ImpactReport,February2021

FivehundredprimaryschoolchildrenchatterandfidgetastheyfileintotheredplushseatingofHackneyEmpire.Thevenueisalarge,magnificent,late-Victorianstyleauditorium,withrakedseatingandgildedcarvingsrunningallthewayfromtheprosceniumarchtothevaultedceiling.ThechildrenhavecomefromelevendifferentschoolsacrossnorthandeastLondon,excitedtobeoutoftheirclassroomsforaspecialtrip.Onstage,afullorchestraiswaiting.Thechildrensitdown,andsilencedescendsontheauditoriumlikeathick,velvetcurtain.Forthepastfifteenyears,ApolloMusicProjects(AMP)hasnoticedthismomentofpureattention,justbeforeitssymphonyorchestraconcertbegins.TheconcerttakesplaceattheendofAMP’sannualmusicprogramme,andthechildrenwhotakepartarenotsimplyasattentiveasanaudienceofadult,classicalmusicaficionados–theyareevenmoreso.Somethinghappensatthemomentthemusicstarts.Thereisatransformationthattakesplace,aspecialatmospherecreatedbythemusicandbytheactoflisteningtoliveperformance.Whatdothechildrenexperienceatthatmomentthatmakesthishappen?Howcanwemeasurethis,andhowcanithelpustounderstandthepowerofmusictoreachchildreninameaningfulandprofoundway?Whatmightittellusabouttheimpactoflisteningtomusiconchildren’swellbeing?

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ApolloMusicProjectsImpactReport,February2021ExecutiveSummary

ApolloMusicProjectsbringsliveclassicalmusictochildrenwhomightnototherwiseexperienceit.Forfifteenyears,teachersandpupilshavetoldusaboutthepositiveimpactourprogrammehasonparticipants’enjoymentofmusicandtheirwiderwellbeing.In2018and2019wecarriedouttargetedevaluationtoresearchthisfurther:specifically,wewantedtoexplorewhatishappeningwhenthechildrenseemtobeabsorbedandconcentratingonthemusic.Webeganbyinvestigatinghowchildrenfeelwhentheystarttolistentoliveorchestralmusicduringachamberorchestraworkshop,thefirstworkshopthechildrenexperiencewithafullorchestra.Wediscoveredthatalargenumberofchildrenfeelcalmandconcentratedwhenthemusicbegins.Interestingly,thesefeelingsofcalmandconcentrationarenotcorrelatedtotheemotionalcontentofthemusicitself.Rather,thechildrenseemtoexperiencecalmandconcentrationthroughtheactoflisteningtothemusic.

Delvingfurtherintothis,weaskedthechildrentotellushowtheyfeltnotjustatthestartofaconcertorworkshop,butduringtheentireevent.Onceagain,childrenconsistentlyreportedfeelingsofcalmandconcentration,regardlessoftheemotionalcontentofthemusictheywerelisteningto,orindeedtheexcitementofbeingatagrandvenueonaschooltrip.Theseresultssupportanecdotalevidencewehavereceivedfromteachersovermanyyears,thatchildrenexperienceprofoundandsustainedlevelsofconcentrationand‘flow’asaresultoftheAMPprogramme.DrawingonevaluationdatacollectedthroughAMP’sannualevaluationpolicies,aswellasthroughcollectionmethodsdesignedspecificallyforthisresearch,ourresearchanalysesinformationfromwrittenquestionnaires,facilitatedgroupsessions,creativewritingresponses,interviewsandinformalconversationswithteachersandpupils.WeoriginallysetouttoinvestigatehowandwhetherAMPachievesthefollowingthreeoutcomesforthechildrenwhoparticipate:

1. Developmentofanemotionalconnectionwithclassicalmusic2. Experienceofemotionalwellbeing,throughengagingwithAMP’sprogramme3. Feelingthatclassicalmusicisaccessibleandavailabletothem.

Ourfindingswerestrongandconsistent.ChildrenwhoparticipateinAMP’sprogrammearticulatecomplex,personalandappropriateresponsestoclassicalmusic.Childrenreportfeelingpositiveemotionsthroughlisteningtoclassicalmusicduringourworkshopsandconcerts,suggestingitcontributespositivelytotheirwellbeingandthattheyhaveestablishedaconnectiontothisartform.ChildrenandteachersalsosaythatparticipantsareinspiredtolearnamusicalinstrumentasaresultofAMP’swork.Whileanalysingourresults,wealsounearthedanunexpectedimpactofourwork–thesustainedpositiveimpactofactivelisteningonchildren’swellbeing.Weareveryexcitedbytheimplicationsofthisresearch.Webelieveitcouldindicateapositiverelationshipbetweenthepracticeoffocused,activelisteningandwideremotionalwellbeing,demonstratingthatAMPdoesnotjustenablechildrentoaccessclassicalmusic,butalsotoexperienceaprofoundaestheticengagement,withwide-reachingeffects.

Thisresearchhasinspiredanewdirectioninourevaluation,whichwarrantsfurtherinvestigation.

