Endangered Species
Evaluation Survey
2006
for Youth Music
Produced by
Alun Bond
Artservice
Youth Music
Old Court
One America Street
Winforton
London
Hereford
SE1 0NE
HR3 6EA
Tel: 01544 327877
Tel: 020 7902 1060
e-mail: artserv@kc3.co.uk
email: info@youthmusic.org.uk
Endangered Species Evaluation Survey 2006
1
CONTENTS
EXECUTIVE SUMMARY
1.
INTRODUCTION
6
2.
PARTICIPANTS
8
3.
PROJECT IMPACT
11
4.
PARTNERSHIPS AND FUNDING
14
5.
TUTORS
16
6.
WIDENING ACCESS
18
7.
REPERTOIRE
19
8.
INSTRUMENT PRIORITIES
20
9.
GIG BAGS
20
10.
LEGACY
22
11.
CONCLUSIONS
26
APPENDICES
I
List of Services Responding to the Survey
II
Music Services Questionnaire
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EXECUTIVE SUMMARY
The Survey
1.
The Endangered Species programme provided funding to eighty-nine Music Services in support of
projects commencing in May 2004.
£1.2m has been invested by Youth Music in over 2,000
Endangered Species instruments and 1,346 gig bags. Despite the programme’s evident success,
problems over instrument supply meant that a significant number of Music Services projects were still
at a relatively early stage of implementation when the programme was evaluated in 2005. In the light
of this Youth Music decided to commission this follow-up survey to provide an end of programme
assessment.
2.
This survey confirms the success of the Endangered Species programme identified in the 2005
survey and adds further evidence that the programme is a successful and continuing initiative with the
numbers of young people taking part increasing year on year as the programme rolls out. This survey
not only endorses the findings of the previous survey in 2005, it suggests that in some areas the
expectations of the scheme are being surpassed and that the commitment to Endangered Species
instrument teaching and playing remains a priority for Music Services across the country.
Participants
3.
The survey suggests that there are growing numbers of children continuing to play an instrument.
The average of 91 per Service (based on 40 services), compared with an average of 56 per service
having a chance to develop skills on an Endangered Species instrument in the earlier survey,
indicates that Endangered Species programmes are continuing beyond the initial period with more
children taking part each year. It would also appear that some children are playing more than one
instrument. It is evident that a high percentage of children who have started to play have continued
with an average of 71% of children per Service continuing to play.
4.
3,628 young people have continued to play Endangered Species instruments with a stock of 2,128
instruments purchased through the programme. This indicates that there are many more instruments
now in use, due either to young people purchasing their own Endangered Species instruments, or
Music Services extending their own stocks. Either way, this is a success for the programme. The
trombone and oboe have proved particularly popular with more than three times as many trombone
players than the number of instruments purchased and more than double the number of oboe players.
5.
92% of Music Services said that the programme had encouraged more young people to join
ensembles and orchestras. The average estimated percentage increase was 49%. 63% of Services
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also stated that the programme had resulted in more young people taking graded exams.
A
significant number of Services said that the number taking graded exams had increased by 50% or
more; while four Services reported a 100% increase. 78% of Services said that the Endangered
Species programme had helped them to widen access to young people who would not have
considered playing an instrument; while 26% said that it had encouraged more young people from
black and minority ethnic backgrounds to play instruments.
Impact
6.
14% of the services stated that the Endangered Species programme had resulted in the creation of
new ensembles and 13 Services had between them created 32 new ensembles as a result of the
programme. Eight Services said they had created new, mixed or orchestral brass ensembles. Other
ensembles created were double reed, strings and wind. There were also various duets, trios and
quartets and a jazz band. 90% of the Services stated that the Endangered Species programme had
helped to raise the standard of ensemble playing overall.
7.
98% of Services said that the Endangered Species programme had had a positive impact on how
young people perceived Endangered Species instruments; and 90% said that the programme had
had a positive impact on the ways in which the Service encouraged young people to play Endangered
Species instruments. Services commented that the programme had increased the number of pupils
playing Endangered Species instruments (‘dramatically’ in one case), and on the positive effect of
having good quality instruments on both teachers and pupils.
New Partnerships
8.
96% of Services had established new partnerships. 20 Services had established new partnerships
with professional orchestras and ensembles (this has increased from the earlier survey which
indicated that 15 Services from a larger sample had established such partnerships); five had
established new partnerships with Music Agencies; and 21 had established new partnerships with
other organisations or individuals. In several instance partnerships were on a continuing basis.
Charging
9.
It is apparent that more Services are now charging for Endangered Species instrument tuition and
hire than when the programme began, though some Services continue to offer reduced rates and free
instrument use. 78% of Services said they charged for Endangered Species instruments tuition now,
compared with just 40% when the programme began. A minority of Services felt that charging for
Endangered Species instrument tuition reduced the numbers continuing to play, but the majority
