Open Up Music Annual report 2021-22

Thank you for your interest in the work of Open Up Music. This report shares our impact across our programmes: The National Open Youth Orchestra, Open Orchestras and the Clarion accessible instrument. If you can, please donate or support the work we do in other ways, so we can ensure more young disabled people have access to music making.

Opening up music to young disabled musicians Annual report and financial statements For the year ending 31 August 2022


Opening up music to young disabled musicians

About Open Up Music

MISSION To open up music to young disabled musicians VALUES Our values guide everything we do. They were developed in consultation with young musicians in our programmes. Diversity We bring about greater diversity by driving musical inclusion and disabled representation Creativity We engage audiences through exciting music, made and shared in creative ways Community We build communities of individuals and organisations to make positive change happen Infuence We work alongside young disabled musicians to influence and challenge preconceptions

PURPOSE AND MEASURES OF IMPACT Purpose The objects of the Charity are to help young disabled people, who are based in the United Kingdom, by developing and providing: • Opportunities to participate and perform in youth orchestras up to the age of 25; • Opportunities for personal and professional musical development up to the age of 27; • Accessible musical resources , including instruments and repertoire.

Impact Our impact is evaluated against four measurable outcomes: • A reduction in the orchestral exclusion of young disabled people; • The development of participants’ musical and personal skills; • The increase in sector support for young disabled people; • The increase in the resilience of Open Up Music.



Our activities Young disabled people are for the most part excluded from players, composers, staff teams and audiences. Since 2007, our award-winning programmes have created new opportunities for them to be musicians, ensemble music making: in schools, among orchestral

Open Up Music uses the power of the orchestra to bring about lasting change: every time an orchestra is created, it establishes a framework to engage young people in music-making year after year, something no short-term music project could achieve. We also believe in collaboration to accelerate change. Partners who deliver our programmes not only make it possible to reach more young disabled people, they also become meaningful, invested advocates.

making their own music, not just listening to the music of others.


Open Orchestras helps special schools set up accessible orchestras, so that hundreds of young disabled people get first access to music education every year.

The National Open Youth Orchestra (NOYO) is the world’s first disabled-led national youth orchestra. It pioneers an inclusive orchestra model where talented 11-25 year-old disabled and non-disabled musicians rehearse and perform together.

Clarion TM

We’ve also developed Clarion TM . Available on iPad and PC, it’s an innovative accessible instrument that can be played expressively with any part of the body, including eye movement. We currently offer it through our programmes.



Contents About Open Up Music


Our activities




Report from the Chair and CEO


Our year in young musicians’ words


Open Orchestras: Achievements and performance 2021/22


Open Orchestras: Introduction

10 11 13 15

2021/22 at a glance

2021/22 in perspective

2021/22 musicians’ stories

National Open Youth Orchestra: Achievements and performance 2021/22


National Open Youth Orchestra: Introduction

17 18 20 22 23

2021/22 at a glance

2021/22 in perspective

2021/22 NOYO musicians influencing the music sector

2021/22 musicians’ stories

Financial performance and results 2021/22


Operating reserve policy

25 26 26 27 28 30 31 32 33

Financial review

Plans for the future

Report of the trustees

Independent examiner’s report

Statement of financial activities

Balance sheet

Statement of cash flows

Notes to the financial statements



Structure, governance and management


Reference and administrative information

47 47 48 49 51 51 51 52 52 53

Charity constitution

Organisational structure

Our patron and Board of trustees

Our team

Our partners

Details of governing document

How the charity makes decisions

Governance Code

Management 2021/22

Our funders




Report from the Chair and CEO

After two years of lockdown, it was amazing to witness live music opening up! In spring 2022, National Open Youth Orchestra musicians finally took to the stage through a much anticipated national tour, receiving extended ovations in each of the four high profile venues they played. And the 44 schools delivering Open Orchestras were equally keen to share their students’ music through a range of performances and events. The pride and musicianship shown by those young people as they performed to audiences up and down the country was the best possible recognition of our partners’ commitment during the pandemic. Nearly all the schools, Music Hubs and arts organisations we work alongside succeeded in keeping music-making alive for young disabled people. In the face of almost

daily change, our partners combined in- person and online activities, maintaining opportunities for often isolated young disabled students to connect socially and musically. Open Up Music itself moved all of our training and educational content online, ensuring that we could continue to provide support in the most flexible way possible. As a consequence, despite all of the challenges happening in the world at large, young disabled people continued to access and enjoy music-making through our programmes. As a mix of in-person and online became more commonplace, performances also went digital. Young musicians from Middlesbrough Open Orchestra wowed the Open Orchestras community during an online sharing event. NOYO livestreamed one of its concerts.