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ApolloMusicProjectsImpactReport,February2021AboutApolloMusicProjects

AMPworkswithprimaryschoolchildrenaged8to10years(years4to6intheEnglishschoolsystem)overthecourseofafullacademicyear.Theprojectbeginswithsixclassroomworkshopsineachschool,progressestoachamberorchestraworkshopforgroupsofthreeorfourschoolsinalocalvenue,andculminatesinsymphonyorchestraconcertsinthegrandsettingofHackneyEmpire.Throughthiscycle,weintroducechildrentotheinstrumentsoftheorchestra,themusicianswhoplaythemandthecontextsinwhichclassicalmusicisperformed,aswellastothebeautyandemotionalrangeofthemusicitself.Weprovidethechildrennotonlywiththeopportunitytohearliveclassicalmusicbutalsothetoolsandtheconfidencetounderstandwhattheyarehearing.

Morethan11,000childrenhaveexperiencedthemagicofliveperformancewithussincewebeganin2004.OurpartnerschoolsarelocatedinunderprivilegedpartsofNorthandEastLondon,coveringareasinwhichover27%ofprimaryschoolpupilsareeligibleforfreeschoolmeals(againstanationalaverageof15.7%,andaLondonaverageof16.6%).Ourprogrammeisuniquebecausewespendtimewiththechildren,notjustteachingthemaboutmusicbutalsoexploringitsculturalandsocialcontexts.Ourapproachmakesclassicalmusicwelcomingandfamiliar.Thesuccessofourapproachcanbeseeninincreaseddemandforourprogrammefromnewschoolsalongwithcontinueddemandfromexistingschools,withmanyschoolstakingpartfor5yearsormore.AimsofAMP

• Toimproveaccessforchildrenwhodonotnormallyhavetheopportunitytoenjoyhigh-qualityartisticexperiences

• Todevelopkey,transferableskillsthathaveimpactsacrossthecurriculum,includingimprovedconcentration,creativityandself-confidence

• Todevelopmusicalknowledgeandinspirechildrentolearnaninstrument• Totackletheperceptionthatclassicalmusiciselitist,inaccessibleanddifficulttounderstand.

AboutthisImpactReportApolloMusicProjectshasgrownanddevelopedthroughpersonalrecommendations,verbalfeedback,theinspiringleadershipofitsfounderandartisticdirector,DavidChernaik,andthecommitmentofthemusicianstakingpart.

Wehavereceivedhundredsoftestimoniesaboutthepositiveimpactofourworkonchildren’smood,attentionandinterestinmusic,fromchildren,teachersandparents.Anecdotally,teachersandparentstellusthisimpactappliesnotjusttomusiclessonsbuttoallareasofthechildren’swellbeing.In2018wedecidedtoexplorethisfurther.Wecarriedouttargetedevaluationalongsideourregularevaluationprocessestounderstandmoreaboutthechildren’semotionalexperiencesduringourprogramme.Thesefindingsinturnencouragedustocontinueandbroadenourresearchin2019andbeyond,althoughfurtherworkwascurtailedbythepandemicin2020.Impactevaluationisnotoriouslydifficulttocarryoutinrelationtotheartsandyoungpeople.1Inthefieldofclassicalmusic,studiestendtofocusonchildrenlearninganinstrumentorperformingmusicthemselves.2Ourworkinsteadacknowledgesthecreativity,concentrationandconnectioninvolved1SeeforexampleSusannaPunch,‘ResearchwithChildren:TheSameorDifferentasResearchwithAdults?’(Childhood,August2002)whichaddressesthebroadissuesassociatedwithconductingqualitativeresearchwithchildren;andBengHuatSee&DimitraKokotsaki,‘Impactofartseducationonthecognitiveandnon-cognitiveoutcomesofschool-agedHuatSee&DimitraKokotsaki,‘Impactofartseducationonthecognitiveandnon-cognitiveoutcomesofschool-agedchildren’(EducationEndowmentFoundation,2017),whichreviewstheevidenceoftheimpactsofartseducationonchildren.2SeeforexampletheCulturalLearningAllianceKeyResearchFindingswww.culturallearningalliance.org.uk/evidenceandtheEducationEndowmentFoundationartseducationreview(2015)https://educationendowmentfoundation.org.uk/public/files/Presentations/Publications/Arts_Education_Review.pdf

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inthesharedexperiencesoflivemusic,foraudiencemembersandmusiciansalike.Therearefewifanystudiesexaminingtheeffectoflisteningtolivemusiconchildren’swellbeingandemotionalengagement,andwhathappenstotheemotionsofthelistenerduringtheprocessoflistening.

