Creating a fairer思维导图

and more inclusive classical music sector

for England

Arts Council England believes strongly in the value and importance of classical music. Our outstanding orchestras and ensembles – and the thousands of instrumentalists, conductors, composers, and other professionals who bring this music to life – are a vital, vibrant, and

versatile part of the creative sector of this country.This music is a significant part of the

soundtrack to our lives; from our favourite tv and film programmes and video games to

the ensembles supporting the West End, BBC Proms, and the thousands of classical music concerts that take place across this country every year.

England’s orchestras and ensembles perform all over the world and are a major contributor

to our global reputation for cultural innovation and excellence.They are also major

employers that contribute to the economic prosperity of towns and cities across this

country.Their work reaches and engages millions of people in concert halls and theatres, communities and schools, and digitally.

As with all the arts, classical music opens doors to a world of inspiration, creativity,

enjoyment, and employment. It delights and moves us, and helps us make sense of the world.These are the reasons that, from our foundation, the Arts Council has invested

significantly in classical music and the orchestras, ensembles and opera and ballet companies that create and perform it. And, going forward, we plan to continue to invest significantly.

Classical music brings pleasure and inspiration to millions of people in this country. We

do not subscribe to the view that there are limitations to the appeal of classical music: we

believe it can and should reach even more people wherever they live and whatever their

background. We think it is especially important that all cultural organisations seeking public funding should focus on improving access and work to be as relevant as possible to the

taxpayers and lottery players who ultimately provide them with the support they need to

continue their work. In other words, we want publicly funded cultural organisations in this country to matter more to more people.That includes giving everyone the opportunity to be part of the world of classical music.

We believe an important first step in making that happen is that those who work in the

classical music sector should become more representative of England today – in terms

of class, geography, disability, ethnicity, and gender. We recognise that the skills needed

to perform in – or create music for – orchestras and other ensembles are not acquired

overnight.The choice to learn an orchestral instrument and the investment in developing

the technical skills needed to pursue a professional career within the classical music sector are generally made at an early age.The profile of those working in the industry is the result of a complex series of decisions and circumstances that arise, whatever the pathway in, at numerous points along a very long talent pipeline.

The chance to experience it as an audience member, to follow your

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talent or choose a career in the sector must not be dependent on your background or come about only by chance.

Alan Davey CBE, Controller, BBC Radio 3

CREATING A FAIRER AND MORE INCLUSIVE CLASSICAL MUSIC SECTOR FOR ENGLAND

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I hope orchestras across the country and further afield will read and

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absorb the messages conveyed in this vital report, as this is a time unlike any other in our history that tells us that change is needed.

Chi-chiNwanoku OBE, Founder & Artistic Director, The Chineke! Foundation

Classical music is of course not hermetically sealed from the rest of the music

industry. And nor should it be. Many of those who commence their journey as orchestral instrumentalists choose to pursue careers that are not exclusively within classical music.

The insights and skillset they acquired through their training invaluably contribute to a host of other areas of the music industry, off as well as on the stage.

We commissioned the report we are publishing today to understand more about those

decisions, circumstances and pathways, and what might be happening along that pipeline. We plan to use this learning – and that of other more recent reports championing inclusion including those byThe Music Commission, UK Music DiversityTask Force, Black Lives in

Music, Donne Women in Music, and Help Musicians as well as the new National Plan for

Music Education – to identify what changes could be put in place to give more opportunities to a wider range of people to access and pursue a career in classical music.

In undertaking this project, we brought together a number of interested parties to help

and advise us. We did this because although the Arts Council has a unique convening,

development and investment role, we have influence over a relatively small part of a large and complex classical music ecosystem. For change to happen, a large number of different individuals and organisations will need to work in concert. We are grateful to our steering

group – representatives from the Association of British Orchestras, the Musicians Union,

Conservatoires UK, the BBC, and the Paraorchestra, Chineke! Foundation and Bournemouth Symphony Orchestra – for their time, patience and wisdom. We also extend our thanks to

the many individuals and organisations from all parts of the profession who contributed their time to our reference group and who took part in our workforce survey.They have all had a strong influence on the scope of this report and our response to it.

