the bridgewater hall research study - youth music network

The Bridgewater Hall

Learning and Participation

Research Study 2012-13

Working Heritage ConsultancyResearch byRosie Crook and Cath Ford

Credit: Ben Blackall

2 | P a g eThe Bridgewater Hall Learning and Participation consultation 2013

Contents

Executive Summary 3

Context and methodology 5

The Learning and Participation Department

Purpose and scope of the study

Who we talked to and how

Feedback from individual audiences 6

Schools

Families

Adults

Staff

Community members

Hubs, partners, professionals, Trustees

Proposals and recommendations: planning for the next three years 14

Target groups:SchoolsFamiliesAdults

Capacity and fundraising

References 16

Acknowledgements: the researchers would like to thank Bryony Bell, Learning and Participation Manager, staff atThe Bridgewater Hall, and all respondents for their helpful and enthusiastic contributions.We are grateful to Arts Council England for funding this consultation and associated projects.


EXECUTIVE SUMMARY

The Bridgewater Hall Learning and Participation Department provides opportunities forschools, families, adults and communities to get involved with the Hall and to learn, enjoyand explore the world of music. It is managed by SMG Europe Holdings Ltd and TheBridgewater Hall Community Education Trust.

The programme is aimed at a hugely diverse audience: all nine Greater Manchesterboroughs and all ages from early years to adults. Typically, it includes music projects forschools, culminating in performances at the Hall; accessible projects for children with SpecialEducational Needs and their families; lunchtime concerts and early evening music educationtalks for adults; family workshops and Building Tours.

Why do a Research Study and who did we consult?

The Research Study was commissioned to gather feedback on the Learning and Participationprogramme in the light of the new Music Hub structure, and to underpin forward planningfor the next three years. It focussed on four key questions: What works best and is the highest quality? What impact does it have? To what extent does it increase engagement (with the Hall and with Learning and

Participation)? What else might be done?

We used audience surveys and interviews, creative evaluation with a visual artist, focusgroups, telephone interviews and online surveys to consult over 500 people (more than halfof them young people in schools and families) between October 2012 and May 2013.

SUMMARY OF FINDINGSThe Study reinforced the programme’s core purpose: Learning and Participation offersinclusive, innovative and excellent music education for children, young people and adults,delivered in partnership and with The Bridgewater Hall at its heart.

What does Learning and Participation do well? Excellent and high quality Music Education Audience engagement – with music and with the Hall Diverse activities – a huge range that caters for many Partnership – proactive, involved, committed Responsiveness – to feedback and ideas Organisation – efficient and smooth Flexibility and imagination

What could it do better or differently? More collaboration with young people over projects Possibly fewer projects in more depth More opportunities for young people to perform More access to musicians More informal and daytime opportunities

For the full report contact Bryony Bell, Learning and Participation Manager, The BridgewaterHall, Lower Mosley Street, Manchester M2 3WS 0161 907 [email protected]


Families:Like interactive events and workshops,feeling included and feeling comfortable inthe building.Families and young people with SpecialEducational Needs found the Be Hear Nowsessions `fun’ and ìnspiring’ and wantmore.

Schools:Projects engage pupils better than one-offconcerts. 85% of project participants saidthey had enjoyed the project and 57%could identify something they had learned.This drops to 44% and 33% amongstconcert attenders.Most enjoyed equally were: working witholder students`We’re on the same levelwith them and sometimes we have an ideaand sometimes they do’ (Noye’s Fluddeparticipant)performing` It was amazing becau se Ifelt like somebody’ (pupil, WoodheysPrimary School) and being in TheBridgewater Hall itself.Teachers really value the chance to workwith high quality musicians in a highprofile venue `Being offered quality likethis is like winning the pools’ (Music Co-ordinator, Noye’s Fludde)Some children find classical musicchallenging and `not for them’ but stillwant their schools to do more with the Hall.