ThisImpactReportdrawsondatawehavecollectedtohelpusunderstandandevaluatethesesharedexperiences.Wedonotattempttopresentadefinitivestudy;wehavenocontrolgroup,forexample,anditwouldbeimpossibletoisolatetheimpactofAMP’sworkoverotherinfluencingfactorsinthechildren’slives.However,webelievethatourworksuggeststhatthesesharedexperiencesunlockthebenefitsartisknowntohaveonwellbeing.3Wehopethisresearchwillresonatewithothersinourfieldandopenupfurtheravenuesforstudy.Methodology

InordertoexaminetheimpactofAMP’sprogrammeonthewellbeingofparticipatingchildren,weidentifiedthefollowingthreeintendedoutcomesforthechildren:

1. Developmentofanemotionalconnectionwithclassicalmusic2. Experienceofemotionalwellbeing,throughengagingwithAMP’sprogramme3. Feelingthatclassicalmusicisaccessibleandavailabletothem

Weidentifieduptothreeindicatorsforeachoutcome,asoutlinedinthefollowingtable:Table1:Intendedoutcomesandindicators

Outcome Indicator1.Developmentofanemotionalconnectionwithclassicalmusic

1a.Childrenexpresscomplexemotionalresponsestothemusic1b.Childrenexpressindividualemotionalresponsestothemusic1c.Childrenexpressappropriateemotionalresponsestothemusic

2.Experienceofemotionalwellbeing,asaresultofengagingwithAMP’sprogramme

2a.ChildrenshowahighleveloffocusandengagementduringAMPsessions2b.Childrenfeelcalmduringandafterworkshopsandconcerts

3.Feelingthatclassicalmusicisaccessibleandrelevanttothem

3a.ChildrenareinvolvedinAMPsessions3b.Childrenwanttofindoutmoreaboutclassicalmusic/listentomoremusic3c.Childrenwanttoengagewithclassicalmusicinotherways,e.g.throughlearninganinstrument

Wecarriedoutevaluationatthreekeypointsinourprogramme:thechamberorchestraworkshops(COWs),thesymphonyorchestraconcerts(SOCs),andthefinalin-schoolworkshops(Lesson6).Altogether,thesethreestagesinAMP’sprogrammespanarangeoftimeandcovertherangeofenvironmentsinwhichourworktakesplace.

ThechamberorchestraworkshopscomepartwaythroughAMP’sprogramme.Wechosetosurveythechildrenatthispointbecauseovertheyearsteachersandmusicleadershaveconsistentlynoticedastep-changeinchildren’sbehaviourhere:namely,thattheirconcentrationon,connectionwithandenthusiasmforclassicalmusicshowsamarkedincreaseatthisstage.Forthisresearch,547participatingchildrenaged8-10in16primaryschoolsweregivenquestionnairestofilloutbyhandafterthechamberorchestraworkshops(AppendixA).Teacherscarriedoutthesurveyswiththeirclasses,eitherasawholeclassexercise,groupworkorindividualresponses.

3SeeforexampleDaisyFancourtandSairoseFinn,‘HEALTHEVIDENCENETWORKSYNTHESISREPORT67:Whatistheevidenceontheroleoftheartsinimprovinghealthandwell-being?’(WorldHealthOrganisation,2019)

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Originally,weplannedthechamberorchestraworkshopquestionnaireasastand-alonepieceofresearch.Wewantedtofindoutaboutthechildren’semotionalresponsestothemusictheywerelisteningto,andsoweaskedthemtodescribehowtheyfeltwhenthemusicbegan.Theresultswereinterestingandunexpected,andpromptedfurtherstudy.Wedecidedtodeviseaquestionnairetoresearchtwoschools’responsestothesymphonyorchestraconcertthefollowingyear,refiningthequestionstomakeaclearerdistinctionbetweenthechildren’sfeelingsbeforeandduringthemusic.154Childrenaged9-10intwoprimaryschoolsweregiventhesequestionsaspartoftheirfacilitatedfeedbacksessionsinLesson6(AppendixB).Weinvitedthechildrentofillintheformsindividuallyduringthelesson.Lesson6isthelastin-schoolsessionoftheprogrammewitheachyeargroup,andthereforeachancetoreflect.DuringLesson6,AMPmusiciansleadfacilitatedfeedbacksessionsincludingcreativewritingresponses(AppendixC).Thechildrenareaskedtowriteashortsceneordescriptionsuggestedbyeachpiece.Wemakesuretheyknowthattheyhavetowriteandlistenatthesametime,andthattheycanchoosehowtowrite–ascene,listoffeelings,ordescription.Wegivelimitedinformationaboutthemusicincludingthename,countryanddatesofthecomposer.

Weareawarethattherewasadegreeofinterpretationrequiredinanalysingtheresultsofthesecreativeresponses,butwemadestrenuouseffortstoensurethattheanalysiswasasfairandconsistentaspossible.Teachersregularlyuseinterpretationinassessingtheresponsesoftheirownstudents,andweappliedtheknowledgewehavegainedfromworkingalongsideteachersforthepastfifteenyearstohelpustounderstandandassessthechildren’sresponses.Wegatheredfeedbackfrommusicleadersandteachersthroughinformalconversation,reflectingontheentireAMPprogramme.Wealsogatheredwrittenfeedbackfromteachersviaquestionnaireshandedoutafterthechamberorchestraworkshops(AppendixD).Finally,someteacherssubmittedunpromptedwrittenfeedbackintheirownwords.