The reports prepared for us by ICM and DHA Associates assemble a number of existing

and new datasets to paint a picture of what happens to young people on their journey

to a possible career in the classical music industry. It brings together for the first time a

broad range of learning and data that looks at what opportunities are available, and who is accessing them, at every stage along the way – from children tentatively learning their first pieces to adults who have chosen classical music as their career. Because of gaps in the

data the picture it presents is not yet fully formed. But it is, nevertheless, clear.

Too many people currently encounter barriers, real or perceived, to entering, remaining

and being successful in the sector. If Western classical music was not part of your daily

life growing up, or your family did not have the means or opportunity to support your

commitment to it, it is unlikely you will join the classical music workforce. Where you live, and what opportunities are available locally, have an important influence on your ability to progress.The cost of lessons, of the instruments themselves, as well as of sheet music and other accessories, and even the cost of travel to lessons and to other related activities and events can all be barriers to enabling fair opportunities at an early age. Perhaps because

of this, children who attend state schools are far less likely to be chosen for competitive specialist training opportunities, including in our conservatoires.

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people, as well as those who are disabled or have long-term health conditions, are

also under-represented. And though female instrumentalists are in the majority among young learners, within the segment of the workforce examined within this study they are currently only a minority. Women are also under-represented in governance and senior leadership roles in the sector.

Cutting across all other factors, the evidence makes clear that people from lower

socio-economic backgrounds struggle to get fair access to a full range of learning and employment opportunities.

Informal practices and expectations, such as consultation lessons prior to auditions

for conservatoires or closed networks supporting employment opportunities, create

significant barriers to progress for those unused to this environment. These problems

are exacerbated by the uncertain employment, low pay and unsocial hours that are a

widespread feature of the arts. The consequence is that our professional orchestras and

ensembles do not currently reflect the make-up of contemporary England. We will never know what talent that might have gone on to global acclaim was passed over by a system that fails to offer a fair opportunity for all.

None of this is surprising to those of us close to the classical music industry. But the

familiarity of this picture does not remove the urgent need for change. Barriers need to be broken down and new bridges built. And this is a timely opportunity to contribute to a wider process of change: a new National Plan for Music Education is currently

in development, and, though we are yet to see its full impact, the Department for

Education’s new Model Music Curriculum was launched earlier this year. Both offer the

opportunity to better secure young people’s musical learning. Investment in children’s

music education in school is critical to ensuring the changes we want to see and we will continue to make the case to government for the importance of high levels of investment in music and other arts education within and beyond schools. We will also work to ensure that the music education opportunities offered by organisations receiving our investment are inclusive of, and accessible to, all children. Arts Council values and supports music in all its many forms: we want to encourage a healthy music ecology, one where the barriers between different genres of music are dissolved, where all children, young people and

adults are encouraged to develop an interest in, and play, a wide range of musical styles and where innovation within and across genres is actively encouraged.

In recent years the Arts Council has made a number of interventions to try to change the current picture, supporting and working with many National Portfolio Organisations and others in the sector to do so. Our work to support the Department for Education’s

investment in the national network of Music Education Hubs helps ensure that

opportunities to access instrumental learning are more readily available to young people across this country. Initiatives such as In Harmony – a national programme that aims to

Reading the report it is clear that on a number of occasions the data

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and insight cuts deep into the real barriers and bias that exist within the sector, all of which hold back the progress of many potential musicians to pick up instruments, learn, study and to work.

Jonathan Harper, Chief Executive & Executive Producer, Paraorchestra and Friends

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By improving our understanding of the current profile of the classical music workforce we can identify the systemic barriers to access and progression and learn what action is needed to achieve meaningful change.