Adults:Don’t recognise the name `Learning andParticipation’ but love the individual eventsespecially Inside the Orchestra Ì haveenjoyed every one even if I am not overkeen on the music under discussion’ and ALittle Bite Music Ì love everything aboutLittle Bite Music – the right time, thevariety. I’m waiting all winter for theprogramme to come out in May!’They want more events of the samequality, frequency, timing, price andcontentStaff: see the main purpose of Learningand Participation as being sociallyinclusive music education andengagement with the Hall.Community members: the newMembership scheme is highly valuedPartners, professionals and hubs: valueLearning and Participation’s proactivity,responsiveness and organisation. Theywant to work more and strategically withthe Hall.

Recommendations:Schools:

Review the programme of one-offSchools and Family concerts: find waysto enable deeper engagement.Work with Hub partners to develop atraining and information offer forteachers and Music Co-ordinators aroundthe HallReview the number of schools projectsper year

Families:Plan family elements into themed eventsBuild on Be Hear Now as a regular eventExplore an Under 5s offer in partnershipwith other cultural providers

Adults:Promote Inside the Orchestra toaudiences new to classical musicPromote the Learning and Participationoffer as a unitMaintain the quality and frequency of ALittle Bite MusicOrganise more themed events focussingon a single genreContinue the Community Membershipscheme, maintaining a conversation withmembers.


CONTEXT AND METHODOLOGY

The Learning and Participation Department

The Learning and Participation (L&P) programme at The Bridgewater Hall is jointlyfunded and managed by SMG Europe Holdings Ltd, who are the Hall’s operators, andthe Community Education Trust (CET), which was set up soon after the Hall openedin 1996.

SMG funds approximately two thirds of the programme, and the costs of a full timeManager: the remainder is the result of fundraising by the Trust.

The Trust is clear about the priorities for its work: responsiveness (to people andtheir needs); adventure (and innovation); creativity (and quality); development(and growth), collaboration (and partnership). These aims are still in essencethose with which it began in 1996.

Credit: Tom Bangbala


Purpose and scope of the study

As well as exploring the post-Henley context in which Learning and Participationoperates, the Study needed to examine the reach, content and effectiveness of theprogramme. There is a further issue about capacity. Learning and Participation has atarget audience of the whole of Greater Manchester (approx 2.6 million people), abudget of £45,000 and a team of one person supported by Bridgewater Hallcolleagues and freelancers. A strategy for the next three years needs to take thisinto account. The Trustees felt that planning should be based on a thoroughunderstanding of the impact of the current programme. For this reason it wasimportant that the Research Study include a large element of audience consultationand feedback, including with non-participants and the general public.

Methodology - who we talked to and how

In drawing up the Evaluation Plan, we looked at the different strands of Learningand Participation work, identified key audiences and then matched those withspecific events in the programme aimed at those audiences. We created anEvaluation Framework influenced by models from the Paul Hamlyn Foundation,NIACE and the Arts Council (see References).

We used a wide range of evaluation techniques. Cath Ford, a visual artist and highlyexperienced practitioner, took a creative evaluation activity into schools. We usedfeedback postcards and `Wordles’ with audiences in the Hall, encouraging them toselect the words that described their experience; held an all-staff focus group; usedSurveymonkey, email and telephone interviews with partners and stakeholders andcarried out `quick survey’ conversations in the Foyer with concertgoers (many ofwhom were non-users of Learning and Participation).

This is a summary of the range and number of consultees:

Group How consulted Responses

SchoolsAudiences forconcerts, tours& workshops

When Yesterday We Met October 2012:audience postcards; interviews; emails

8 postcards; 4 schools

Projectparticipants

Tameside Intergenerational Project

Noye’s Fludde: interviews and emails

10 young people, 5 Olderpeople, teacher

42 young people from 3schools, 3 teachers, 1partner


In schoolevaluation

Cath Ford’s creative sessions in schools,making masks and leading creativeconversations. School projects in 2013 weredesigned to encourage students’ own ideasand engagement with the Hall, and topromote ongoing evaluation using Arts Award.