ThefollowingtableshowshowourevaluationmethodsmappedontoouroutcomesandindicatorsshowninTable1:Table2:EvaluationmethodsforeachoftheIntendedoutcomesandindicators

Outcome Indicator Evaluationmethod1.Developmentofanemotionalconnectionwithclassicalmusic

1a.Childrenexpresscomplexemotionalresponsestothemusic1b.Childrenexpressindividualemotionalresponsestothemusic1c.Childrenexpressappropriateemotionalresponsestothemusic

Lesson6CreativeresponsesLesson6feedbackTeacherinterviewsMusicleaderinterviewsCOWquestionnairesSOCquestionnaires

2.Experienceofemotionalwellbeing,asaresultofengagingwithAMP’sprogramme

2a.ChildrenshowahighlevelofconcentrationduringAMPsessions2b.Childrenfeelcalmduringandafterworkshopsandconcerts

Lesson6CreativeresponsesLesson6feedbackTeacherinterviewsMusicleaderinterviewsCOWquestionnairesSOCquestionnaires

3.Feelingthatclassicalmusicisaccessibleandrelevanttothem

3a.ChildrenareengagedinAMPsessions3b.Childrenwanttofindoutmoreaboutclassicalmusic/listentomoremusic3c.Childrenwanttoengagewithclassicalmusicinotherways,e.g.throughlearninganinstrument

Lesson6feedbackTeacherinterviewsMusicleaderinterviews

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Findings

1. Developmentofanemotionalconnectionwithclassicalmusic

DuringLesson6evaluations,weinvitechildrentolistentotwopiecesofmusicandwriteacreativeresponse,aspartofafacilitatedclassroomsession.Thepiecesare:

• ShostakovichStringQuartetNo.4,3rdmovement–Allegretto• MendelssohnStringQuartetOp.12,3rdmovement–Andanteespressivo.

Thesepieceseachhaveasimplemusicalstoryline(beginning,middle,end),andarecomparableinlength,buthavecontrastingandstronglydefinedmoods.Inlookingatthisdata,ourassumptionsarethatpeoplewhohavedevelopedanemotionalconnectionwithclassicalmusicwillbeabletoidentifythesedifferencesandarticulatetheminwriting.

Outofatotalof1,103respondentsin2019,86%(944childrenaged8-10)identifiedaclearandappropriatedistinctionbetweenthetwopiecesofmusic,abletodifferentiatetheiremotionalcadencesandarticulatehoweachpiecemadethechildrenfeel.Welookedatkeywordsandphrasesused,andalsowhetherthechildrenuseddifferentwordsandphrasesforthetwopieces.Forexample,ifachildwrote“Ilovedthismusic”or“Itwashighandlow”forbothpieces,therewouldbenoclearorappropriatedistinctionbetweenthetwopieces.Thenumberofchildrenmakingaclearandappropriatedistinctionbetweenthetwopieceswasremarkablyhigh,andtheresponseswerebothhighlyindividualandconsistentacrossallparticipatingschools.Theconsistencyoftheseresponsesmaybeduetothechoiceofthemusicitself,ortoAMP’steaching,oramixtureofboth.Inanycase,theyconfirmthatparticipantsinAMP’sprogrammedoindeedhaveanemotionalconnectiontoclassicalmusic,andthattowardstheendofourworktogethertheyareabletoaccessandarticulatethisconnection.(Indicator1a,1c)Furthermore,thepersonalnatureofthechildren’sresponsesdemonstratesdeepandcreativeconnectionswiththemusictheyhear,farbeyondalearnedorconditionedresponse.(Indicator1b)

ResponsestoShostakovichinclude:

o “Youareinadarkplaceandlost.Youfeelverylonely.Youtrytoescape,butyoucan’t.Thenyoufindadoorandpushitopen.Youfeelscaredandsad.Yougohomeandgotosleepandhaveadreamofbeinglostinadarkplaceagain.”Year4pupil,LondonFieldsPrimarySchool,Hackney

o “Thismusicmademefeellikegoingonanadventureandopeningsomanydifferentdoorsandsomethingbadhappensthenagoodthinghappensanditgoesonandonputtingpicturesinyourhead.”Year5pupil,DevonshireHillPrimarySchool,Haringey

o “Rough,strange,difficult,interesting,long,special,different,changingpattern,great,astorm,complex,amazing,highandlow,weird,mysterious,fantastic.”Year5pupil,ArnhemWharfPrimarySchool,TowerHamlets

ResponsestoMendelssohninclude:

o “ItfeelslikeIaminfieldwithdaisiesandlyingdownandbeautifulswansflyoverme.IamanangelintheskyandIamflyingandIcandoanythingIwant.”Year4pupil,BenthalPrimarySchool,Hackney

o “ItmakesmefeelsadandlikeIwanttocry.Italsomakesmefeellikethesunisabouttorise.”Year4pupil,GrazebrookPrimarySchool,Hackney

o “Soft.Runningthroughthesummerbreeze.Jumpingabout.Smellingthefreshflowers.Lastglanceofsummer.Travellingintoautumn.Cold.”Year5pupil,HarbingerPrimarySchool,TowerHamlets

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o “Lonelylikeyou’retheonlyoneintheworld.Gettingbetterandbetter.Alightcomingthroughthewindow.”Year4pupil,LondonFieldsPrimarySchool,Hackney

o “Twopeopledancingoutsidebymoonlight.Theydanceinfieldsoverriversandthemanliftshisloveupoveratallhedge.Theywanttogetmarriedbuttheyarenotallowedtosotheyaresayinggoodbye.”Year5pupil,St.Joseph’sCatholicPrimarySchool,Islington

Ourfindingsindicatethatthisoutcomeismet:AMP’sprogrammehelpschildrentodevelopanemotionalconnectionwithclassicalmusic.