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(65%), said it did not. Several Services commented that free or low cost tuition and the provision of
instruments had encouraged take-up and continuation of Endangered Species instruments.
Tutors
10.
The 2005 survey found that 60% of Services had experienced difficulties with regard to finding
sufficient numbers and range of Endangered Species instrument tutors. The response to this survey
indicated an improvement in the situation.
78% of Services said that they now had enough
Endangered Species instrument tutors. This contrasts very positively with the earlier survey and
suggests that Services are being successful in finding sufficient numbers of tutors across the board.
The main challenge remains that of bringing together enough children to make tuition viable for tutors
and travel, which is a particular issue in some rural areas.
Widening Access
11.
78% of Services said that the Endangered Species programme had helped them to widen access to
young people who would not have considered playing an instrument. 13 Services (26%), said that it
had encouraged more young people from black and minority ethnic backgrounds to play instruments.
Several services commented that they had successfully built Endangered Species instruments into
their Wider Opportunities programmes, while others referred to the success of the programme in
attracting children who would not otherwise have decided to play an instrument, including pupils from
Black and ethnic minority backgrounds.
Repertoire
12.
62% of Services said that the Endangered Species programme had enabled them to extend the
repertoire and six Services stated that the programme had involved the commissioning or creation of
new musical works. The findings of this survey back up those of the earlier survey, particularly in
confirming the importance of Endangered Species instruments to orchestral playing overall and the
extended breadth of repertoire which could be tackled.
Instrument Purchase Priorities
13.
Services were asked to identify which instruments they would give the highest priority to in
purchasing. The most frequently mentioned instrument was the oboe prioritised by 13 Services; the
next most frequently mentioned was the bassoon, followed by the French horn and Double Bass.
Though a range of priorities existed, several Endangered Species instruments, oboe, bassoon,
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French horn, double bass, tuba and trombone, were still given very high priority and higher priority
overall than more popular instruments such as violin.
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1.
INTRODUCTION
1.1
Background to Report
6
Endangered Species was an instrument purchase scheme designed specifically by Youth Music to
provide support to Music Services in tackling the problem of falling numbers of young people taking
up and continuing to play the following ‘Endangered Species’ instruments: bassoon; oboe; French
horn; trombone; tuba (including the euphonium); baritone horn; and double bass.
The scheme
provided awards of up to 70% of the purchase costs of new instruments. Endangered Species also
embraced a Protected Species programme which provided ‘gig bags’ (instrument carrying cases) for
a range of instruments free to Music Services.
The Endangered Species programme was launched by Youth Music in November 2003 in support of
projects commencing after May 2004. Eighty-nine Music Services received funding, representing a
£1.2m investment by Youth Music in over 2,000 Endangered Species instruments. 1,346 gig bags
were also supplied.
Between May 2004 and October 2005, an evaluation of Endangered Species was undertaken by
Artservice for Youth Music. The evaluation report concluded that Endangered Species had been an
outstanding success with around 450,000 children and young people having an experience of
Endangered Species instruments; 28,000 having the chance to try out playing the instruments; and
around 5,000 children and young people continuing to develop skills, an average of 56 per Service.
Overall around 15% of the children and young people were from non-White ethnic minority groups.
Over 24,000 parents and carers were also involved.
Despite the programme’s evident success, there had been problems over instrument supply
(particularly tubas and bassoons). As a result, a significant number of projects had been delayed and
when the evaluation research was undertaken, a number of Music Services were still at a relatively
early stage of implementation of their projects. In the light of this Youth Music decided to commission
this follow-up survey to provide an end of programme assessment of its success.
1.2
Report Scope
This report is based solely on the findings arising from a simple questionnaire which was distributed to
all Music Services that had been in receipt of an Endangered Species award.
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Endangered Species Evaluation Survey 2006
1.3
7
Survey Responses
50 responses were received (see Appendices for details), a return rate of 56%. This compares with
69 (77.5%) that responded to the first survey in 2005. In some instances Services did not respond to
particular questions, and we have identified the number of responses to each question, where this
occurs.
1.4
Regional Analysis
The number of Music Services responding from each Arts Council region was as follows.
Comparative return rates for the 2005 survey are given in brackets.
i)
Eastern
3
6%
(4)
(6%)
ii)
East Midlands
1
2%
(3)
(4%)
iii)
London
7
14%
(17)
(24.5%)
iv)
North East
4
8%
(6)
(9%)
v)
North West
6
12%
(10)
(14.5%)
vi)
South East
8
16%
(10)
(14.5%)
vii)
South West
5
10%
(5)
(7%)
viii)
West Midlands
6
12%
(7)
(10%)
ix)
Yorkshire
10
20%
(7)
(10%)
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Endangered Species Evaluation Survey 2006
2.
8
PARTICIPANTS
The total number of children who had continued to play an Endangered Species instrument was
3.374, based on 40 responses (90%).