6 primaries; 4secondaries: approx 170pupils plus teachers

FamiliesAudience forthemed events:

Guitar Weekend January 2013; attenders atfamily workshops; open rehearsals,masterclasses, concerts - interviews

80 (of which 31 children)

Under 5s Web comments 3

Families andchildren withSpecialEducationalNeeds

Be Hear Now events in school holidays,evaluated by Cath Ford

16 families and youngpeople

Adults

Audiences fordaytime andevening events

Inside the Orchestra audience April 2013 andfollow-up emails; two A Little Bite Musicaudiences in May 2013

18

29

Concertgoers :classical andnon classical

The Tallis Scholars; Czech PhilharmonicOrchestra; New London Consort; Clannad;Michael Ball.

Foyer interviews - `light touch’ 3 questionsurveys

68

Professionals,partners, Hubs

SurveyMonkey link in email; phone interviews 20

Staff Presentation and exercise at all staff meeting;follow up emails/comments

30+

Communitymembers

Emails and SurveyMonkey link 2

Trustees Discussion at meeting: phone interviews; faceto face.

4 – others at Trusteemeetings in May and July2013


FEEDBACK FROM INDIVIDUAL AUDIENCES

Schools

The Learning and Participation offer to schools is very broad. To capture its diversity,we consulted schools at a range of events: a Schools and Family Concert, a bespoke

workshop, after doing the building tours and in theaftermath of major projects.

School projects in 2013 were designed as part of theresearch programme, enabling young people to explorethe Hall and its current work in order to give informedresponses to consultation. All students completed ArtsAward Bronze or Explore and their portfolios providedevidence of their ongoing responses at each stage ofthe project. At the conclusion of the work, Cath Fordcarried out a major consultation in 4 primary schoolsand 2 secondaries, working with whole classes ofchildren who had been part of the projects.

Cath worked with a further 2 primary and 2 secondaryschools who had engaged with the Hall through shorter projects or one-off concertvisits.

Findings

Concerts and projects

The first finding of significance is the difference in response between pupils who hadattended a concert, however high quality and involving, and those who had beenpart of a project or sustained intervention, however short.

For example, 44% of primary school children from one school attending a concertsaid they had enjoyed the concert. 33% could identify something new that they hadlearned and 44% wanted their school to do more with The Bridgewater Hall.

This compares with 85% of children at another primary school which took part ina project who said they enjoyed doing it, 57% who could identify something newthey had learned and 82% who thought The Bridgewater Hall is a good place forchildren.

Many aspects of the concerts were enjoyed – taking part, being involved, the sheersound (and volume) of the music and learning to write a song.


In general, however, children who just attended a concert found the experience toopassive, too long and not engaging enough, although many of them wanted to goagain or do different things at the Hall.

By contrast, participants in projects particularly enjoyed performance, workingwith musicians, older studentsand practitioners and having aninput and influence in theproject. Some students identifybroader social and life skills,such as confidence and teamworking and these skills are alsoidentified by teachers. Manystudents identify specific learningaround music and musicianship,composers and the Hall itself.

It is very important to participantsto know what the project will involve, have chances to perform and be ableto shape the project with their ideas. Students of all ages have excellent ideasand suggestions for what the Hall might do in the future (far more than most adultssurveyed!) and it would be good for Learning and Participation to find a way togather and respond to these ideas.

Students really enjoyed the cross art form work – with visual art and dramagetting the most enthusiastic responses.

Finally, projects offer the Hall the opportunity for a sustained relationship withschools and this is appreciated by both teachers and students alike.

Noye’s Fludde

This was a project for primary schools, involving a collaboration between TheBridgewater Hall, Chetham’s School of Music, Manchester Cathedral and aprofessional cast to stage Benjamin Britten’s Noye’s Fludde. Pupils worked withmusic students and visual artists in school over half a term, learning music andmaking masks, then rehearsed and performed at two concerts in the Cathedral.