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Jamie Njoku-Goodwin, Chief Executive, UK Music

inspire and transform the lives of children in disadvantaged communities – have brought joy and opportunity to young people in Lambeth, Liverpool, Nottingham,Telford, Stoke- on-Trent, Leeds and Newcastle-upon-Tyne. The NationalYouth Orchestra of Great Britain’s NYO Inspire scheme provides important opportunities within secondary schools across

the country, encouraging young people – especially those currently under-represented in the orchestral sector – to make connections with each other, learn from their peers, and breakthrough to the next level of their music-making journey.

We have supported Paraorchestra to establish itself as the world’s only large-scale

virtuoso ensemble of professional disabled and non-disabled musicians. We have also

invested in the National OpenYouth Orchestra, the world’s first disabled-led national

youth orchestra and supported Bournemouth Symphony Orchestra to undertake a radical programme of change to make its orchestra more inclusive and accessible. We have

invested in the establishment of the Chineke! Foundation, Europe’s first professional

orchestra comprising majority Black and ethnically diverse musicians. We have also

supported Black Lives in Music – a new sector-led initiative to support the empowerment of Black musicians and professionals to realise their aspirations within classical music

and jazz. And we have continued to support organisations like Drake Music and Attitude is Everything, and initiatives such as Creative United’sTake it Away scheme and the OHMI Trust’s accessible instruments project, to help build a more inclusive sector. We have

also encouraged the classical music organisations we invest into innovate, to develop new repertoire and experiment with the way they configure their ensembles and present their concerts. And there is encouraging evidence that these changes are bringing new audiences to classical music.

But initiatives of scale that genuinely enable a wide range of young people, irrespective of their background, to develop their talent and to progress are the exception and remain relatively isolated. Learning from these initiatives tends not to be widely shared or easily accessible. Consequently, the pace of change in the wider classical music sector remains too slow.

We want this report,and the hope that we can build back fairer after the pandemic, to

act as a spur to accelerate change. Building on our vision for the future described in

inclusive and more relevant to all.

This substantial piece of research will enable the sector to have informed conversations about diversity ... The data clearly shows where we can

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make improvements...

Naomi Pohl, Deputy General Secretary, Musicians Union

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We believe that we need to try new approaches to supporting young people

looking to develop careers in the music industry including orchestras, building

on the learning from existing programmes and initiatives. We will therefore work

It is vital that every child is able to reach their full potential, but to do

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that not only is there a need for equity of access to the existing world- class provision available, but that provision needs to reflect the diversity of this country.

Bridget Whyte, Chief Executive, Music Mark

We will take the following initial actions:

with a range of partners to undertake a major new project that will focus on young musicians aged 15 to 25 from backgrounds under-represented within Western

classical music.This long-term action research project, starting in the Midlands,

will test initiatives aimed at supporting those from a wider range of backgrounds

looking to make developing sustainable careers in classical music, and the wider

music industry, an achievable goal. We will support people who are currently under- represented within the sector to help guide the design and oversight of this project to create a classical ecosystem that supports young people to flourish and develop their skills and aspirations to the highest level.

We will work in partnership with organisations including Birmingham City

University/Royal Birmingham Conservatoire, City of Birmingham Symphony

Orchestra, Music Education Hubs East Midlands, West Midlands Music, Orchestras Live, NottinghamTrent University and the BBC to design and deliver this project.

We recognise that the home is a key formative environment for developing

an early interest in music. Working in partnership with Decca/Universal Music

we will undertake research to understand more about how people experience

classical music at home today and what influence that might have on enabling

and encouraging children to develop and pursue an interest in learning to play an instrument and consider going on to develop a career in the sector. We will look especially at the impact that the pandemic has had on new ways of experiencing classical music inside and outside the home.

We believe that the classical music organisations that we invest in, including those working in opera and ballet, should lead the way in responding to this report and helping to implement change. As a first step, we will require all classical music

organisations seeking to join the next National Portfolio to set out how they

propose to respond to this report both individually and collectively.These plans will then form part of their future funding agreements.

We recognise the importance of the role of Music Education Hubs and other

Department for Education sponsored provision of classical music learning and

performance opportunities for children and young people in helping effect the

change we want to see. We will explore with DfE how our research can inform

future music education policy and delivery, including the forthcoming new National Plan for Music Education.

