music technology in their teaching and learning.
• Schools work in collaboration to deliver a wide range of opportunities to young people and to share good practice and expertise - through local cluster arrangements and through national networks such as the Specialist Schools network.
• Musicians and composers are aware of, and excited by, the range of opportunities in music education and are encouraged to work as teachers, tutors and animateurs across a range of formal and informal settings.
• Different types of musical expertise receive appropriate recognition; for example, through a range of accredited qualifications, through observation and peer assessment.
• Music Service staff, community musicians and classroom music teachers take part in joint training and curriculum planning events.


5. To improve the support structures for young people’s music making.
Music thrives on the great variety of its formal and informal provision, both within and outside school hours. We know that many young people receive instrumental and vocal lessons through their LEA Music Services. Many more are taking private lessons outside school, making music in youth and community settings, forming ‘garage’ bands, and writing and playing music in their bedrooms and on their home PCs.

The challenge is to bring all these activities together in a way that makes sense to young musicians and music leaders. This requires a stable infrastructure that is sufficiently coherent to be understood by providers and young musicians, yet broad and flexible enough to cater for all ambitions and tastes.

• We will find out more about all types of young people’s music-making – who is doing what and where, and what support they need – so that support structures can be designed to serve their needs better.
• We will examine existing support structures and identify areas where further development is required.
• We will encourage support structures to work more closely together in developing existing information resources and providing joint professional development activities.
• We will work with private, independent and voluntary sector organisations to ensure that their contribution to music education is recognised and utilised to the full.
• We will build cross-sector support for the music manifesto by pledging specific activities linked to the five priority areas.


Conclusion

This manifesto concentrates on young people and their musical development. That is right: the musical future of this country depends on encouraging young people's musical interest from an early age. However, music is for life, not just for youth. We recognise that there are a further set of priorities which are about the place of music in early adulthood and beyond. That is a topic for another day.

With this manifesto, we have deliberately set out to craft a strategy and set of priorities for young people’s music education over the next three to five years. The manifesto has been posted onto a dedicated website where it is followed by a set of interactive and detailed descriptions of music activities that are currently taking place to make it a reality.
We hope that more people will sign up to the manifesto as time goes on and, by signing ourselves, commit to doing all in our power to ensure that our organisations live up to the promise o

Schools Music Manifesto

Government launches schools music manifesto

Polly Curtis
Tuesday July 6, 2004

An unlikely coalition of popstars and politicians joined forces today to launch a "music manifesto" to encourage more children to take up an instrument in school.
Campaigners immediately called for new money to back the aims of the project.
The schools minister, David Miliband, and the arts minister, Estelle Morris, launched the five-point manifesto at the famous Abbey Road studios in London, together with 60-odd signatories from the music industry, including up and coming stars, such as Jamelia, and more 'established' musicians like Fergal Sharkey and the Beatles producer, Sir George Martin.
However, some musicians who have been lobbying the government for a stronger commitment to music in schools refused to attend the event, saying that without extra funding, or a firm commitment to give every child access to a musical instrument, the promises were empty.
The cellist and composer Julian Lloyd Webber, one of the dissenting musicians, writing for EducationGuardian.co.uk yesterday, said: "In the manifesto, there are a lot of statements about what the government will do and what it wants to do - but the manifesto doesn't say how the government is going to do it. It seems that there is no statement about funding to pay to increase provision."
A website - Musicmanifesto.co.uk - has been set up to outline the aims of the manifesto and list the signatories to the scheme. Each signatory is invited to pledge a contribution to help work towards the five aims. So far only four have signed up: Boom! - an MTV-backed charity working with children, the Arts Council, the music rights company EMI and Music for the Deaf.
While the Arts Council is planning a programme of visits for schools to national musical organisations such as the London Symphony Orchestra and the English National Opera, EMI said today: "We would like to see schools teaching copyright awareness so that pupils understand its importance not only to those contemplating music as a career, but to society generally."
EMI is planning a conference for teachers on the subject and working on lesson plans to explain copyright properly.
Mr Miliband described the manifesto as a "route map" for the future of music in schools and confirmed that the government would continue its ring-fenced funding for music of up to £180m by 2008.
The manifesto seals a pledge from each of the signatories to:
• Provide every young person with first access to a range of music experiences;
• Provide more opportunities for young people to deepen and broaden their musical interests and skills;
• Identify and nurture our most talented young musicians;
• Develop a world-class workforce in music education; and
• Improve the support structures for young people's music making.
Ms Morris said: "Today's children are tomorrow's talent. If we are to remain at the forefront of global music making, we must ensure we offer the widest possible music education for young people.
"The Music Manifesto marks a major step towards achieving that goal. It will help ensure [that] young people - whatever their background or ability - have access to rich and diverse musical experiences and the opportunities to develop their musical talents."
Teachers too were enthusiastic about the plan but said that such creative ideas were in danger of being "squeezed out" by the over-prescriptive curriculum.
Mary Bousted, the general secretary of the Association of Teachers and Lecturers (ATL), said: "We are very pleased that the government has realised that creative arts have been squeezed out of the curriculum by the testing overload.
"This is a small step to redress this problem but it is not enough. Even Ofsted acknowledges that primary school teaching is overloaded with literacy and numeracy which leaves little or no time for a rich and broadly based curriculum.
"This is the crux of the problem, so whilst we welcome the initiative, what is needed is a rebalance of the primary curriculum so that young children can be inspired, challenged and changed by their learning in school."
Chris Keates, the acting general secretary of National Association of Schoolmasters/Union of Women Teachers (NASUWT), said: "The manifesto is an important step on the road to enriching the lives of young people by providing them with a wide range of musical experiences.
"We will seek to establish how public sector provision of music education services can be supported. Hopefully, the manifesto will assist in reversing the trend, prevalent in local education authorities, for disbanding central music services.
"It will also be important to ensure that charging for music tuition at school does not inhibit participation," he added.