The average number was 75 per Service.

The highest number was 568.

The lowest number was 4.
Gender split (based on 43 responses)

There were almost equal number of boys and girls - 51% were girls and 49% boys. (though girls
appear to have continued playing consistently more than boys as previously 52% of children
given an opportunity to play an ES instrument were boys and 48% girls).
Ages of children continuing to play (based on 45 responses).
The majority of the young people (81%) continuing to play Endangered Species instruments, were in
the 8 – 14 age group.
As the programme was targeted at introducing Endangered Species
instruments to new players, and many services had prioritised younger students through starter
programmes, this was in line with the programme’s aims. The breakdown between age groups was:
42% were in the 8 – 11 age group
39% were in the 12 – 14 age group
18% were aged 15 – 18
less than 0.5% were aged 5 – 7.
Only five Services had pupils in the 5 – 7 age group, and 29 Services (64% of those who responded)
had pupils in the 15 – 18 age group.
Numbers continuing to play each instrument:
(40 Services gave details of the number of children continuing to play each instrument).
The total number continuing to play was 3,628, an average of 91 per service. As this is in excess of
the total number of actual children continuing to play Endangered Species instruments it would
appear that some children are playing more than one instrument. The 2005 survey found that the
average number of children per service having a chance to develop skills on an Endangered Species
instrument was 56.
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The increase to 91 could be due to 2 possible factors: the difference in the sample, if, say the most
successful services had responded to the survey this could have had the effect of over-estimating the
numbers across the 89 services; and (more likely) it could be due to the fact that some services are
now in year 2 of the programme with instruments being handed on and accumulating numbers of
young people playing the instruments (a key aim of the programme). Whatever the reason, it is an
encouraging finding.
The total number of instruments purchased by the 89 services through the programme was 2,128.
Though there may be some sharing of instruments, our previous case study research suggested that
for children to continue playing they needed to retain instruments.
If 3,628 young people have
continued to play with a stock of 2,128 Endangered Species programme purchased instruments, this
figure suggests that there are many more instruments now in use, due either to young people
purchasing their own Endangered Species instruments or Music Services extending their own stocks.
Either way, this is a success for the programme.
The breakdown for each instrument was:
Trombone
29%
(1060)
Oboe
16%
(588)
Double Bass
13%
(474)
French Horn
13%
(465)
Euphonium
12%
(441)
Bassoon
10%
(352)
Tuba
7%
(248)
If we compare the above with the total number of instruments purchased, we can see that the
trombone and oboe have proved particularly popular with more than three times as many trombone
players than the number of instruments purchased and more than double the number of oboe players.
(The figures below relate to all 89 services, whereas the figures above relate just to 50 services so
direct comparisons are not possible, but it is evident, even on these incomplete figures, that as the
Endangered Species programme rolls on from year to year it has triggered many more young people
to play than the numbers of instrument purchased. The potential for this continuing year on year
impact was highlighted in the 2005 evaluation report.
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Total No
% of
Purchased
Instruments
Double Bass
384
18%
French Horn
387
18%
Trombone
340
16%
Bassoon
312
15%
Oboe
262
12%
Euphonium/Bass Horn
243
11%
Tuba
200
9%
Endangered Species 2005
It is also evident that a high percentage of children who have started to play have continued. The
average was 71% per Service.

Six Services had 100% continuing to play, and one had 95%;

A further four Services had 90% continuing to play and four had 80%;

35 Services (88% of those who answered), had at least 50% of pupils continuing to play.
The six Services with 100% continuing to play were:

Herefordshire Music Service

Sandwell Youth Music

Sheffield Music Service

Somerset Music

Sutton Music Service

Warwickshire Music Service
In view of the challenges faced by students playing Endangered Species instruments (as set out in
the previous report) we consider that this represents a high level of success.
Artservice
Endangered Species Evaluation Survey 2006
3.
PROJECT IMPACT
3.1
Young Players
11
A major objective of the Endangered Species programme was to encourage more young people to
join ensembles and orchestras. All 50 Services responded on this issue.

Of these 46 (92%), said the programme had encouraged more young people to join ensembles
and orchestras.

Four (8%), said it had not.

35 Services (70%), estimated the percentage increase in Endangered Species players in
ensembles and orchestras.

The highest percentage increase was 400% and the lowest was 1%.

The average percentage increase was 49%.
63% of the services also stated that the programme had resulted in more young people taking graded
exams, while 37% stated that it had not.
Only 25 of the services provided an estimate of the
percentage increase in players of Endangered Species instruments taking graded exams.

The average percentage increase was 45%;

52% of the Services that gave an estimate said that the number taking graded exams had
increased by 50% or more;