Keypoints• 86%ofparticipantsarticulateaclearandappropriateemotionalconnectiontoclassical

music,developedoverthecourseofAMP’sprogramme.(1c)• Themajorityofchildrendemonstratepersonal,emotionalconnectionstoclassicalmusic(1a,

1b)2. ExperienceofemotionalwellbeingasaresultofengagingwithAMP’sprogrammeInwrittenquestionnairesfilledoutafterthechamberorchestraworkshops,mostchildrenreportedexperiencingapositivefeelingwhentheorchestrabegantoplay:82%ofchildren(469outofatotalof574childrenaged8-10)saidtheyfeltexcited,happy,calm,relaxed,impressed,amazedetc.4Whenaskedhowthemusicmadethemfeel,83%describedpositivefeelings.(Indicator2b)Inwrittenquestionnairesfilledoutafterthesymphonyorchestraconcerts,82%ofchildren(126outofatotalof154childrenaged9-10)describedpositivefeelings.(Indicator2b)

Thepost-chamberorchestraworkshopquestionnairesalsoflaggedupaninterestingvariationinthechildren’smood.Inresponsetothequestion“Howdidyoufeelwhentheorchestrabegantoplay?”28%ofchildren(159outofatotalof574children)saidtheyfeltexcited,and15%feltcalmorrelaxed.Whentheywereasked“Howdidthemusicmakeyoufeel?”only7%ofchildrensaidthemusicmadethemfeelexcited,and26%saiditmadethemfeelcalmorrelaxed.Hopingtodiscovermoreaboutthismovementfromexcitementtocalm,wemodifiedthequestionsweaskedafterthesymphonyorchestraconcerts,makingaclearerdistinctionbetweenthetwoquestions.Afterthechamberorchestraworkshops,childrenwereasked:

• Howdidyoufeelwhentheorchestrastartedtoplay?• Howdidthemusicmakeyoufeel?

Forthepost-symphonyorchestraconcertquestionnaires,wechangedthequestionsto:

• Howdidyoufeelbeforetheorchestrastartedtoplay?• Describeyourfeelingslisteningtothemusic.

Theresultswereevenmorepronounced,with60%ofchildren(92outofatotalof154childrenfromArnhemWharfandWelbourneprimaryschools,thetwoschoolstakingpartinthissurvey)sayingtheyfeltexcitedand1%sayingtheyfeltcalmbeforetheorchestrastartedtoplay,changingtoonly5%ofchildrensayingtheyfeltexcitedand44%(68outofatotalof154children)sayingtheyfeltcalmwhilelisteningtothemusic.Thisfigurerisesto53%ifweinclude14childrenwhoansweredcalm,relaxingorpeacefultoourthirdquestion:“Describetheconcertexperienceinafewwords”.Thefollowingtableshowsthenumbersofchildrenansweringexcitedorcalm/relaxedtothefirsttwoquestions,andthechangebetweenthetwo,withthemostpopularresponseshighlighted.

4Thefullrangeofresponseswehaveinterpretedaspositiveincluded:excited,happy,calm,relaxed,peaceful,impressed,amazed,nice,good,engaged,interested,enjoyedit,magical,dramatic,energised.Responsesjudgednotpositiveincluded:bored,tired,nervous,scared,OK,notreallyanything,unsure.

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Table3:Numbersofchildrenanswering‘excited’or‘calm/relaxed’toQ.1andQ2inthesymphonyorchestraconcertquestionnaire

Question Q.1Howdidyoufeelbeforetheorchestrastartedtoplay?

Q.2Describeyourfeelingslisteningtothemusic.

School Excited Calm/relaxed Excited Calm/relaxedArnhemWharfPrimarySchool 51 0 5 41WelbournePrimarySchool 41 1 3 27Total 92 1 8 68Importantly,thecalmorrelaxedemotionalstatesthatchildrenreportedduringchamberorchestraworkshopsandsymphonyorchestraconcertsdonotmirrortheemotionalcontentofthemusictheywerelisteningto.Themusicplayedatthestartofthechamberorchestraworkshops,forexample,waseitherHandel(WaterMusicorConcertoGrosso)orBach(Sinfonia),andinallcaseswaslively,featuringoboesand/orhorns.ThemusicplayedatthestartofthesymphonyorchestraconcertswaseitherMendelssohn’smoodyanddramaticHebridesOverture(Fingal’sCave)orRavel’sTzigane.

Weareveryinterestedinthepropositionthatthechildren’smoodisnotadirectresponsetothemusicalone,buttotheactivityasawhole:namely,theactivityoflistening.