The most enjoyed parts of this project were equally: performing (especially theacting), and making animal masks. The next most popular aspect of the projectwas working with the older Music students from Chetham’s and the Cathedral.Some pupils especially enjoyed working in partnership and equality with this groupof older people (`We’re on the same level with them and sometimes we have anidea and sometimes they do’). Older school participants commented that they would


like more provision for teenagers at theHall and would like to feel more included.

Least enjoyed were the waiting around, thelength of rehearsals and the constantrepetition to get things right, although somechildren felt a sense of pride at cracking it (`Itwas lots of work but in the end we got it allright’). Teachers identified the high status ofthe organisations (`being offered quality likethis is like winning the pools’), the mixed agework and the impetus the project gave toschool music as the main benefits.

uJudge

This was a project for Secondary schools, who worked with a composer, dramafacilitator and beatboxer to explore themes of stereotypes and assumptions throughmusic and performance. They used the Greek myth of The Judgement of Paris as abasis for their own compositions, performed these at the Hall, and returned to hearthe New London Consort’s opera performance of the myth in which the audiencewere invited to vote for their preferred setting of the libretto.

The most inspiring elements selected by pupilswere the chance to perform, to work withmusicians and to do drama. More drama wouldhave been preferred and although the pupils didnot feedback that they had had lots of opportunityto lead and have influence, they were able toidentify 11 separate areas where they hadexercised choice, and this was seen by teachers asa strength of the project.

Least enjoyed was the opera performance itselfand pupils struggled to connect it with the workthey had done on the project.

The majority were enthusiastic about a continuedrelationship between the Hall and their school,seeing it as an opportunity for others as well asthemselves.


Other issues for schools:

Enjoyment or familiarity with classical music – this is cited by a number ofpupils as a challenge on their visit. Participants in Noye’s Fludde expressed an evenmix of dislike of the music and pride in getting to understand it.

Interactive experiences – these are very important in any event provided byLearning and Participation, from tours to concerts to workshops, and are frequentlymentioned.

The Bridgewater Hall experience – The building itself is much enjoyed bychildren; the dressing rooms, conductor’s room and toilets receive special mention.Children readily mention the fossils in the floors and the springs underneath.Teachers appreciated the tours as an add-on to other events, increasing value formoney and the value of the trip. The tours are seen as an enjoyable and engagingexperience although primary teachers of younger age groups (Years 1, 2 and 3)would welcome content and vocabulary adjusted to their age.

This could also be of benefit for families with young children.


Families

Much of what suits schools also suits families: lively interactive hands on events,taking part, feeling included and being able to feel comfortable and informalin the building.

The Guitar Weekend was a full two days of events inJanuary 2013 themed around the guitar. Organised inpartnership with guitarist Craig Ogden, the eventincluded hands on `make a guitar’ and percussionworkshops; free masterclasses and open rehearsals,workshops and free foyer recitals as well as formalevening concerts in the auditorium.

Families at the Guitar Weekend particularly appreciated the Guitar Jam andmasterclasses as an inspiration and encouragement to their children learningthe instrument. Workshops at this event were seen as particularly valuable: thetiming was right and they liked practical activities combined with a musictheme. The ‘Beat It!’ percussion workshop was best enjoyed because the facilitatorrotated instruments to make sure all participants had a choice. Children mostenjoyed playing on stage alongside the professional musicians and in such alarge group: some had worried about being able to perform the music and wererelieved that it did not matter. Over 80% of respondents of all ages mentioned themix of activities, (free, paid, formal and informal) and the `themed’ idea asbeing the best aspects of the event.

One individual Mum responded to the consultation asking for events to which atoddler can come, ideally with musicians playing instruments to show the range ofsounds that can be made and some simple samples of music from different periodsand with ‘a large, flat, open space where toddlers could move around whilethe music was playing’. Under 5s is a potential development area for Learning andParticipation.

Young people with Special Educational Needs and their families: Be HearNow

The Be Hear Now events are half term musical discovery sessions for youngpeople and their families. The sessions use music with live instruments, storytellingand art. The evaluation of the February 2013 sessions found that response to theprogramme was extremely positive from both adults and young people.