Report from the Chair and CEO

to bring about the type of systemic change that is required to ensure that music is open to everyone. None of what was achieved within this period would have been possible without the generosity of our funders, whose continued support has enabled us to pull through the unprecedented challenges, and flourish. It was a huge vote of confdence to have learned of our renewed status as an Arts Council England National Portfolio Organisation from April 2023 onwards. During this period, we welcomed new trustees onto our Board, bringing specialist skills and connections and a new Chair, Judith Webster, also CEO of the Association of British Orchestras. We are approaching the next period with confidence in what the team at Open Up Music, our partners and Board are capable of achieving, alongside a formidable group of young disabled musicians - many of whom have started to act as role models and ambassadors for a more inclusive approach to ensemble music-making.

Moving forward, we will continue to take advantage of the opportunities digital channels and broadcasting represent for audience development. Evaluation across multiple years has demonstrated the musical and personal impact of Open Up Music’s programmes for young disabled musicians. Our priority in the coming years will be to make that learning more widely accessible, finding new ways to share it with an ever-increasing number of music educators and organisations across England and Wales. In doing so, we hope

Judith Webster Chair

Barry Farrimond-Chuong MBE CEO

It was with great sadness that we learned of the loss of the wonderful Yasmin Lajoie. As a trustee, Yasmin supported Open Up Music with fierce passion and generosity. She gave meaning to the importance of diversity and inclusion, pushing for it to be seeded where it matters - at the heart of everything we do. We are dedicating this year’s achievements to her.


Report from the Chair and CEO

Our year in young musicians’ words

I love being in the orchestra it rocks! I hope I can make music forever and be a famous rocker. Look out for me headlining at all the festivals!

I had an audition for the National Open Youth Orchestra which I really enjoyed. I was part of a concert for the Lord Mayor which made me proud of myself.

This student is nonverbal and has no formal means of communication. He often has difficulty with transition. He comes happily to Orchestra almost every week and takes part with obvious enjoyment and a great sense of rhythm.

It was ok having my mum watching me at the concert. She now thinks I'm really good at music.

I want to be a musician when I am a grown up.

I really like playing hard Clarion patterns. Complicated ones!

Walking in, I was scared but playing the instruments gave me a sense of euphoria.

I felt accomplished, united, bright [during the concerts].

It was a wonderful experience to perform live on stage and be part of the whole orchestra. Didn't we do great!

I liked playing at my hometown concert hall because I sat in the audience before, and now say to myself, I play on that stage. I liked it all - the experience of working as a team with friends, and showing what we can do, playing with BSO Resound, the fact we sounded different in different places.

I really loved the whole experience of playing with other people for the first time ever. I felt very nervous before the rehearsal. However, when we did the main performance I absolutely loved it.


Our year in young musicians’ words

Open Orchestras Achievements and performance 2021/22


WINNER 2019 Outstanding SEND Resource

Initially piloted in Bristol in 2013-15, Open Orchestras was developed to respond to the distinct lack of ensemble music opportunities in special schools.

It is a complete programme that for a subsidised annual subscription, provides special schools with everything they need to set up and run their own inclusive orchestra: training and mentoring, teaching resources, evaluation, community support, Clarion TM - which is played alongside other instruments in the orchestra, and adapted music that every participant can play, including those facing the greatest barriers to participation. Young people are encouraged to play independently and expressively, with school staff and music leaders assigned by Music Education Hubs working in tandem to build the orchestra around participants’ personalities and abilities. Open Orchestras is both adaptive and endlessly creative: music comes in “building blocks” that can be arranged flexibly according to participants’ playing

styles, so no two orchestras will play our repertoire the same way! By the end of the first year, most Open Orchestras will be ready to share their music. That first performance is often a revelation. “Open Orchestras has arguably changed the face of music making for young disabled people.” Dr Marina Gall Dr Marina Gall and colleagues’ research within the project “Getting Things Changed”, outlined in the Bristol University Policy Report Opening up music making for young people with complex and multiple needs (published in May 2018), recommends that Open Orchestras should be a central part of the school curriculum in special schools.

10 Open Orchestras: Introduction

2021/22 at a glance 44 Orchestras

24 Music Hubs 1 Art organisation 8 Regions of England 30 Orchestras in their 3 rd year or more 429 Young participants 2/3 hadn’t played an instrument before 200 are now Clarion players

32 Performances in front of nearly 1000 audience members

New repertoire

What Fear We Then? was inspired by Alexander Campkin’s journey between non-disability and disability, and National Open Youth Orchestra musicians who it was written for. Open Orchestras adapted the music so it could be played by all musicians.

What Fear We Then? by Alexander Campkin


108 Music

507 music sessions in special schools


11 Open Orchestras 2021/22

By the end of the year...