3.2
Four Services reported a 100% increase.
Ensemble Playing
14% of the services stated that the Endangered Species programme had resulted in the creation of
new ensembles while 72%, said it had not.
13 Services had between them created 32 new
ensembles as a result of the Endangered Species programme. One Service had created 6 new
ensembles as a result of the programme.
Eight Services said they had created new mixed or
orchestral brass ensembles. Other ensembles created were double reed, strings and wind. There
were also various duets, trios and quartets and a jazz band.
It was evident that the Endangered
Species programme had helped to raise the standard of ensemble playing overall with 45 of the
services (90%), stating that it had.
Many Services commented that the programme had helped to raise the standard by improving the
balance of instruments and sounds in ensembles, and introducing colour and variety to the music.
This had an impact on the full orchestra experience with other players appreciating more fully the
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value of Endangered Species instruments and being more aware of the role of these instruments.
The programme had also improved the range of music played, with wider repertoires and new
compositions. Improved sight reading was also mentioned, as was the benefit of having good quality
instruments to play.
A number of Services mentioned having bassoons in their ensembles for the first time for years and
the benefits of having stronger bass lines. Another benefit was the ability for pupils to progress from
starter groups to more advanced ensembles. Some specific comments are given below.
‘Gives a more complete sound to the band/orchestra. More like the real thing.’
‘young people appreciate the role of different sections of an ensemble and what it adds to the overall
piece to have full texture and range of tone colours available.’
‘The bassoon programme has for the first time for several years provided our training orchestra with a
bassoon section.’
‘More balanced ensembles giving better overall experience.’
‘Base line instruments have enabled ensembles to play a wider range of music.’
3.3
Other impacts
48 (98%) of Services said it that the Endangered Species programme had had a positive impact on
how young people perceived Endangered Species instruments. 44 (90%), said that the Endangered
Species programme had had a positive impact on the ways in which the Service encouraged young
people to play Endangered Species instruments.
A number of Services commented on pupils transferring from non-Endangered Species instruments,
flute and clarinet for instance, to Endangered Species instruments. One Service commented that the
programme had: ‘enabled young students who already play an instrument to transfer and quickly
achieve a good level on second instruments.’
Several Services also commented on the impact of the programme in attracting a wider range of
pupils to play instruments. Providing free tuition, with free access to instrument loan, had been
important factors for some Services in extending access to Endangered Species instruments and in
reaching a wider range of pupils. A number of Services commented on how the programme had
changed perceptions of Endangered Species instruments among pupils and parents.
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There have also been impacts with the Local Authorities: one Service (Brighton & Hove Music &
Performing Arts) said that its Local Authority had been “very supportive” and had given the Service a
good opportunity to raise awareness of the issues involved in learning particular musical instruments.
Another Service (Cheshire) had committed further capital funds to support other projects to stimulate
the playing of Endangered Species instruments.
Particular comments were:
‘Players of non-Endangered Species instruments, e.g. flute and clarinet, have transferred to
Endangered Species instruments.’
‘The project has encouraged a wider range of pupils to access music in all its forms.’
‘As more pupils see instruments being played, they have encouraged others to try instruments.’
‘The project has highlighted the Endangered Species initiative and the need for it.’
‘Better quality instruments encourage pupils to continue.
Having good quality instruments has led to a bigger uptake of lower brass: they look good so have
some “street cred”.’
‘As more pupils see instruments being played, they have encouraged others to try the instruments.’
’We have extended the principle of Endangered Species by creating our own ‘rare breed’/ES initiative
as certain other instruments in our LA were becoming rarer, e.g. violas and cellos.’
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Endangered Species Evaluation Survey 2006
4.
PARTNERSHIPS AND FUNDING
4.1
New Partnerships
48 of the Services (96%) had established new partnerships.
14
20 Services had established new
partnerships with professional orchestras and ensembles (this has increased from the earlier survey
which indicated that 15 Services from a larger sample had established such partnerships); five had
established new partnerships with Music Agencies; and 21 had established new partnerships with
other organisations or individuals. Particular partnerships included the Manchester Camerata; Opera
North; CBSO; Halle; London Philharmonic Orchestra; Northern Sinfonia; Guildhall School of Music;
Trinity College of Music; SAGE Gateshead; and National Association of Youth Orchestras.
Other partnerships involved local authorities working together and special music days and workshops
run in partnership with various private companies and professional individuals .
The breadth of
partnerships, especially working with professional orchestras and music centres, was impressive and
it was encouraging to note that partnerships established through the early stages of Endangered
Species programmes had in some instances continued.
4.2
Funding Partnerships
14 Services had secured other funding towards the purchase of Endangered Species instruments and
16 Services had secured other funding towards Endangered Species instrument tuition. A number of
Services said that Friends and Parents Associations and Support groups had raised funding; other
sources included the Standards Fund; the LEA; grants from the Federation of Music Services;
charitable trusts; and use of the Service’s own funds. Some Services had also received sponsorship
and support in kind (e.g. a masterclass provided by a CBSO player).
4.3
Charging
Services also provided information on charging.