'Inspiring' was identified on the list of words by 12/15 respondents


'Fun' and 'Educational' were also popular choices - Educational was identifiedmore by adults completing the forms

Future activities

Not everyone completed the second section relating to future activities, so it isharder to get a clear picture.

Amongst those who responded, there was a good mix of future activities thatpeople wanted to do - the feedback reflected what the young people at theschool had said - they identified music workshops/projects (the making ofmusic) as being of interest

Three of the 12+ group who completed their forms themselves said theywould like to come to lunchtime concerts

People who made additional comments generally wanted more, said 'thankyou' and were very positive.

Only two respondents identified areas for improvement and they wereconnected to individual needs - for one it didn't coincide with their schoolholidays and another parent identified that their child is hypersensitive tosound so a gradual increase in volume would be beneficial (another identifiedthat their son loved the loud music, especially the drums).


Adults

Evening Concert audiencesThis group was chosen as a sample of ‘general audiences’ attending TheBridgewater Hall simply for a concert, unconnected with Learning and Participation.

The concerts were chosen from the current season, sampling the different genres ofmusic. These were: Classical Music `enthusiasts’ (The Tallis Scholars, New LondonConsort); Orchestral music with a popular programme and high profile artist (CzechPhilharmonic Orchestra); traditional and roots music (Clannad) and popular/musicaltheatre (Michael Ball).

Findings:

A large majority (85%) had not heardthe name ‘Learning and Participation’or were not aware of its role at theHall. This included people who had bookedusing the website and those who wereregular or local attenders. Some people hadstrong perceptions around the name – acouple of people thought it soundedinaccessible (‘too highbrow’), others hadheard of it but dismissed it as being solelyabout schools and children; others found itappealing (‘cheery’).

However, 57% could name an L and P event they had heard of orattended: A Little Bite Music 22%; Tours 20%; Inside the Orchestra 6%; GuitarWeekend 6%; Other (schools project; community choirs; organ concerts) 4%.

Clearly individual events are successfully marketed, even if the Learning andParticipation identity is not well recognised.

Many people did not have ideas for new events, although the two most popularunprompted suggestions were

Live music in the foyer before the concert, featuring the samerepertoire/genre as the concert

Meet the orchestra/instruments with a chance to see the instrumentsclose or try them [Interestingly, this type of session is already being offeredas part of Inside the Orchestra]



People who could not think of anything were offered a list of possible options –more pre-concert talks; workshops; hands on sessions such as art orcreative writing linked to music; instrument sessions; foyer music;discussion group for music enthusiasts.

45% wanted Foyer music; 10% were unsure or had reservations (usuallyabout the type of music and amplification).

17% had comments or suggestions about marketing and increasing theprofile of the L and P programme

8% suggested changes to how the building operates: bar open after concerts,more seats in the foyer, comfy spaces, after work `wind down’ live music inthe bar

Daytime and early evening event audiences.

The vast majority of these audiences were adult, although a small and growingproportion of children and parents attend A Little Bite Music. They are looking forquality, diversity and musical education, have high enjoyment of the eventsthey attend and are hoping for more. This is an enthusiastic and growingaudience. It is important that Learning and Participation continues to cater for them.

Inside the Orchestra is an earlyevening illustrated talk led by StephenThrelfall, Director of Music at Chetham’sSchool of Music. It covers music educationin an accessible and lively way,introducing audiences to classical musicand the orchestra. Its audience feels thatthe price, time and frequency areright. They are reluctant to seenumbers increased.

The whole sample liked the content andpresentation and responses ranged from‘Excellent’’ to ‘Enjoyable and informative’,including ‘well presented and illustrated –I learnt a lot’’. Could a glossaryhandout for musical terms beproduced? The event attracts mostlyexisting audiences and works well as atool for music education anddevelopment, encouraging people to tryother types of music



I have enjoyed every one even if I am not over keen on the music under discussion.For instance I am not particularly interested in early music, but I still found the talkon Early Music and the human voice fascinating.