100 % of music educators say that Open Orchestras has improved their ability to help young disabled people make music 100 % of music educators would recommend Open Orchestras to others

Musicians’ progress:

94 % are playing independentl y 98 % are playing with intent 56 % are consistently playing with con trol of young musicians, Open Orchestras is contributing to their development in other areas of school life, and helping them reach their Individual Education Plan

for 55 %

Musicians feel...

good at music (83%) confident playing their instrument (84%) proud to be in the orchestra (84%)

they have been learning new things (90%) they are getting better at playing (87%) they want to continue to play music when they’re older (75%)

12 Open Orchestras 2021/22

2021/22 in perspective The Open Orchestras programme proved its resilience and wider impact this year, demonstrating the value that its resources and community bring to Music Hubs and special

schools around the country. “I love being in the orchestra. It’s so much fun and the music makes me happy. I love listening to my friends play and also chatting with FJ using our eye gaze devices.” Polden Bower School, 2021-22 end of year musician self-evaluation In a challenging environment in which the music education sector largely operated in post-COVID 19 recovery mode, the Open Orchestras community continued to grow, going from strength to strength. At the end of the academic year, we had signed up twenty new orchestras, and welcomed back some that had been forced to stop their music-making during lockdown. By August 2022, 55 special schools had enrolled in the programme - the largest number of orchestras we have ever worked with. Open Orchestras also became more visible, both in their schools and wider community. Reports of young people’s enthusiastic discovery of Clarion, of new friendships and growing love of music culminated in an impressive 32 sharing moments around the country. Middlesbrough Open Orchestra ran an ‘Open Day’, welcoming school groups in their area - Open Orchestra members not only performed brilliantly, but also engaged visiting students in musical activities.

“I showed people some great instruments, like the drum kit. I told kids from different schools how to use the cello and it’s quite great to have kids who love music, having the excitement. This afternoon, we performed into a very big orchestra. I get a bit nervous when I play music in front of an audience, but after a while it just gets better and people start to really enjoy our music.” Henry, Middlesbrough Open Orchestra multi-instrumentalist Watch Henry and his orchestra during their ‘Open Day’. Middlesbrough Open Orchestra is a partnership with Musinc, Beverley and Priory Woods Schools.


Open Orchestras 2021/22

The brilliant young musicians from Middlesbrough Open Orchestra also headlined our first-ever online Summer Conference with a ‘takeover’. Together with their Music Leaders, they introduced films of themselves performing four pieces of music live, also taking and answering questions from Open Orchestras schools around the country through livestreamed broadcast. This was a wonderful shared experience that made our new Summer Conference a highlight in the training calendar! Throughout the year, Open Orchestras showcases took a variety of formats, with awesome classroom sharing too. Watch members of Victoria School’s Open Orchestra improvise using eye-gaze, Clarion, hand chimes and marimba. Read how Three Ways School made the news with their showcase to the West of England Metro Mayor.

This generous sharing of knowledge between educators in the programme is essential to keeping our collective learning dynamic and relevant. It feeds into our Continuous Development Programme which was refined to cover a specific topic each month. Young musicians from the National Open Youth Orchestra contributed this year, strengthening connections between our programmes. We also added new music to the Open Orchestras repertoire, ‘ What Fear We Then? ’ by disabled composer Alexander Campkin, adapting a piece originally written for the National Open Youth Orchestra - another bridge between our programmes. We cannot wait to hear Open Orchestras’ different versions of it in the future. Crucially, the success of Open Orchestras has in this period played a key role in helping reshape music education to be inclusive of young disabled people - by demonstrating the impact of making accessible instruments available in special schools and adopting a programme approach over short-term projects. We are proud that our community’s work informed policy, through Open Up Music’s consultations with the Department for Education and the Department for Digital, Culture, Media & Sport. Both Open Orchestras and Clarion were recognised and signposted in the revised National Plan For Education. Open Orchestras musicians also took part in two major performance assessment research pilots this year: ABRSM’s research around Performance Assessment for Clarion with musicians from Treloar, and Count Me in!, a research project led by Professor Adam Ockelford and Trinity College London, observing Three Ways School musicians and Clarion players.

Continuing to improve our programme offer, we introduced ‘Day One Training’. A module developed at educators’ request, it provides practical guidance and refreshers about the Open Orchestras approach before their first sessions with young musicians each year. As part of it, Helen Temple, Area Leader of Music Development for North East Derbyshire shared her experience, reassuring newcomers.