20 Services charged for Endangered Species instrument tuition when the programme began;

39 Services said they charged for Endangered Species instruments tuition now;

while 13 Services felt that charging for Endangered Species instrument tuition reduced the
numbers continuing to play, 24 Services (65%), said it did not.
Several Services commented that free or low cost tuition and the provision of instruments encouraged
take-up and continuation of Endangered Species instrument playing. Practices varied with many
Services providing free tuition for an introductory period with associated free instrument loan. One
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Service stated that it charged the school, not the pupil. The tendency was for this to tail out in the
second year and for charging to be introduced, in some instances at a reduced rate. One Service
continued to provide free instrument loan, but not free tuition.
Despite the feedback above suggesting that for many Services charging had not reduced the
numbers continuing to play, there were a significant number of comments stating that there was a fall
off in numbers once charging was introduced, or if the Service was unable to continue providing an
instrument free of charge. For example, the negative impact of charging was mentioned in Sheffield,
Herefordshire, Hull and Wakefield. In other instances Services appear to have been able to maintain
numbers even though charging.
Particular comments are:
‘Charging proved a huge obstacle.’
‘Some pupils transferring to a secondary school where the charges are quite high have given up.‘
‘Charging full amount has certainly been a deterrent.’
‘In one school no pupils wished to continue to play the double bass following information that a
charge would be introduced. The instruments were moved to another school.’
‘Numbers have increased so much on lower brass and cello that the level of support has now been
reduced.’
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Endangered Species Evaluation Survey 2006
5.
16
TUTORS
The 2005 survey found that 60% of Services had experienced difficulties with regard to finding
sufficient numbers and range of Endangered Species instrument tutors. The main areas of difficulty
were with double bass, bassoon, French horn and oboe. Several had commented specifically on the
problem of finding double bass tutors and some Services had found it difficult to recruit tutors for
individual or small group tuition.
15 Services commented on particular difficulties in getting enough suitable (and high quality) tutors
and shortages were experienced by some Services in certain instrument areas. The problems of low
numbers and travel between sessions were particular problem for tutors in rural areas. 22 Services
(45%), said that the Endangered Species programme had assisted them in attracting new tutors.
The overall response to this survey indicated an improvement in the situation. 38 Services (78% of
those responding) said that they had enough Endangered Species instrument tutors now. In contrast
with the earlier survey, this suggests that Services are being more successful in finding sufficient
numbers of tutors across the board, with a high level of success rate for all instruments, though the
four instruments for which it was most difficult to find tutors previously remain the most difficult.
Trombone:
of 40 responses, 39 (98%) had enough tutors
Euphonium:
of 38 responses, 37 (97%) had enough tutors
Tuba:
of 39 responses, 36 (92%) had enough tutors
Oboe:
of 39 responses, 35 (90%) had enough tutors
French Horn:
of 39 responses 34 (87%) had enough tutors
Bassoon:
of 39 responses, 33 (85%) had enough tutors
Double Bass:
of 39 responses, 33 (85%) had enough tutors.
The following comments were made:
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‘We have struggled to keep oboe teachers as the 15 players are spread thinly across a number of
local schools and the teacher’s schedule, including travel between schools, is rather hectic.’
‘significant difficulties recruiting double reed and French Horn specialists, as there is very limited
work available.’
‘We don’t promote instruments outside areas where we know we have a tutor, but that means there
are large areas of the county with little or no Endangered Species instrument provision.’
‘Too few pupils make staff appointments less viable.’
‘Difficult to generate a full timetable of teaching for some instruments.’
‘Difficulty attracting quality Double Bass teachers to Shire Authority with large travel commitments.’
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Endangered Species Evaluation Survey 2006
6.
18
WIDENING ACCESS
39 Services (78%), said that the Endangered Species programme had helped them to widen access
to young people who would not have considered playing an instrument. 13 Services (26%), said that
it had encouraged more young people from black and minority ethnic backgrounds to play
instruments.
Several services commented that they had successfully built Endangered Species
instruments into their Wider Opportunities programmes, while others referred to the success of the
programme in attracting children who would not otherwise have decided to play an instrument,
including pupils from Black and ethnic minority backgrounds.
Some specific achievements in relation to widening access were:
‘A wide range of cultures and nationalities of pupils showed interest in the instruments involved in the
Endangered Species Programme.’
‘Some very young boys have taken up Endangered Species instruments and achieved good
standards in their instrumental exams.’
‘Many of those who chose to take up the taster sessions had not previously played an instrument.’
‘Children are playing Endangered Species instruments who would probably have played a more
common instrument otherwise.
‘It has been very encouraging to see children developing their musical skills on instruments they
might not otherwise have had the opportunity to play.’
‘A significant proportion of new players are from black and ethnic minority backgrounds.’
(Haringey Music and Performing Arts Centre)
‘50% are from ethnic minority backgrounds.’
(Redbridge Music Service.)
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Endangered Species Evaluation Survey 2006
7.
19
REPERTOIRE
The 2005 survey stated:
‘Strengthening ensemble playing was a key aim for many of the Music Services, and when asked to
rate the impact of the Endangered Species programme on repertoire and ensemble playing,
introducing new players to ensembles and increasing the number of children playing in ensembles
were rated as the greatest impacts of the programme.’
31 Services (62%), said that the Endangered Species programme had enabled the Service to extend
the repertoire and six Services stated that the programme had involved the commissioning or creation
of new musical works. These included new compositions by tutors, and, in one instance (Bolton
Music Services), a project with the Halle Orchestra involving Black and ethnic minority pupils had
resulted in a number of new arrangements. The findings of this survey back up those of the earlier
survey, particularly in confirming the importance of Endangered Species instruments to orchestral
playing overall and the extended breadth of repertoire which could be tackled.
Specific examples of how the programme had enabled Services to extend the repertoire were given.
‘The pupils were very much encouraged to improvise and compose their own group pieces for this
project.’
‘We have already benefited from playing more adventurous music and would like to widen our
repertoire still further.’
‘Repertoire is drawn from a wide range of cultures and genres. Endangered Species instruments
encourage tutors to broaden their repertoire.’
‘Having full sections in orchestras and bands allows more flexibility in programming.’
‘Our brass quintet and bassoon groups have given a wider base to our choice of repertoire.’
‘Staff have written compositions for the ensembles and produced backing tracks. One member of
staff composed a mini musical for bassoonists, which was performed in concert.’
‘Repertoire has been an issue. Very little material available for the combination of horns, trombones,
tubas, bassoons and double basses.
We have adapted, arranged and composed a range of
ensemble materials.’
Artservice
Endangered Species Evaluation Survey 2006
8.
20
INSTRUMENT PRIORITIES
In this survey we asked Services to identify which three instruments (not just Endangered Species
instruments) they would give the highest priority to purchasing and how many of the instruments they
would need to buy to meet their needs. The number of instruments needed varied depending on the
size of the Service. The figures need to be treated with some caution, because some Services did
not specify the number of instruments they needed. Others generalised (e.g. “strings” or “brass”).
These have not been included in the figures.
47 Services gave details of the three top priority
instruments to purchase.