A Little Bite Music: this is a series of lunchtime free concerts in the Foyer, heldbetween May and September each year. Concerts are extremely diverse; a typicalseason might include Gypsy Jazz guitar, contemporary electric folk, African koraplaying and early English madrigals. The point of the programme is its diversity. Theconcerts attract 200+ attenders andlast about an hour. Evaluation tookplace at two concerts in the spring2013 season.

72% of people who come areregulars. Of the 28% who are firsttimers, 50% come on personalrecommendation from anotherattender. Others come because oftheir circumstances - new retirement,unemployment, illness, having smallchildren (grandparent carers and newmothers), having transport issues(availability of accessible transport; having a long distance to travel).

62% like the event because it is in the daytime, 55% because of the diversityand variety of the programme. 24% valued it being free; the next mostpopular reasons for liking it were the informality and the good quality of theperformances.

Only 13% had heard of other Learning and Participation events although quitea few had been to concerts in the main Hall, suggesting that this is a self containedaudience of music enthusiasts who come because of the timing, programme andvariety of the event. The concerts attract huge enthusiasm:

I love everything about Little Bite Music – the right time, the variety. I’m waiting allwinter for the programme to come out in May!

Little Bite Music works very well as a music education event: this is a typicalresponse, repeated by many:

I might think, oh I don’t know if I’d like a soprano and a piano or early musicpolyphony but you can just give this a try and it doesn’t matter if you don’t like it. Itmakes you try something new.


Staff

The majority of staff thought the music based events worked best, followed byworkshops and tours. Reasons given were mostly about the power of such events tointroduce people to a range of music and engage them with it. Workshopswere also highly valued, mainly for their potential for broadening access andengaging the community. Tours are valued for their high quality and the factthat they engage and interestchildren and also show parts ofthe Hall and back of housefunctions that aren’t usually seen.Schools’ concerts (presumably inthis case including those offered byresident orchestras as well as thosedirectly promoted by the Hall) and ALittle Bite Music are mentioned at alower level and are valued for theiralignment with the needs of theschools and the Hall as well astheir educational value. Finally, creating Christmas decorations with schools andcommunities was identified as an especially creative and inspiring intervention.Looking at what might be done, responses tend to fall into three categories: domore of the same (workshops especially); attract new audiences, especiallyearly years/young children, older and disabled people, and people outside the usualdemographic, and deliver things differently ie online, using new print,piggybacking in house events and keeping things cheap.

In summary, staff see the main purpose of Learning and Participation as beingsocially inclusive music education and engagement with the Hall. They haveinteresting ideas about how capacity might be increased by different delivery.

Community members

A very small response was received from members of the new Community Scheme –this is a new scheme and ongoing conversations are planned. Those that respondedhighly appreciate the scheme and see it as a way of bringing members of theirgroups to an experience they could not usually afford, (‘Most of the people hadnever been to Bridgewater Hall before and none would have gone without thecomplimentary tickets’),whilst also offering some people a new engagement withclassical music (‘Lovely to see a member of our group have his first encounter withclassical music’).


Stakeholders: Hubs, Partners, professionals

The survey received responses from 18 people, of whom 1 was a Hub partner, 3were partners in projects and 14 were professional musicians and practitioners.A majority of partners and professionals had got involved with the Hall because ofdirect contact from Bryony; some were part of an organisation that had aconnection, eg orchestras, others had been involved through a third party or aspecific event. A number of people commented very positively on Bryony’sproactive approach to partnership – and this was reinforced in Hub interviews.Many individual practitioners had worked on a variety of events or had donesomething developmental, moving from performance to composition, for example.A very wide range and number of practitioners have worked with Learning andParticipation and the audiences benefit from this richness. Personal, artistic andcareer growth is identified as one of the benefits of working with L and P bymusicians. Organisations cite benefits to the end users and the sharing ofexpertise to benefit both organisations.