Open Orchestras 2021/22

2021/22 musicians’ stories

I was proud. (independently told through augmentative and alternative communication device and Eyegaze) Treloar Clarion player In March 2022, six Clarion players from Treloar’s Open Orchestra performed in front of an ABRSM examiner, as part of research into the feasibility of developing Performance Assessment for this innovative instrument. Each played in turn, with their choice of music ranging from Abba and the Beatles to Dvorak and Handel. Some performed to a backing track, others with live piano accompaniment, using scores created by staff at the school to suit their playing style and access method: feet controls, Eyegaze or hand gestures on the screen.

“Our students were all very excited to be able to take part. They showed that technological instruments, such as Clarion, have the ability to demonstrate different expression and performance techniques as with traditional instruments.” Jocelyn Watkins, Director of Music, Treloar School and College

It was a privilege hearing these performances - a signifcant landmark in ABRSM’s 130-year history of assessing musical performance and inspiring musical achievement. These students’ sense of performance, their commitment to the occasion and their reaction on receiving their ABRSM certifcate was moving and a reminder of the power of music. I hope this visit leads to a broader appreciation of the Clarion, its potential, its musical possibilities and the developing artistry and skill of those who are playing it. James Risdon, ABRSM Access Coordinator

15 Open Orchestras 2021/22

National Open Youth Orchestra: Achievements and performance 2021/22



The National Open Youth Orchestra (NOYO) was launched in September 2018 to give some of the UK’s most talented young disabled musicians a progression route. It promotes musical excellence, supporting 11-25 year-old disabled and non-disabled musicians to rehearse and perform together as members of a pioneering inclusive ensemble.

NOYO collaborates with cutting-edge composers to create exciting new music for a diverse range of musicians and instruments. When in 2018 Liam Taylor- West won an Ivors Award for “The Umbrella”, Open Up Music’s first commission, he talked of a creative process involving the young musicians. This is still central to NOYO’s approach to music- making. One of the most rewarding aspects of NOYO is feeling like an active participant in the music we play. Jamie, NOYO saxophonist NOYO is delivered in partnership with some of the UK’s leading arts and cultural organisations, who together

act as regional NOYO Centres: Bristol Beacon in Bristol, Barbican and Guildhall School of Music & Drama in London, Bournemouth Symphony Orchestra in Bournemouth, Midlands Arts Centre, B:Music and Services For Education in Birmingham, Royal Welsh College of Music & Drama and BBC National Orchestra of Wales in Cardiff. NOYO Centres nurture NOYO musicians in small regional groups before they come together for the yearly national residential. They help audition new members and run monthly rehearsals. NOYO also offers trainee places to young disabled people with musical potential, who may not have enough access to music education, supporting them for up to three years to gain the confidence and musical skills needed to join the orchestra.


17 National Open Youth Orchestra: Introduction

2021/22 at a glance 4 NOYO Centres Bristol, Birmingham, Bournemouth and London Cardiff announced to start in September 2023 35 musicians 28 members 7 trainees 6 new musicians started with the orchestra 4 relaxed concerts Milton Court Concert Hall, 24 April 2022 St George’s Bristol, 15 May 2022

Lighthouse, Poole, 22 May 2022 with BSO Resound, live and livestreamed Birmingham Town Hall, 5 June 2022

Instruments played

We premiered two pieces composed for NOYO • What Fear We Then? by Alexander Campkin • Barriers by NOYO musician Oliver Cross Other music performed New arrangements of: • Sleeping Rainbows by Harold Arlen / Gordon Duncan • Day One by Liam Taylor-West • Variations on an African Air by Samuel Coleridge-Taylor • Spring by Vivaldi • Time by Hans Zimmer

• Accordion • Alto Saxophone • Cello • Clarion • Electric Guitar • Flute • Harp • Harmonica • Piano • Seaboard RISE

• Synthesizer • Tenor horn • Trombone • Trumpet • Tuned and untuned percussion • Vibraphone

• Viola • Violin • Xylophone

18 National Open Youth Orchestra 2021/22


NOYO commissioned music on the theme of the environment, chosen by young musicians

• Oliver Vibrans and Alexandra Hamilton-Ayres submitted short musical sketches, which NOYO musicians workshopped and experimented with. NOYO musicians and Music Leaders then voted for Alexandra’s sketch to be progressed to a full commission. She wrote Elements for the orchestra, thanks to generous funding from the RVW Trust. • Blasio Kavuma and Yfat Soul Zissou were invited to write musical sketches as part of NOYO’s two-year commissioning cycle. Their music was workshopped in autumn 2022. 49 rehearsals 1,426 plays of 24 video resources created for musicians to develop their skills 30 Pastoral Support meetings 3 online social events

By the end of the year

100 % of musicians demonstrated improved or excellent musical skills 88 % of musicians demonstrated improved or excellent ensemble playing skills

19 National Open Youth Orchestra 2021/22

2021/22 in perspective The stakes were high as NOYO shared its music for the frst time following two years of COVID-19 setbacks. Audience feedback left NOYO musicians buzzing, proud of their success as a group and confdent in their own musical abilities.