The most frequently needed instrument was the Oboe (13 Services). The total number of oboes
needed was 128, an average of 10 per Service.

The next most frequently needed instrument was the Bassoon (12 Services). The total number of
Bassoons needed was 97, an average of 8 per Service.

11 Services needed French Horns and 11 needed Double Basses.
The numbers needed were
83 French Horns (an average of 8 per Service), and 136 Double Basses, an average of 12 per
Service.

10 Services needed Tubas, with a total of 87 instruments, giving an average of 9 per Service.

9 Services needed a total of 223 Saxophones, an average of 25 instruments per Service.

The next most needed instrument was the Clarinet (8 Services). The total number needed was
455, an average of 57 per Service.

7 Services needed Trombones (a total of 73 instruments, average 10 per Service).

Six Services needed Violins, Cellos and Flutes. Totals needed were 5,416 violins (average 903
per Service); 1,112 Cellos (an average of 185 per Service); and 345 Flutes (an average of 58 per
Service).
The same Service needed large quantities of both violins and cellos (5,000 violins and
1,000 cellos). One Service needed 130 Flutes.
The figures relating to strings illustrate that a small number of Services would like large numbers of
string instruments. Previous research suggests that this may be because they find teaching stringed
instruments, and violins in particular, the most effective way of encouraging large numbers of young
people to play an instrument.
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Endangered Species Evaluation Survey 2006
21
Instrument Purchase Priorities
Instrument
Oboe
Bassoon
French Horn
Double Bass
Tuba
Saxophone
Clarinet
Trombone
Flute
Violin
Cello
Trumpet
No of
Services
13
12
11
11
10
9
8
7
6
6
6
4
Total
128
97
83
136
87
223
455
73
345
5416
1112
70
Avge per
Service
10
8
8
12
9
25
57
10
58
903
185
18
As the above table illustrates, a wide range of priorities exist, but several Endangered Species
instruments, oboe, bassoon, French horn, double bass, tuba and trombone, were still given very high
priority and higher priority overall than more popular instruments such as violin.
9.
GIG BAGS
25 Services said that gig bags had enabled them to bring unused instruments back into service. The
total number of instruments brought back into service was 323, an average of 9 per Service.
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Endangered Species Evaluation Survey 2006
10.
PROGRAMME LEGACY
10.1
Main Impact
22
Services were invited to comment on the main impact to date of their own Endangered Species
programme on their Service, the ensembles and the young people and tutors involved and many of
the Services commented on the positive impact of the programme on their ensembles. A number of
Services commented that the programme had increased the number of pupils playing Endangered
Species instruments (‘dramatically,’ in the case of Birmingham Music Service), and on the positive
effect of having good quality instruments on both teachers and pupils. Specific comments were:
‘Better balance in ensembles, wider choice of repertoire.’
‘Ensemble gaps have been plugged.’
‘It has encouraged more pupils to join bands and orchestras.’
‘School-based ensembles and Music School ensembles have been strengthened as a result
of the programme.’
10.2
Legacy
Services were asked to comment on the main impact of the programme on their service, ensembles
and the young people involved. Comments fell into several areas.

Providing increased opportunities for more pupils and continuity of playing (Services
appreciated the ability the programme had given them to involve more children and, in particular,
the chance to play more expensive instruments. They also felt that by supplying instruments
pupils were deterred from giving up playing).

Raised awareness and profile - the programme had increased awareness, ‘made instruments
more appealing to pupils, and created ‘a new spark of interest’.

Impact on teachers – tutors had reviewed how they worked in teaching larger groups, felt more
invigorated and were teaching to larger groups.
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Endangered Species Evaluation Survey 2006

23
Increased numbers of Endangered Species instrument players – ‘huge increase in take-up of
oboe and other ES instruments.’ ‘Has increased dramatically the number of bassoonists now
learning.’ ‘A steady stream of future players has been established.’

Impact on ensembles and pupils – a range of benefits were mentioned, including a better
balance of instruments; improved retention rates; stronger mix in brass ensembles; a clear
progression route for students; filling gaps in ensembles; positive impact on the overall sound of
the ensemble; wider repertoire; more ensembles; more pupils wanting to join ensembles;
increased confidence and self-esteem in new players.

Quality and stock of instruments – improved stock and teaching capacity; broader range of
instruments; better instruments for talented pupils; an improved instrument resource for many
years to come. ‘a good stock of high quality, modern ES instruments.’

Ensuring the future of Endangered Species instruments – more interest from pupils; the
programme has stabilised a declining situation.

Stability of ensembles – more balanced ensembles; Endangered Species in most ensembles
have improved and stabilised ensembles.