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We do not yet have a fully comprehensive data set on which to design a full set

of policy options and interventions. We also recognise that individuals, including many of those with protected characteristics, do not always feel confident to

share their personal details. We want to strengthen the datasets that underpin

this research so will work with our partners to encourage more accurate reporting by communicating the value and importance of this data, seeking to address

individuals’ concerns to help transform the culture of disclosure and drive change. In particular we will:-

• Improve data collection from the Arts Council’s National Portfolio Organisations and National Lottery Project Grants recipients

• Work with Association of British Orchestras to gather more – and more accurate data – from its members

• Work with the Musicians Union to encourage their members to complete data returns through both the Union and their employers

• Work with the BBC to ensure that the high-quality data from their orchestras continues to contribute towards a fuller data picture of this country’s classical music workforce

• Work with the Department for Education to encourage and support a more joined up approach to sharing and collecting data across music education and training

We know that a range of initiatives are already underway across the sector to

strengthen inclusivity and diversity. However, they remain largely under-reported and, as a result, the learning from them is not being widely shared. We will work with the Association of British Orchestras to build an easy to access repository for these interventions so that we can improve the sharing of best practice, learning, insights, and outcomes.

We want to ensure that the sector provides fair and inclusive treatment for all those involved in the arts, including freelance musicians involved in classical music. In

articulating our plans for

themes of our

support for creative and cultural practitioners and offer clear progression routes

into the industry. Drawing from and building on the resources already available

on the Arts Council website, such as our Information Sheet on

We will build on the impetus of the steering group for this research and establish a working group of key stakeholders that will meet twice a year to help ensure that learning from this report is implemented.This working group will combine those who are currently under-represented in the sector with those who carry influence and can implement change. It will help us track and report on the progress of the various actions in play that are intended to make the classical music sector in this country fairer and more inclusive.

We will share this report and its findings as widely as possible through our own

networks and those of the steering and reference groups who have contributed to it. We will look for opportunities to present the report and its findings to the sector as a whole and work to support opportunities for mutual learning about the issues it explores. We will also create a dashboard to improve access to the data from the workforce survey.

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We welcome the publication of Arts Council England’s report on Fair and Inclusive

Classical Music Diversity in Classical Music. It makes for tough reading for the

orchestral sector, but then that is no surprise. While we have made strides on a better gender balance over recent decades, we know this has not been reflected in recruitment of musicians and managers from black and ethnic minority communities, or people with disabilities. The

UK is not alone in this – we know there are systemic barriers to access to classical music

across the globe. But now is the time for the UK to become a global leader. The ABO will take on board the recommendations of the report, encourage its members to

implement interventions that forge real change, and provide a platform for sharing learning both within the UK and internationally.

Mark Pemberton, Director, Association of British Orchestras

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Musicians Union

The MU welcomes the Arts Council report on diversity in the classical music sector

and the actions they commit to. This substantial piece of research will enable

the sector to have informed conversations about diversity, target diversity cold spots, and

benchmark and assess progress. It will also further our understanding of the barriers different communities face accessing music education and pursuing a career in classical music.

The data clearly shows where we can make improvements and we look forward to working

with our members, the Arts Council and the classical sector in implementing initiatives that will facilitate change, improve workplaces and create fair

opportunities for all musicians. We are committed to opposing discrimination and ensuring that classical music is open to all.

Naomi Pohl, Deputy General Secretary, Musicians Union

BBC

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Classical music – listening, composing or playing it – is one of the great

achievements and life affirming joys of humanity. The chance to experience it

as an audience member, to follow your talent or choose a career in the sector must not be dependent on your background or come about only by chance. That’s why widening access

and supporting talent is at the heart of the BBC’s mission to make Classical music from the past and in the future available to all. This is why we are determined to

build long-term change and to work with the Arts Council and others to ensure that Classical becomes the inspirational force it surely is.