Related articles
05.07.2004: Lloyd Webber attacks music plans
05.07.2004: Julian Lloyd Webber: Out of tune
05.07.2004: What's wrong with teaching rap in schools?

Useful sites
Music Manifesto : http://www.musicmanifesto.co.uk/

Welcome to the music manifesto website.
The music manifesto is about creating more music for more people. It offers a strategy and set of priorities for the next three to five years, focusing on children and young people.
Developed by a sixty-strong coalition of musicians, composers, educators, music industry representatives and policy makers, the music manifesto has been designed to be a living, interactive resource, owned by all those who sign up to it. Using this site, organisations and individuals can sign up to the manifesto on-line and showcase their own contributions by pledging tangible programmes and resources to help make it a reality.
At the heart of the music manifesto is a determination that all those involved in music education should work together to deliver musical opportunities for young people. We intend it to be a benchmark for future activities across the music sector. We hope that it will act as a spur for those who want to contribute to music education but don't know how, and we believe that it will help both to nurture diversity and to channel it, so that activities are mutually reinforcing.
In short, it is intended to celebrate, articulate, motivate and recruit!
Download the full music manifesto as a Word document or PDF file.
Alternately if you would like a free colour hard copies of the music manifesto please call 0845 60 222 60 quoting reference number D21/0604/72.


MUSIC BOOST FOR SCHOOLS WITH NEW CHAMPION AND MORE MONEY
24 November 2004
The drive to improve music education was given a significant boost today with the announcement by School Standards Minister David Miliband of a further £30m funding over the next three years, and a new appointment to push forward the Music Manifesto.
Mr Miliband said: “At the time of the Music Manifesto launch in the summer I announced that we were continuing with the ring-fenced Music Standards Fund until 2008 – almost £180 million between now and 2008. I am pleased today to announce a further £30m in 2007/08, which will be aimed primarily at giving every primary school pupil the opportunity to learn a musical instrument. This will be a key supplement to rising school budgets as we expand music provision in primary and secondary schools.
“To support primary music further, I can announce today that the targeted funding of £1.5m – on average £10,000 for each Local Education Authority – will continue to 2007 to ensure Music Services are geared up to gain maximum impact from the additional £30m.
“The launch of the Music Manifesto was a significant development in music education and I’m delighted today that Marc Jaffrey will drive forward its development as the Manifesto’s Music Champion. This is a key role to work with the historic 150-strong coalition to ensure we put music at the heart of every school.”
Arts Minister Estelle Morris said: “I am delighted that Marc Jaffrey has agreed to take on this important role as Music Manifesto Champion, at what is an exciting time for both the Manifesto and music education more widely. Marc has dedicated much of his career to music making for young people and he is uniquely placed to bring together the music industry, broadcasting and music education – everyone with an interest in music for young people – to advance the aims of the Music Manifesto.”
Marc Jaffrey said: ‘‘It is a great privilege to be asked to champion one of the most creative and life changing subject areas in education and such a dedicated and diverse music learning workforce.
“The partnership in support of the Music Manifesto provides a unique opportunity to deliver real improvements in the consistency, depth and quality of music education. My role is to ensure resources and investment are maximised to raise standards and enrich opportunities for children and young people, provide support to those teaching it and improve the structures through which it is delivered.
“Our enjoyment of music has its roots in childhood. We must celebrate our children’s meaningful participation in music and look to improve the ways they can explore it.’’
Mr Jaffrey joined David Miliband at a primary school in West London today to observe a music class, and discuss music provision with staff and parents. Wendell Primary School in Hammersmith and Fulham was recently recognised for its work in the field of the arts with the Arstmark Silver award and has a very active Gifted and Talented programme.
Editor's Notes
This press notice relates to 'England'