“I’m super excited about where NOYO could go! The possibilities are endless with the music we play, the instruments in the orchestra and where we perform.” Georgina, NOYO French horn player In February 2022, NOYO unveiled its first music video, a filmed performance of ‘What Fear We Then? ’ by Alexander Campkin, co-commissioned with Bournemouth Symphony Orchestra. Over 120 music industry professionals attended the online launch event supported by leading classical music agency HarrisonParrott. Co-hosting, harpist Holli and saxophonist Jamie spoke of aspects of NOYO important to them: the opportunity to give their opinions about the music, which makes NOYO more creative; how NOYO takes responsibility for meeting

musicians’ access and social needs so they can flourish musically. Holli and Jamie also introduced video portraits of themselves, of LinnStrument player Sally, and an interview with Alexander Campkin about his inspiration for the music: his own journey between non-disability and disability, and message of hope for young disabled musicians. “I was blown away by the music. It just underlined the power of what the composer and orchestra had achieved. There was honesty and such authenticity with the way that Jamie and Holli spoke.” Helen Brew, Associate Principal Flute, Royal Scottish National Orchestra

20 National Open Youth Orchestra 2021/22

musicians in the audience sharing their excitement about the original arrangements and new music inspired by the orchestra. Read Music Teacher magazine’s review of the concert at St George’s Bristol. The success of the concerts was a major milestone shared with our partners. It proved that the concept of a more diverse and inclusive ensemble integrating disabled and non-disabled musicians not only worked, it could bring musical innovation. “The National Open Youth Orchestra has already succeeded in setting a new paradigm for inclusive creativity and performance. It is a genuine ‘ensemble of possibilities’.” Sean Gregory, Vice-Principal and Director of Innovation & Engagement, Guildhall School of Music & Drama NOYO will continue to evolve, as we learn from working with new cohorts of talented young musicians each year. In July, we announced the launch of the new Cardiff NOYO Centre in partnership with BBC National Orchestra of Wales and Royal Welsh College of Music & Drama. NOYO musicians shone in so many ways this year - as performers, but also as ambassadors for diversity and inclusion. They spoke at industry events, contributed to media articles and co-created content for NOYO’s social media channels. Ellen (French horn), Georgina (French horn), Oliver (Harmonica and Bass Synthesizer) and Torin (Tenor horn) also collaborated with independent researchers Sound Connections to author parts of the major 2018-2022 NOYO impact report, which was released in February 2023.

COVID-19 seriously disrupted residential arrangements, forcing a last minute change of venue. Despite the challenges this created, musicians from all regional NOYO Centres finally came together to rehearse and socialise as a national ensemble in April 2022. It was a joyful three days getting ready for concerts. A highlight was playing alongside the professional musicians of BSO Resound, preparing for a joint live premiere of ‘What Fear We Then?’ in Poole. Composers Alexandra Hamilton-Ayres and Yfat Soul Zissou also visited the residential. Between April and June 2022, NOYO made its stage debut, playing relaxed concerts in four venues and receiving extended ovations in each. 1045 concert-goers attended - an audience on par with more established youth orchestras. Rather than being preoccupied with musicians’ impairments, they reported being “blown- away” by the music, the tightness of the ensemble and the interesting mix of instruments. They were deeply moved by NOYO musicians introducing each piece and their performance. The complexity and originality of the repertoire surprised, with some professional

National Open Youth Orchestra 2021/22


2021/22: NOYO musicians infuencing the music sector

Jamie at the MU Conference “The ghost of Mozart isn’t going to haunt you!”... Alongside NOYO Artistic Director Doug Bott co-presenting on Zoom, Saxophonist Jamie challenged rigid ways of making music. Some audience members at the 2021 Musicians’ Union Education Conference told us months later that Jamie had inspired them to make their musical activities more accessible. Alessandro at ABRSM Following Alessandro’s brilliant Clarion demonstration to teams at ABRSM, NOYO’s founding sponsor, Open Up Music and ABRSM are now exploring what assessment might look like for this innovative electronic instrument.

Ellen and Torin at Open Orchestras online CPD

Ellen (French horn) and Torin (Tenor horn) were guest presenters of Open Orchestras’ Continuous Professional Development session about NOYO. They helped music educators understand if this could be an opportunity for their young disabled students.