Alan Davey CBE, Controller, BBC Radio 3

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Conservatoires UK (CUK) is committed to providing equality of access to a high quality, inclusive and relevant education and training in the performing arts. CUK

members offering classical music run large scale junior departments, and provide generous scholarships and bursaries to students at all levels who would otherwise be unable to benefit. They also deliver extensive learning and participation programmes in the wider community that are free at the point of access, enabling significant numbers of young people to engage with classical music across a wide range of settings.

Whilst much positive progress is being made, the initial research published by Arts Council England draws attention to the barriers that still exist. CUK believes that these barriers can

only be overcome through the collective efforts of organisations working across the classical music sector and will continue to fulfil its distinctive role of supporting and nurturing future talent, providing meaningful opportunities for young musicians of all backgrounds to progress and realise their musical potential.

Professor Linda Merrick, Principal, Royal Northern College of Music/Chair, Conservatoires UK

Chineke! Foundation

I was so pleased to see this timely report that comes in the wake of the refocusing on the Black Lives Matter movement in 2020, when the orchestral profession in

the UK and abroad became more aware of the importance of representation, inclusion and diversity, not only in the ranks of the musicians on stage, but also in boards and back room

staff, and in the repertoire that we perform.

I hope orchestras across the country and further afield will read and absorb the messages conveyed in this vital report, as this is a time unlike any other in our history that tells us that change is needed.

Chi-chiNwanoku OBE, Founder & Artistic Director, The Chineke! Foundation

Universal Music UK

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The UK’s world-beating classical music sector is a true success story. We strongly support Arts Council England’s initiative to ensure it is

accessible to all and are proud that our Decca and Universal Music UK teams are working with them to help more people find a route into classical music.

David Joseph, Chairman and CEO, Universal Music UK

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“I’m grateful to Arts Council England and its partners for investing in and

championing this study. Reading the report it is clear that on a number of occasions

the data and insight cuts deep into the real barriers and bias that exist within the sector, all of which hold back the progress of many potential musicians to pick up instruments, learn, study and to work.

However, it is shocking that there is so little credible evidence in the report to establish a base line for those who identify as D/deaf, disabled and/or neurodiverse. Disabled musicians have long felt invisible within the classical sector. I find it hugely problematic that this is the most extreme lack of representation and yet it is the least understood or challenged.

In 2022 Arts Council England will form its portfolio of funded organisations for the period until 2027, underpinned by its strategy for the decade, Let’s Create. The Diversity in Classical Music

study therefore lands at a critical moment for the classical sector. In their response Arts Council has identified a number of ways forward and it is high time that the

classical music sector now commits all its energies towards a fundamental change in attitude and actions.

Jonathan Harper, Chief Executive, Paraorchestra

Bournemouth Symphony Orchestra

This is a vital report for the classical music sector in this country as it sets out, in the most comprehensive way so far, the range of challenges faced in building a more

inclusive and diverse musical landscape. It is our experience at Bournemouth Symphony

Orchestra that such change can only happen when ‘Inclusion is not a project’ and I call on everyone who cares about classical music to work collaboratively, in a way we have so far failed to do, in order to achieve the meaningful change this report demands.

Dougie Scarfe, Chief Executive, Bournemouth Symphony Orchestra

Birmingham City University/Royal Birmingham Conservatoire

The Faculty of Arts, Design and Media at Birmingham City University is one of the largest and most diverse faculties of creative disciplines in the UK and we are in

full support of the Royal Birmingham Conservatoire being a key partner in the Arts Council

England project to increase diversity in classical music. This is closely aligned to

our work with the Centre for Equality, Diversity and Inclusion in the Arts and the Sir Lenny Henry Centre for Media Diversity and we look forward to working with other partners on this important project.

Professor Alison Honour, Pro Vice-Chancellor & Executive Dean, Faculty of Arts, Design & Media, Birmingham City University

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Royal Birmingham Conservatoire, part of the Faculty of Arts, Design and Media at Birmingham City University, is delighted to be a key stakeholder in this Arts

Council England project. As an organization which itself seeks to empower young musicians

from a diverse range of backgrounds to reach their full potential, RBC is a passionate advocate of any initiative concerned with widening access to the classical music

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world. We much look forward to working in partnership with other stakeholders in the Midlands to achieve outcomes which will ultimately make a real difference.