Feedbackfromteachersandmusicleadersfurthercontextualisesthesefindings,suggestingthatparticipatingchildren’semotionalconnectiontoclassicalmusicdevelopsoverthecourseofAMP’sprogramme.Outofatotalof35teacherswhorespondedtosurveysabouttheprogrammein2019,74%(26people)saidthatithadapositiveimpactonchildren’slisteningskillsand70%thatithadapositiveimpactontheirconcentration.Judgementsfromteachersareveryvaluablebecausetheycanreflectthedevelopmentofthechildrenacrosstheentireprogrammeofworkshopsandconcertsandhaveabefore-afterperspective.Commentsfromteachersabouttheprogrammeinclude:

o “Pupilswithlittleaccesstomusicandmusicianswerecaptivatedandabletoconcentrateforlongerthanusual.”

o “Theclasswascompletelyimmersedinthemusic.”o “[Theprogrammeledto]improvedconcentrationandinterestinmusic.”(Indicator2a)

Ourfindingsindicatethatthisoutcomeismet:childrenexperienceemotionalwellbeingthroughparticipatinginAMP’sprogramme.

Keypoints• Over82%ofchildrenfeelpositiveemotionswhenlisteningtoclassicalmusic(2b)• Over53%ofchildrenfeelcalm/relaxedwhilelisteningtoclassicalmusic(2b)• Over70%ofteachersreportadevelopmentinchildren’slisteningandconcentrationskillsas

adirectresultofAMP’sprogramme(2a)• Thepositiveemotionsthechildrenexperiencewhilelisteningtomusicarenotdirectly

causedbytheemotionalcontentofthemusicitself,butseemtobecausedbytheprocessoflistening.

3. Feelingthatclassicalmusicisaccessibleandrelevanttothem

Ininformalinterviewsandwrittenquestionnaires,teachersreportthatAMP’sprogrammeenablestheirpupilstoconnectwithclassicalmusic.Thisisdemonstratedbythefactthatthechildrenarecuriousaboutclassicalmusic,articulateabouthowitmakesthemfeel,andinsomecasescontinuetorequestclassicalmusicaspartoftheirschoollives.Oneteacherdescribedhowapupilwhohasdifficultyconcentratingaskedhertoplayclassicalmusicintheclassroomduringindependentlearningactivities,inordertohelphimfocus.Thisnotonlysuggeststhatthestudentwasabletouseclassicalmusictosupporthisacademicwork,butalsothattheteacher,studentandclassingeneralusedclassicalmusicasasharedlanguageofcommunication.(Indicator3b,3c)

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WrittenfeedbackfromteacherssuggeststhatoneofthekeybenefitsofAMP’sprogrammeisinexposingthechildrentoapartofculturetheymaynototherwisehaveaccessto.Teachers’commentsinclude:

o “[Thebestthingabouttheprogrammewas]experienceforthechildreninanareaofculturetheymaynotbe‘automatically’interestedin.”

o “[Thebestthingabouttheprogrammewas]realisingclassicalmusicwasn’tcompletelyinaccessible.”

o “Theclasswereexposedtoagenreofmusictheydonotalwayslistentoorcomeacrossonadailybasis.”(Indicator3a)

Of1,103childrenwhoparticipatedinfacilitatedfeedbacksessionsin2019,68%saytheyhavebeeninspiredtotakeupaninstrumentasaresultofAMP’sprogramme.Of35teacherswhofilledinquestionnaires,74%(26)saidthattheprogrammehasstronglyencouragedchildrentolearnamusicalinstrument.(Indicator3b,3c)

Ourfindingsindicatethatthisoutcomeismet:AMP’sprogrammeenableschildrentofeelthatclassicalmusicisaccessibleandrelevanttothem.

KeyPoints• TeacherstellusthatAMP’sprogrammeintroducesclassicalmusicasalanguageof

communicationwithintheclassroom(3c,3c)• TeachersandstudentsbothtellusthatAMP’sprogrammeisengagingforchildren(3a)• TeachersandstudentsbothtellusthatchildrenwhoparticipateinAMP’sprogrammeare

likelytopursueaninterestinplayingamusicalinstrument.(3b,3c)Conclusion

Feedbackfromchildren,teachersandmusicleadersstronglyindicatesthatAMP’sprogrammehasapositiveimpactonthewellbeingofitsparticipants,throughtheirdevelopmentofanemotionalconnectionwithclassicalmusic,theirexperiencesofemotionalwellbeing,andtheirunderstandingthatclassicalmusicisaccessibleandavailabletothem.Wearepleasedthatthethreeoutcomeswesetouttoevaluateinthisprojecthaveallbeenmetthroughourprogramme.

Thisreportlooksattheevidenceforeachoftheseoutcomesseparately,buttheyareinfactdeeplyentwined–notonlytheoutcomesthemselves,butalsothewaysinwhichtheyaremet.Childrenwhocanarticulatetheirfeelingsinrelationtoclassicalmusicarenotjustexpressinganemotionalconnection,forexample,butalsoaculturalconnectionthatensuresthemusicisrelevantandaccessibletothem;childrenwhoarefullyimmersedinlisteningtoclassicalmusicarenotonlyaccessingthemoodofthemusicitself,butalsoawiderfeelingofconcentrationandwellbeing.

Alongsidetheseexplorationsintoouraimsandobjectives,wemadesomeexcitingandunexpecteddiscoveriesoverthecourseofthisevaluation.Wesetouttoexplorethewaysthatchildrenconcentratewhenlisteningtoclassicalmusic,butourresearchsuggestsarelationshipbetweenwellbeingandattentionthatisdeeperandmorefundamentalthanwehadimagined.Aswellasconnectingtotheemotionalcontentofthemusictheyhear,childrenparticipatinginAMP’sprogrammereportapositiveemotionalresponsethatarisesthroughtheactoflisteningperse.