National Open Youth Orchestra 2021/22


2021/22 NOYO musicians stories

I hadn’t talked most of my life and like to talk at NOYO because it’s not too hard when everyone is accepting and loves music. I enjoyed the residential immensely and made a friend. We plan to jam together. I started music with piano, which made it easier to learn accordion and organ which I also play. I started on the accordion with a trial lesson in 2015, and taught myself how to play using YouTube. My favourite thing in NOYO is playing together and the great music. I can sew bits of NOYO music together like tapestry. It felt joyful playing at every concert. Birmingham was my favourite because I got to play Before joining, I’d only ever played in traditional orchestras where the music was played how the composer would have intended it to be played! Georgina , French horn Following the concerts, Georgina and Jamie answered ABRSM’s questions about their year, and overall experience with NOYO. Read their thought-provoking blog post.

God Save the Queen at the end, for the Jubilee. I’d like to improve my improvisation skills. In the future, I would like to be both a performer and an accompanist for choirs, weddings and dances. David , Accordionist

National Open Youth Orchestra 2021/22


Financial performance and results 2021/22


Operating Reserves Policy Reserves held by the charity at the end of the year The general funds held at the end of the year are considered to be the charity’s reserves. The charity aims to hold reserves covering three months’ average operating costs, which is calculated to be £199,607 or a quarter of our annual operating expenses. The calculation of average monthly operating costs includes all recurring, predictable expenses such as salaries and benefits, occupancy, office, travel, programme, and ongoing professional services. Depreciation, in-kind, and other non-cash expenses are not included in the calculation. The calculation of average monthly expenses also excludes some expenses including one-time or unusual, capital purchases. The charity held reserves of £174,089, which falls short of this target. Whilst the charity held an additional £77,681 of unrestricted funds at year end, these have been designated to be spent in 2022/23 rather than being included in the general funds. These funds were designated to programme funding in agreement with the funders, and therefore cannot be used to build our reserves.

Total funds: £284,298

Restricted funds £32,528

Designated funds £77,681

General funds £174,089

The charity will continue to build our reserves through earned income and overhead contributions from funders, working to secure three months’ worth of operating costs as soon as possible.

25 Financial performance and results 2021/22

Financial review

Our financial statement shows that despite instability in financial markets and the ongoing economic impact of COVID-19, Open Up Music started to recover from the significant contraction of income and activity it experienced during the pandemic. During this period, we increased our income from £560,702 back in 2020-21 to £631,482 in 2021-22. This was a significant improvement but does not yet restore pre- pandemic levels of income. Plans for the future By 2027, we aim to support 850+ young disabled musicians to access our programmes each year. We will also support other arts and cultural organisations to make their own musical progression opportunities accessible to more young disabled people. We will grow the audience for inclusive music making through advocacy and high profile performances. And we will build our resilience by diversifying our income, increasing the diversity of our team and offsetting the impact we have on the environment. To reduce the musical exclusion of young disabled musicians , we aim to support 68 Open Orchestras and 6 regional NOYO centres by 2027. We will provide a range of training and Continuous Professional Development opportunities to other arts and cultural organisations. The Clarion will go on sale to individuals and organisations outside of our programmes and we will develop resources and training to help people learn to play it. We will increase the diversity of young people we support and ensure that that diversity is reflected within the music leaders, trainers and composers we work with.

Reliance on trusts and foundations continues to represent a risk for the organisation and its work, especially as competition for that form of funding becomes increasingly competitive. Within the 2021-22 period, efforts were made to put in place systems and processes to increase donations from individuals and contributions from corporate partners. We intend to bring this work to fruition in the coming years. To increase audience engagement with inclusive music making, we will support NOYO to connect with the general public through live/livestreamed performances, social media and broadcast. Open Orchestras musicians will have free access to NOYO performances; and Open Orchestras will be encouraged to perform to their peers. We will also increase the number of music education sector organisations and policy makers in our audience - connecting with them through NOYO performances, conferences, and the publication of research. To strengthen the resilience of Open Up Music , we will diversify our income with increased individual giving, corporate sponsorship and earned income. We will also seek greater representation from disabled colleagues and those from other areas of structural disadvantage within our team. There will be significant investment in staffing capacity to ensure that we can deliver the ambitious work outlined in our plans. Finally, we will work to ensure environmental sustainability, with 100% of our emissions being offset by the end of 2027.