Suggestions for future projectsinclude: joint funding bids forwork in healthcare settings;more community use of theHall as a performing space andmore projects to introducenew music to non-professionals.

Hubs: two detailed hub interviews have been held and themes emerging are:Hub partnerships allow the Hall to access a broad range of schools (breadth ofaccess) in order to carry out focussed projects (depth of engagement). Hubrelationships could facilitate a `ready made ‘ project for music students working inschools with a third party partner; could provide access to large numbers ofMusic Co-ordinators, supporting their CPD, and could be the key to buildingrelationships with a number of other music organisations. Bryony’s skills atpartnership and enthusiasm, energy and good organisation were cited by bothinterviewees. These were key reasons why both partners wanted to extend therelationship.

Trustees: Four Trustee interviews and a Trustee meeting have considered: what isthe main priority for the L and P programme? Should the aim be breadth or depth?Who else and how else might be priorities? How can the programme respond tocapacity and fundraising needs?


Trustees interviewed felt that the main focus should be children and youngpeople, but with an emphasis on social inclusion and providing opportunitiesfor those excluded from music, of all ages A Little Bite Music should continue to bethe flagship for older audiences, and projects can also deliver social inclusion forolder people. The Dept should explore other ways of increasing capacity- developinga schools offer with a hub partner, trying to find secondments or placements,focussing where possible on depth projects rather than lighter touch events such asthe schools’ concerts.


PROPOSALS AND RECOMMENDATIONS

Core purpose: A theme that recurred through these discussions was theimportance of access and social inclusion, especially economic inclusion. Itwas confirmed that the main audience for Learning and Participationshould be children and young people, whilst continuing `flagship’ events suchas A Little Bite Music which attract Older audiences and increasingly support peoplein economic need, such as unemployed and disabled people.

Planning for the next three years:

Schools

Review the programme of one-off Schools and Family concerts:find ways to enable deeper engagement.

Work with Hub partners to develop a training andinformation offer for teachers and Music Co-ordinatorsaround the Hall.

Review the number of schools projects per year – ifpossible plan at least a year in advance and considershorter length projects; half termly or 3-4 sessions.

Ensure that the brief for projects for the following yearbuilds young people’s ideas into the planning anddevelopment as well as delivery.

Work with Hub partners and music education centres todevelop a `straight into schools’ offer leading back toperformances in the Hall (eg a three way partnershipbetween school, music college, and The Bridgewater Hallthat culminates in a performance).

Families

Plan a family element into themed events. Build on Be Hear Now as a regular event. Explore partnerships with other cultural providers to

develop the Under 5s offer.

Adults

Promote Inside the Orchestra to audiences new toclassical music.

Promote the Learning and Participation offer as a unit,perhaps in a piece of separate annual print, entitled`Your Bridgewater’ or `Bridgewater for All’.

Continue with A Little Bite Music in the current format,


maintaining quality and frequency. Organise more themed events focussing on a single genre, eg

guitar, voice, violin. The Community Membership scheme is popular and

appreciated and achieves social inclusion objectives: maintainconversations and feedback with members.

Partnerships

New technology audiences – partnership with digitalcompanies, using the Hall as a venue for events and linkingwith new music.

Practitioners and professionals – consider showcases foryoung musicians and a practitioner pool.

Capacity and fundraising

Trustees should consider the issues around charging forschool projects, including consultation with Education Hubs.

Explore opportunities for a volunteering programme tosupport staffing levels.

Stay aware of developments in the funding world which mightsupport the programme.

Explore sponsorship for specific strands of activity includingadult daytime and family events.

REFERENCES

Laura H Drane, The Bridgewater Hall Community Education Trust Report, January2005.

Niace/ACLF What’s the difference? Evaluation guidelines Feb. 2012.

Paul Hamlyn Foundation/NIACE/Jane Thompson Evaluation Resource Pack 2012

Arts Council of England Taking Part reports

the bridgewater hall research study - youth music network

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