Thisdiscoverygoesbeyondourinitialexpectations–thatconcentrationisanindicatorforanemotionalorintellectualconnectionwithmusic–tosuggestthatconcentrationindicatesaformofwideremotionalwellbeing,accessandflow.Wellbeing,definedasa‘dynamicstate,inwhichtheindividualisabletodeveloptheirpotential,workproductivelyandcreatively,buildstrongand

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positiverelationshipswithothers,andcontributetotheircommunity,’5isagrowingareaofinterestforartspractitioners,fundersandpolicy-makers.Itreferstoamoreprofoundfeelingofcontentmentandconnectionthanenjoyment,pleasureorfun.Webelieveourresearchcontainsexcitingpointerstothewaysinwhichwellbeingcanbeaccessedthroughartsactivities.

DavidChernaik,CEOandProgrammeDirectorofApolloMusicProjectssays,“Ithinkthisresearchshowssomethingveryinteresting:thattherearetwodistinctemotionalresponsesinvolvedinlisteningtomusic,onetheresponsetotheactoflisteningtomusic,andtheothertheresponsetotheemotionalcontentofthemusicitself.Whatseemscleartomeisthatthecalmemotionalstateexperiencedbysomanychildrencreatesasecurefoundation,whichallowsthemtoexperienceandunderstandthemorespecificandvolatileemotionsinthemusicitself,whichtheninturnallowsthemtounderstandwhatthecomposerwastryingtoexpressinaprofoundandpersonalway.Itseemstomethatbothoftheseemotionalresponsesarenecessarytolistentomusicwiththekindofintenseconcentrationandfocusthechildrenexhibitatourconcerts,andalsothatourprogrammeisdesignedinsuchawaythatthesetwoskillsaredevelopedduringthecourseoftheprogramme,whatevertheskillsandabilitiesofthechildrentakingpart.”

Theevaluationdatawehavecollectedsupportsanecdotalevidencefromteachers,musiciansandotherswhohaveobservedasimilareffect:“Apollomusicisoneofthegreatestexperiencesmyclasses(andI!)haveeverhadthroughouttheschoolyear.Thechildrenabsolutelylovehavingtheopportunitytolistentoandexperienceliveclassicalmusic.IambeyondgratefultoApollomusicforstillrunningtheirsessionssinceschoolshavereturned,therehasneverbeenagreatertimeinwhichchildrenneedthisexperience.Thankyou!”Teacher,BenthalPrimarySchool,Hackney

Oneofourpatrons,ArmandoIannucci,hascommentedonthefocusofchildrenwhoparticipateinourprogramme:“I’veseenApolloMusicProjectsupcloseintheschoolclassroomandonstageinfrontofhundredsofschoolkids,andeachoccasionhasbroughtoutextraordinarydepthsofinvolvement,attentionandenthusiasmfromthechildreninvolved.TheProjectseemstodrawoutthefullpersonalityofthekidsandgivethemconfidencetotalkandlaughandbemovedbymusicinareallyfreshandun-patronisingway.”Furtherresearch

Weareveryexcitedbytheseresults,whichpointtofurtherareasofstudy.BeforebeinginterruptedbyCOVID-19,wewereplanningtodelvedeeperintothesetwoemotionalstates(calmconcentrationandemotionalsecurity/wellbeing),whatinspiresthemandtheirwidereffects.Weareparticularlyinterestedinexploringhowthesetwostatesintersect.Ournextresearchwillincludethefollowingquestions:

• Areboththeseemotionalstatesinvolvedinlisteningtomusicclosely,andhowdotheyinteract?

• DoesAMP’sprogrammeencouragetheselisteningskillsinchildren,andhow?(e.g.format,length,structure,timescale,musicalchoices,etc)

• Doesthispracticeofcloselisteningimpactchildren’swiderwellbeing,andinwhichways?• HowimportantaretheliveelementsofAMP’swork–interactionwithmusicians,livemusic,

etc.–andisthereadifferenceinfocusandattentionwhenlisteningtorecordedmusic?

5TheForesightMentalCapacityandForesightProject,2008.QuotedinCreativeHealth:TheArtsforHealthandWellbeing-SecondEdition(2017)by the All-PartyParliamentaryGrouponArts,HealthandWellbeinghttps://www.culturehealthandwellbeing.org.uk/appg-inquiry/Publications/Creative_Health_Inquiry_Report_2017_-_Second_Edition.pdf(accessed22ndOctober2020)

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Recommendationsandnextsteps

Wewouldliketoaddtoourcurrentresearchbygatheringanevenwidersetofresultsfromchildren,includingsomeone-to-oneinterviewsledbyanexternalinterviewer,andbycarryingoutsomelongitudinalresearchthatfollowsparticipants’relationshipswithclassicalmusicandotherartformsbefore,duringandaftertheirengagementwithourworkshops.Aspartofthis,wewillevaluateeachelementofourprogramme,andhowitimpactsourparticipantsoverthetimescaleofatleastoneacademicyear.Wewouldalsoliketorefineourquestionsandlinesofenquiryintothedetailofparticipants’emotionalstatesandhowthislinkstowellbeing.Finally,andperhapsmostimportantly,wewouldliketolinkupwithotherartists,organisationsandresearcherstoshareourfindingsandcomparethemwithotherpeople’sexperiences.