Financial performance and results 2021/22


Report of the trustees The trustees, who are also directors of the charity for the purposes of company law, present their annual report. It includes an overview of Open Up Music’s performance and financial statements for the year ending 31 August 2022, prepared in accordance with the Statement of Recommended Practice (SORP) “Accounting and Reporting by Charities”, the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102) effective 1 January 2019, and the statutory requirements of the charity’s Governing Document. The trustees confirm that they have complied with their duty, as outlined in section 17 of the Charities Act 2011 ‘Charities and Public Benefit’. Statement of Responsibilities of the Trustees Company law requires the trustees to prepare financial statements for each financial year, which give a true and fair view of the state of affairs of the charity and of the income and expenditure of the charity for that period. In preparing those financial statements the trustees are required to: • Select suitable accounting policies and then apply them consistently; • Observe the methods and principles in the applicable Charities SORP; • Make judgements and accounting estimates that are reasonable and prudent; • State whether applicable accounting standards and statements of recommended practice have been followed, subject to any material departures disclosed and explained

The trustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of the charity and which enable them to ensure that the financial statements comply with the Companies Act 2006. The trustees are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. The trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable company’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions. Members of the charity guarantee to contribute an amount not exceeding £1 to the assets of the charity in the event of winding up. The total number of such guarantees at 31 August 2022 was 9. The trustees are members of the charity but this entitles them only to voting rights. The trustees have no beneficial interest in the charity. Independent examiners Godfrey Wilson Ltd were re-appointed as the charitable company’s independent examiners during the year and have expressed their willingness to act in that capacity. Approved by the trustees on 9 th May 2023 and signed on their behalf by

in the financial statements; and • Prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in operation.

Judith Webster, Chair

Financial performance and results 2021/22


Independent examiner's report To the trustees of Open Up Music

I report to the trustees on my examination of the accounts of Open Up Music (the charitable company) for the year ended 31 August 2022, which are set out on pages 29 to 44 ) . Responsibilities and basis of report As the trustees of the charitable company (and also its directors for the purposes of company law) you are responsible for the preparation of the accounts in accordance with the requirements of the Companies Act 2006 (‘the 2006 Act’). Having satisfied myself that the accounts of the charitable company are not required to be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of the charitable company's accounts as carried out under section 145 of the Charities Act 2011 (‘the 2011 Act’). In carrying out my examination I have followed the Directions given by the Charity Commission under section 145(5) (b) of the 2011 Act. Independent examiner’s statement Since the charitable company’s gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I am a member of the Institute of Chartered Accountants in England and Wales (ICAEW), which is one of the listed bodies. Godfrey Wilson Limited also provides bookkeeping and payroll services to the charitable company. I confirm that as a member of the ICAEW I am subject to the FRC’s Revised Ethical Standard 2016, which I have applied with respect to this engagement. I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination giving me cause to believe that in any material respect: (1) accounting records were not kept in respect of the charitable company as required by section 386 of the 2006 Act; or (2) the accounts do not accord with those records; or (3) the accounts do not comply with the accounting requirements of section 396 of the 2006 Act other than any requirement that the accounts give a ‘true and fair view' which is not a matter considered as part of an independent examination; or (4) the accounts have not been prepared in accordance with the methods and principles of the Statement of Recommended Practice for accounting and reporting by charities applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102).

Financial performance and results 2021/22


Independent examiner's report To the trustees of Open Up Music

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.

William Guy Blake

Date: 1 5 th May 2023 William Guy Blake ACA Member of the ICAEW

For and on behalf of: Godfrey Wilson Limited Chartered accountants and statutory auditors 5th Floor Mariner House 62 Prince Street Bristol BS1 4QD

Financial performance and results 2021/22


Statement of financial activities, £'s ( incorporating an income and expenditure account) For the year ended 31 August 2022

Restated 2021 Total 500,416 60,286

2022 Total

Note Restricted Unrestricted

Income from:

602,631 28,851


3 4


250,831 28,851

Charitable activities


Total income





Expenditure on:

109,760 587,657


109,760 187,851

77,184 488,068

Raising funds


Charitable activities






Total expenditure

Net expenditure and movement in funds Reconciliation of funds: Total funds brought forward










Total funds carried forward





All of the above results are derived from continuing activities. There were no other recognised gains or losses other than those stated above. Movements in funds are disclosed in note 15 to the accounts. Prior year expenditure has been restated for reclassification of expenditure items. Total expenditure is unaffected.

Financial performance and results 2021/22


Balance sheet, £'s As at 31 August 2022




Fixed assets Tangible assets Current assets Debtors




19,885 305,676



Cash at bank and in hand



Total current assets


Liabilities Creditors: amounts falling due within 1 year




Net current assets



Net assets







Restricted funds Unrestricted funds


77,681 174,089

Designated funds

159,526 110,173

General funds

Total charity funds



The directors are satisfied that the company is entitled to exemption from the provisions of the Companies Act 2006 (the Act) relating to the audit of the financial statements for the year by virtue of section 477(2), and that no member or members have requested an audit pursuant to section 476 of the Act. The directors acknowledge their responsibilities for: (i) ensuring that the Company keeps proper accounting records which comply with section 386 of the Act; and (ii) preparing financial statements which give a true and fair view of the state of affairs of the Company as at the end of the financial year and of its profit or loss for the financial year in accordance with the requirements of section 393, and which otherwise comply with the requirements of the Act relating to financial statements, so far as applicable to the company. These accounts have been prepared in accordance with the special provisions applicable to companies subject to the small companies' regime. Approved by the trustees on 9 th May 2023 and signed on their behalf by