Perceptions of Endangered Species instruments – encouraged pupils to think beyond the
usual accepted instruments and beyond obstacles such as size; heightened awareness; sowing
seeds for the future. ‘Official recognition of the inestimable value of ES instruments in keeping the
Western tradition of music making alive in our schools.’
Overall Music Services felt that the main legacy of the programme would be ensuring the future and
stability of ensembles and ensuring the future of Endangered Species instruments. The following are
a selection of other comments made.
‘the programme stabilised decline in take-up of these instruments.’
‘most of these instruments are off the endangered or extinct list.’
‘Long term stability for many ensembles.’
‘The ability for us to maintain balanced ensembles.’
Comments on the impact of the programme in changing perceptions of Endangered Species
instruments included:
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24
‘…making it “cool” to play these instruments.’
‘encouraging pupils to think beyond the usual accepted instruments…helped them to look beyond the
obstacles of size…learnt that tubas and double basses can be melody instruments and as rewarding
to play as any other instrument.’
‘Sowing the musical experience seed for future generations of musicians.’
’Pupils feel “special”, “individual”.’
10.3
General Comments
Several Services commented on the strong commitment to continuing the programme and
emphasised what it had achieved for the Service and its users and partners. We have added a
selection of comments below.
‘The ES Programme resources will continue in use with the pupils who are now performing on them
on a daily basis.’
‘We intend to continue the programme in some form.’
‘The Programme is ongoing.’
‘The programme will definitely continue to increase awareness of availability.’
‘We intend to continue and expand the programme.’
‘We intend to continue the ES programme.’
Other Comments included:
‘The projects have raised awareness of ES instruments and encouraged Music Services to create new
partnerships in order to provide more children with opportunities to play these instruments that they may not
otherwise have been able to gain.’
‘Too often in the past, very old, ugly instruments in poor condition have been offered to children of ES, due to
the high cost of replacing them. This scheme has been invaluable in being able to offer pupils a stock of
quality instruments that are attractive.’
‘The project has proved highly successful and beneficial to the service, its staff, pupils and parents.’
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25
‘ongoing opportunity created for our pupils and their friends and families to access performances in
prestigious venues at specially negotiated prices, thus maintaining access and opportunity.’
‘We would expect that by introducing these instruments to a younger age group we can increase retention and
standards of attainment.’
‘An excellent project. We have achieved outstanding successes.’
‘Provided invaluable opportunity for children to start learning.’
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Endangered Species Evaluation Survey 2006
11.
26
CONCLUSIONS
This survey confirms the success of the Endangered Species programme identified in the 2005
survey and adds further evidence that the programme is a successful and continuing initiative with the
numbers of young people taking part increasing year on year as the programme rolls out.
The
programme is widening access to music making for young people and has encouraged many young
people who would not otherwise have taken up an instrument to do so. It has also encouraged more
young people to play in ensembles.
The survey indicates that there are also growing numbers of children continuing to play an instrument,
an average of 91 per service. The average number of children who had had an opportunity to
develop skills on an instrument, based on the earlier survey returns, was 56.
Music Services have confirmed the positive impact of the programme on ensemble playing and on the
standard of playing, with more ensembles created, extended repertoires and more young people
taking exams. Services have also been more successful in finding tutors for Endangered Species
instruments and in developing partnerships with other organisations involved with music and providing
funding.
Despite increased charging for instrumental tuition after the initial project period, this does not appear
to have deterred young people from continuing to play Endangered Species instruments.
Furthermore, it is evident that there are many more Endangered Species instruments now being
played than the numbers purchased through the Youth Music programme. It appears that both Music
Services and parents have bought Endangered Species instruments as a result of the programme
and in response to demand from children.
This survey not only endorses the findings of the previous survey in 2005, it suggests that in some
areas the expectations of the scheme are being surpassed and that the commitment to Endangered
Species instrument teaching and playing remains a priority for Music Services across the country.
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Endangered Species Evaluation Survey 2006
Appendix I
27
List of Services Responding to the Survey
Barking & Dagenham Music Service
Barnsley Performing Arts Service
Bedfordshire Music
Bexley Academy of Music & PA
Birmingham Music Service
Bolton Music Service
Bradford Music Arts & Libraries Service
Brighton & Hove Music & Performing Arts Service
Bromley Youth Music Trust
Coventry Performing Arts Service
Cheshire Music Education Partnership
Durham Music Service
East Riding Schools' Music Service
East Sussex Music Service
Essex Music Services
Gateshead Schools Music Service
Greenwich Music Service
Haringey Music & Performing Arts Service
Herefordshire Music Service
Hertfordshire Music Service
Kingston-upon-Hull Music Service
Kirklees Music School
Leeds Art Forms Education
Liverpool City Council Music Support Service
Luton Music Service
Merton Music Foundation
Newcastle Music Service
Northamptonshire Music & PA Service