Nextstepscouldinclude:• Recruitinganexternalevaluatorforfurtherresearch• Carryingoutinternalresearchintothewiderfield,toseeifotherstudiesconnectwithour

findings• Writingacasestudyforpresentationatconferences/inthepress.

Whilein-depthevaluationwillresumewhenCOVID-19restrictionsarelifted,itwouldalsobeusefultocarryoutresearchintheshortterminrelationtotheamendedprogrammetakingplaceinthe2020/21academicyear,includingsomedigitalelements.Thisevaluationwillcontributetoourcultureofcontinuousimprovement.Inaddition,byprovidingacontrastwithournormalprogrammeevaluationitwillhelpusunderstandwhichelementsofourworkaremosteffective.ApolloMusicProjects,February2021

Contactdetails:DavidChernaik,CEOandProgrammeDirectorDorothyHoskins,GeneralAdministrator www.apollomusicprojects.orgemail:info@apollomusicprojects.orgApolloMusicProjectsisacharitablecompanyregisteredinEnglandandWalesCharityno.1124784Companyno.6585879

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Appendices

AppendixA:DatacollectionmethodsTableA1:DataCollectiontools

WrittenFeedback SpokenFeedbackChildren-participants Chamberorchestraworkshops

(COW)questionnairesSymphonyorchestraconcerts(SOC)questionnairesLesson6creativeresponses

MusicLeaders InformalinterviewsTeachers Questionnaires

WrittentestimoniesInformalinterviews

TableA2:Respondentnumbersforformaldatacollectiontools

COW-specific SOC-specific Non-specificWrittenquestionnaires 574fromchildren,

across16schools(2018)10fromteachers,across16schools.(2018)

154fromchildren,acrosstwoschools(2019)

Facilitatedfeedbacksessions

154fromchildrenacross2schoolsincludingQsonSOC(2019)

1,103fromchildren,across23schools(2019)

Creativewritingexercises,aspartofafacilitatedfeedbacksession

1,103fromchildren,across23schools(2019)

AppendixB:Chamberorchestraworkshop(COW)questionnaires(childrenandteachers)B.1Teacher’squestionnaire

1. Wasthereanythingsurprisingaboutthechamberorchestraworkshop?Pleasegiveexamples.[freewritingtextbox]

2. Werethereanystudentswhoseresponsetotheworkshopsurprisedyou?Pleasegive

examples.[freewritingtextbox]

3. Whodoyouthinkenjoyedtheworkshopmost,andwhy?

[freewritingtextbox]

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B2.Children’squestionnaires

1. Howmuchdidyouenjoytoday’sworkshop?(Circleone)

2. Howdidyoufeelwhentheorchestrabegantoplay?[freewritingtextbox]

3. Howdidthemusicmakeyoufeel?

[freewritingtextbox]

4. Howwouldyoudescribethechamberorchestraworkshoptoafriendwhohadneverbeentoonebefore?[freewritingtextbox]

5. Whatdoyouremembermostabouttheworkshop?

[freewritingtextbox]

6. Isthereanythingthatcouldmaketheworkshopbetter?[freewritingtextbox]

7. Pleasecanyougivetheworkshopascoreoutof10?

[freewritingtextbox]AppendixC:Symphonyorchestraconcert(SOC)questionnaires(children,aspartoftheLesson6evaluations)

• Howdidyoufeelbeforetheorchestrabegantoplay?[freewritingtextbox]

• Describeyourfeelingslisteningtothemusic.[freewritingtextbox]

• Describetheconcertexperienceinafewwords.[freewritingtextbox]

AppendixD:formatforfacilitatedclassroomfeedback(children)1. Whatmusicdidyoulikebest?Whydidyoulikeit?2. WhatwasthebestthingaboutworkingwithApolloMusicProjectsthisyear?3. Writeashortsceneordescriptionsuggestedbyeachpiece:

A)ShostakovichStringQuartetNo.7,firstmovementB)MendelssohnStringQuartetOp.44,No.2,slowmovement.

AppendixE:fullprogrammequestionnaires(teachers)Overallfeedback1. Didthechildrenfinditenjoyable? 2. Wastheworkshopdeliveredwell? 3. Didtheworkshophaveapositiveimpact?

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Classroomsessions4. Werethechildrenengaged? 5. Wasthecontentinteresting/stimulating? 6. Didthesessionshaveapositiveimpact?Generalbenefits7. Didtheprogrammehaveapositiveimpactonthechildren’slisteningskills?8. Wastheprogrammehelpfulindevelopingthechildren’sconcentration?9. Hastherebeenanincreasedinterestinchildrenlearninganinstrument?Benefitstoyouasteacher10. Didtheprogrammehaveapositiveimpact? 11. Willthisexperiencehelpyouinhowyouusemusicinyourownteaching?