Judith Webster - Chair

Financial performance and results 2021/22


Statement of cash flows, £'s For the year ended 31 August 2022



Cash used in operating activities: Net movement in funds Adjustments for: Decrease / (increase) in debtors Increase / (decrease) in creditors




(1,635) (6,988)


Net cash provided by / (used in) operating activities



Increase / (decrease) in cash and cash equivalents in the year




Cash and cash equivalents at the beginning of the year


Cash and cash equivalents at the end of the year



The charity has not provided an analysis of changes in net debt as it does not have any long term financing arrangements.

Financial performance and results 2021/22


Notes to the financial statements, £'s For the year ended 31 August 2022

1. Accounting policies a) Basis of preparation

The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities in preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019) - (Charities SORP (FRS 102)), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006. Open Up Music meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated The current economic climate is having a profound impact on the global economy, and has in turn affected the charity, as costs rise and funding is harder to raise. The Trustees have considered the impact of this issue on the charity’s current and future financial position. The charity holds unrestricted general funds of £174,089, designated funds of £77,681 and a cash balance of £305,676. In addition, the Charity has succeeded in securing 55 Open Orchestras subscriptions for 2022/23. The team are also developing the Clarion instrument for commercial release in the coming years. The Trustees consider that the charity has sufficient unrestricted reserves and cash flow to continue as a going concern for a period of at least 12 months from the date on which these financial statements are approved. For this reason, the accounts have been prepared on the going concern basis. c) Income Income is recognised when the charity has entitlement to the funds, any performance conditions attached to the item of income has been met, it is probable that the income will be received and the amount can be measured reliably. Income from the government and other grants, whether 'capital' grants or 'revenue' grants, is recognised when the charity has entitlement to the funds, any performance conditions attached to the grants have been met, it is probable that the income will be received and the amount can be measured reliably and is not deferred. Income received in advance of provision of services is deferred until criteria for income recognition are met. in the relevant accounting policy note. b) Going concern basis of accounting d) Donated services and facilities Donated professional services and donated facilities are recognised as income when the charity has control over the item, any conditions associated with the donated item have been met, the receipt of economic benefit from the use by the charity of the item is probable and the economic benefit can be measured reliably. In accordance with the Charities SORP (FRS 102), general volunteer time is not recognised. On receipt, donated professional services and donated facilities are recognised on the basis of the value of the gift to the charity which is the amount the charity would have been willing to pay to obtain services or facilities of equivalent economic benefit on the open market; a corresponding amount is then recognised in expenditure in the period of receipt.

Financial performance and results 2021/22


Notes to the financial statements, £'s For the year ended 31 August 2022

1. Accounting policies (continued) d) Donated services and facilities (continued)

For Google AdWords, the charity measures the value of the gift at the market value provided by Google. Where the market value is given in foreign currency, this is translated in line with the charity's foreign exchange policy (note 1o). This is a departure from the SORP but is a reliable estimate of the valuation. e) Interest receivable Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the charity: this is normally upon notification of the interest paid or payable by the bank. f) Funds accounting Unrestricted funds are available to spend on activities that further any of the purposes of the charity. Designated funds are unrestricted funds of the charity which the trustees have decided at their discretion to set aside to use for a specific purpose. Restricted funds are donations which the donor has specified are to be solely used for particular areas of the charity's work or for specific projects being undertaken by the charity. g) Expenditure and irrecoverable VAT Expenditure is recognised once there is a legal or constructive obligation to make a payment to a third party, it is probable that settlement will be required and the amount of the obligation can be measured reliably. Irrecoverable VAT is charged as a cost against the activity for which the expenditure was incurred. h) Allocation of support and governance costs Support costs are those functions that assist the work of the charity but do not directly undertake charitable activities. Governance costs are the costs associated with the governance arrangements of the charity, including the costs of complying with constitutional and statutory requirements and any costs associated with the strategic management of the charity’s activities. These costs have been allocated between cost of raising funds and expenditure on charitable activities on the following basis: 2022 2021 Raising funds 15.8% 13.7% Charitable activities 84.2% 86.3% i) Tangible fixed assets Depreciation is provided at rates calculated to write down the cost of each asset to its estimated residual value over its expected useful life. The depreciation rates in use are as follows: Office equipment 3 years Items of equipment are capitalised where the purchase price exceeds £2,000. j) Debtors Trade and other debtors are recognised at the settlement amount due after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due.

Financial performance and results 2021/22


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