Dr Shirley Thompson, Interim Principal, Royal Birmingham Conservatoire

City of Birmingham Symphony Orchestra

The CBSO has a long standing commitment to developing and nurturing the talents of young musicians, and to providing a breadth of performances and musical

opportunities for people across Birmingham - one of Europe’s most diverse cities. We are

delighted to be involved with this new Arts Council England programme, which will enable us to work collaboratively with partners across the Midlands to provide progression routes for

young people from all backgrounds to reach their full potential as musicians, and to access the life enhancing opportunities through involvement with music. Bringing together partners with a shared commitment to, and expertise in, music education, will provide the CBSO with

valuable learning opportunities to continue to develop and improve our practice.

Collectively this partnership programme can make a tangible difference for aspiring musicians, accelerating the pace of change within our sector, and ensuring that the future for our sector is fully representative of the talent within the UK.

Stephen Maddock OBE, Chief Executive, CBSO

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Music Education Hubs East Midlands / West Midlands Music

Music Education Hubs East Midlands (MEHEM) and West Midlands Music are

delighted to partner with Arts Council England with this action research project to ensure all young musicians, from across the Midlands, from under-represented backgrounds within classical musical achieve their ambitions. Music transforms lives and we need to ensure

that sustainable career pathways are available to all regardless of gender, ethnicity, disability or socio-economic standing. MEHEM andWMM look forward to working with the identified partners to provide the platform whereby musical excellence can flourish within our diverse communities.

Jennifer McKie, Chair, Music Education Hubs East Midlands and Chris Jones, Chair, West Midlands Music

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Orchestras Live welcomes this research which provides the orchestral sector with clear evidence to shape actions that will help to create a fairer and more inclusive

classical music sector. Through our own work to embed inclusive practice with orchestras, Music Education Hubs, youth and community initiatives and out-of-school settings,

we know that there is a long way to go, but a body of support to promote change.

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We look forward to playing our part in creating a new framework for the orchestral profession so that people from all backgrounds know that it holds a place for them.

Sarah Derbyshire MBE, Chief Executive, Orchestras Live

Nottingham Trent University

Nottingham Trent University is passionately committed to furthering equal access to education and creative opportunities and so is delighted to be a partner

in this action research. We look forward to playing a role in establishing a genuinely game-changing approach that results in people of all backgrounds participating in the orchestras of the future.

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Barbara Matthews, Executive Dean, Culture, Nottingham Trent University

UK Music

Data and transparency are key to driving positive change – by improving our

understanding of the current profile of the classical music workforce we can identify

the systemic barriers to access and progression and learn what action is needed to achieve

meaningful change. So we welcome this research, which paints a stark picture and sets out the scale of the task ahead of us.

“Improving diversity across the whole music industry is a key priority for UK Music, and we have published a bold and ambitious Ten-Point Plan that we hope will lead the way for other organisations and other sectors to adopt.

“There is a widespread appetite for change from individuals and organisations across the

sector. The task now is to convert that shared determination into meaningful progress, and UK Music will continue to support and drive that work across the sector.

“We welcome Arts Council England’s commitment to boosting diversity in the

classical music sector, and look forward to working with them closely to help ensure the whole UK music industry is as inclusive and as relevant to modern society as

possible.

Jamie Njoku-Goodwin, Chief Executive

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Music Mark welcomes this very timely and important report and will work to

support colleagues across the music education sector to reflect on and react to the

findings so that the real and perceived barriers to progression are, where possible, removed at every stage of learning. It is vital that every child is able to reach their full potential, but to do

that not only is there a need for equity of access to the existing world-class provision available,

but that provision needs to reflect the diversity of this country. We are particularly aware of the challenge of ensuring that there are role models in the workforce

following our research earlier this year and are already working to support our Membership and the wider sector to address this.

Bridget Whyte, Chief Executive, Music Mark

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