North Somerset Music Service
North Yorkshire County Music Service
Oxfordshire County Music Services
Redbridge Music Service
Rotherham Schools Music Service
Salford Music & Performing Arts Service
Sandwell Youth Music
Sheffield Music Service
Solihull Music Service
Somerset Music
Southampton Music Services
Staffordshire Performing Arts
Stoke-on-Trent City Music & PA Service
Sunderland City Council Music Dev Office
Surrey County Arts
Sutton Music Services
Tees Valley Music Service
Wakefield Music Service
Warwickshire Music Service
West Sussex Music Support Service
Wiltshire Music Service
Wirral Schools Music Service
Late returns were received from Bath and North East Somerset, north Somerset and Havering Music
Services.
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Endangered Species Evaluation Survey 2006
Appendix II
1.
1
Music Services Questionnaire
MUSIC ADVISORY SERVICE DETAILS
URN Number:
Name of Service/Organisation:
Name & Position of Contact:
Tel No:
Fax No:
e-mail address:
a)
Which Arts Council region are you in? (please tick)
i
ii
iii
Eastern
East Midlands
London
2.
PARTICIPANTS
a)
Please say how many children have continued to play an Endangered Species
instrument and give a breakdown against the categories below.
iv
v
vi
North East
Northern
South East
vii
viii
ix
South West
West Midlands
Yorkshire
i. Total number continuing to play
ii. Male children
iii. Female children
iv. Age 5 – 7
v. Age 8 – 11
vi. Age 12 – 14
vii. Age 15 – 18
b)
Please give a breakdown of numbers continuing to play in the categories below.
i)
French horn
ii)
Trombone
iii)
Tuba
iv)
Bassoon
v)
Oboe
vi)
Double Bass
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Endangered Species Evaluation Survey 2006
vii)
Euphonium
c)
Please estimate the % of children who started to play
Endangered Species instruments and have continued to play.
3.
PROJECT IMPACT
2
Please indicate and comment below on the ways in which your Endangered Species
programme has had an impact.
Young players
a)
Has it encouraged more young people to join ensembles and orchestras?
Yes
No
Please estimate the % increase in ES players in ensembles & orchestras
b)
Has it resulted in more young people taking graded exams?
Yes
No
Please estimate the % increase in ES players taking graded exams
Ensembles
c)
Has it resulted in the creation of new ensembles?
Yes
d)
No
If it has helped to create new ensembles, how many?
Please give brief details, including the type of instruments
played. (e.g. horn trio, mixed brass band)
e)
Has helped to raise the standard of ensemble playing?
Yes
No
Please say how.
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3
Other Impacts - Has your ES programme had a positive impact on:
f)
How young people perceive ES instruments?
g)
The ways in which your Service encourages young people to play ES instruments?
Yes
Yes
No
No
h)
Please add any other comments on impacts made (e.g. on your Local Authority’s
support; the quality of ensemble playing; the range of young people playing.
4.
PARTNERSHIPS AND FUNDING
a)
Have you established any new partnerships through your ES programme?
b)
c)
d)
With professional orchestras and ensembles
With music agencies
With other organisations or individuals
Yes
Yes
Yes
No
No
No
If ‘yes’, please give brief details
Have you secured funding from any other sources towards:
e)
The purchase of ES instruments.
Yes
No
f)
ES instrument tuition
Yes
No
If ‘yes’, please give brief details
g)
Did you charge for ES instrument tuition when the programme began?
Yes
No
h)
Do you charge for ES instrument tuition now?
i)
Has charging for ES instrument tuition reduced the numbers continuing to play?
Yes
k)
Yes
No
No
Please add any comments you wish to make on the above.
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Endangered Species Evaluation Survey 2006
4
5.
TUTORS
a)
Do you have enough ES instrument tutors now?
b)
Please indicate below if you have found enough suitable tutors for each instrument.
i)
ii)
iii)
iv)
v)
i)
ii)
French horn
Trombone
Tuba
Bassoon
Oboe
Double Bass
Euphonium
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
No
No
No
No
No
No
No
No
Please comment on any particular difficulties:
c)
Has the programme assisted you in attracting new tutors?
6.
WIDENING ACCESS
a)
Has the ES programme helped you to widen access to young people who would not
have considered playing an instrument before?
Yes
b)
Yes
No
No
Has it encouraged more young people from Black and Minority ethnic backgrounds
to play instruments?
Yes
No
c)
Please comment below on any specific achievements.
7.
REPERTOIRE
a)
Has the ES programme enabled your Service to extend the repertoire being used?
Yes
c)
Has it involved the commissioning or creation of any new musical works?
Yes
c)
No
No
Please comment on any specific examples of the above.
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5
8.
INSTRUMENT PRIORITIES
a)
Please say what your current three top priority instruments to purchase are (all
instruments, not just ES).
b)
How many of each would you need to buy to meet your current needs.
9.
GIG BAGS (please complete only if you received gig bags)
a)
Did the gig bags enable you to bring un-used instruments back into service?
Yes
No
b)
Please estimate how many instruments were
brought back into service in total.
10.
LEGACY
a)
Please say briefly what the main impact of your ES programme has been to date on
your Service, your ensembles and the young people and tutors involved.
d)
Please say briefly what you consider to be the main legacy of the programme.
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6
11.
GENERAL COMMENTS
a)
Please add any further comments you may wish to make, including what the project
has achieved for your Music Service and its users and partners and whether you
intend to continue the programme.
THANK YOU FOR TAKING TIME TO COMPLETE THIS QUESTIONNAIRE. WE WOULD BE GRATEFUL
IF YOU COULD RETURN IT BY NO LATER THAN 20 October 2006 to: Artservice, Old Court,
Winforton, Hereford, HR3 6EA
Fax: 01544 327772 e-mail alunartserv@kc3.co.uk
If you have any queries relating to this questionnaire please e-mail Alun Bond at the
address above or call on 01544 327877.
Artservice