WIDER OPPORTUNITIES AT KEY STAGE 2

1. The Government pledged in the White Paper “Schools Achieving Success” that over time, all primary school pupils who want to should have the opportunity to learn a musical instrument. Focusing on pupils at Key Stage 2 (ages 7-11), this builds on and extends the statutory entitlement to music education provided by the National Curriculum and has become known as the Wider Opportunities Programme.
2. The Wider Opportunities Programme includes:
• Taster sessions – a variety of live and hands on musical experiences to stimulate interest and broaden musical perspectives
• A foundation stage – focussed musical experiences across a range of instruments and voice to develop disciplined musical skills, knowledge and understanding
• Specialist instrumental tuition – that is progressive, affordable (or free of charge) and includes small group lessons and larger ensemble experiences to develop competence on a musical instrument and/or the voice and enable ongoing participation in music making.
3. In 2002 and 2003, OfSTED evaluated 12 pilot areas in which sustained and progressive instrumental tuition was offered to large groups of primary pupils – typically during classroom time. Findings were sent to all schools and LEAs in March 2004 in the form of a report and DVD entitled “Tuning In”, along with a new set of QCA schemes of work for primary music. The Tuning In report stressed the importance of classroom and instrumental teachers working together to deliver a high quality and integrated learning experience for the student. Tuning In can be accessed from the Ofsted website at www.ofsted.gov.uk.
4. In March 2004, all LEA Music Services received an additional grant of £10k to enable them all to pilot their own Wider Opportunities models. This additional funding will now continue in 2005-2006 and 2006-2007, with funding for wider roll out coming on stream in 2007-2008. LEA by LEA allocations for the 2007-2008 Wider Opportunities funding will be announced in summer 2005.
THE MUSIC MANIFESTO
5. In July 2004, David Miliband and Estelle Morris launched a Manifesto for young people's music education for the next three to five years. The Music Manifesto was developed by DfES and DCMS in collaboration with a sixty-strong consortium of music organisations, educators, musicians and the music industry.
6. The Music Manifesto is in two parts. Part one sets out the shared vision of the music consortium and highlights five priorities for joint activity. They are to:
• provide every young person with first access to a range of music experiences;
• provide more opportunities for young people to deepen and broaden their musical interests and skills;
• identify and nurture our most talented young musicians;
• develop a world class workforce in music education; and
• improve the support structures for young people’s music making.

Organisations and key individuals are invited literally to ‘sign up’ to the vision and statement of priorities via a managed, interactive website (at www.musicmanifesto.co.uk).
7. Part two of the Music Manifesto allows organisations (including Government) to showcase their own distinctive contributions by posting actual pledges of resources and programmes onto the interactive manifesto site. There will also be updates on various of the programmes as time goes on and an annual report on progress.
8. As at November 18th 2004, there were 153 signatories to the Music Manifesto and 61 pledges of programmes and resources. Numbers of both continue to grow.
THE MUSIC STANDARDS FUND
9. In 1999 the Government introduced the Music Standards Fund (MSF) to protect and expand LEA Music Services. The MSF amounts to just under £60m per year and in July 2004, David Miliband announced that this amount would be protected until at least 2008.
10. The MSF can be used for any activity which increases access to high quality musical experiences for school age children - including instrumental and vocal tuition, running bands and ensembles, instrument hire and loan schemes, remissions and grants and professional development activities for music teachers. It has been widely welcomed as a means of reversing the decline in LEA Music.
BIOGRAPHY OF MARC JAFFREY
Marc’s present role is Music Project Executive where he is responsible to the Director of BBC Radio and Music for special projects. Until earlier this year, Marc was the Learning Executive for Music, a commissioning executive role that delivered learning through the music entertainment output of the BBC. Over the past four years he developed and commissioned a portfolio of critically acclaimed multi-media music education services aimed at young people, children and families. Projects including the groundbreaking Radio 1 OneMusic, providing a comprehensive service for young people wanting to make it in the music industry; Radio 2’s Sold on Song, the first interactive service for aspiring songwriters and performers; BBC Radio and Music Interactive’s Children’s Radio Player and Parents’ Music Room; the Proms Out + About education campaign; and online learning resources to support the ground breaking Radio 3 children’s show Making Tracks. Recently he assisted in the creation of the BBC Fame Academy Bursary supporting new young talent, where he remains a trustee.
Between 1999 and 2001 he was project director of the landmark BBC/Youth Music Instrument Amnesty collecting £1.3 million of unused instruments and redistributing them to education projects. He also involved over 1,000 schools in the BBC’s millennium Music Live festival.
With an established record in racial equality and social justice campaign work, Marc, 41, joined the BBC in 1997 project managing social action campaigns on TV, radio and online for BBC Education. Marc will be seconded as the Music Manifesto Champion on a part-time basis.
Contact Details
Public Enquiries 0870 000 2288, info@dfes.gsi.gov.uk
Press Notice 2004/0199