Membership of In Harmony • Sistema England

In Harmony projects are based on the five principles of El Sistema and use the unique power of music making to enthuse and motivate children, particularly the most vulnerable and disadvantaged, their families and their communities so that:

  • children improve their skills, attainment and ‘life-chances’;
  • families improve their well-being;
  • communities improve their cohesion, mutual respect and can champion social justice.

Many pursuits that capture the imagination and motivate young people can have life-transforming outcomes. These may be sport or other musical ensembles. In Harmony focuses on the symphony orchestra.

Playing in a symphony orchestra develops a child’s sense of loyalty and commitment; responsibility; self esteem and self confidence; teamwork and leadership. The orchestral structure provides a number of key benefits:

  • Opportunities to involve more than 100 young musicians to perform in a single ensemble;
  • A dynamic and complex interaction of individuals playing both leading and supportive roles;
  • Opportunities for smaller ensembles such as brass groups, percussion ensembles, string orchestras and wind bands.


Membership criteria

Any project wishing to become a member of In Harmony Sistema England will be able to demonstrate that it meets or is addressing the following:
  1. The project is primarily social programmes, using music through the model of a symphony orchestra to improve the lives of individuals and communities.
  2. The project has a mission statement and a statement of the aims, objectives and overall vision, identifying what will change as a result of the project and how it will develop into a sustainable element of the community. The project has on-going monitoring and evaluation which feed back into the programme. There is clear accountability.
  3. The project is developed by and rooted in the community and has the support, goodwill and commitment (financial and/or in kind) of parents and carers, children and young people and community and voluntary organisations in the area. The lead organisation will have the management and financial capacity to ensure the sustainability of the programme and musical progression for the young people.
  4. The project works effectively with its partners by establishing mutual trust and confidence; fully involving the community; its local school(s) and the local authority officers; music services; music teachers and music organisations and orchestras in the area.
  5. The project initially targets children aged between 4 and 11 in areas considered to have above average levels of deprivation.  There are no financial or attainment barriers to participation. All children in the area are able to attend if they wish, but ways of reaching the particularly disadvantaged and at risk have been built in to the project. Over time, placement auditions will be required to ensure fairness and excellence.
  6. The project has the total commitment of the head teacher and the whole of the staff in the school(s) involved with the whole of the school population promoting a shared ethos in relation to the programme. The staff learn alongside the children to promote a learning community. All adults working with the children are subject to all appropriate checks.
  7. Getting the ‘right’ people involved is critical. The project has a lead organisation and a charismatic leader with a clear vision that is communicated effectively to the team. Recruitment and training needs are identified and ways of addressing them are built into the programme for paid staff; older children who act as mentors; and for volunteers. All involved understand the backgrounds of the children and community, and are able to interact positively and successfully with the children, parents and carers.
  8. The social development of the participants is seen as more important than ‘musical’ skills. There is additional support for those children who need it. The projects are achieving excellence in music, but this is achieved through positive and constructive relationships. The focus is what is best for the children.
  9. The project addresses how other music programmes fit with the plans for the project and how these help to make the project a success. Links with other community development projects are also made, showing how these complement the project.
  10. The project requires long-term, sustained and intensive involvement of the children. Commitment is developed from the children and parents and carers to ensure regular and prolonged attendance. The children are immersed in music.
  11. The focus is on ensemble work with regular, daily music sessions for children (see further guidance below).
  12. There are frequent opportunities to participate in performances, including high prestige performances, and opportunities to attend performances of outstanding professional musicians who can act as role models.
  13. New cohorts join the programme each year. Older children (who may have been learning instruments through other routes) are involved in the project and mentor the younger children who start on the project.
  14. Instruments are available to all children who participate – these need not be of the highest quality, but they are of sufficient standard that they do not hinder the child’s learning.
  15. There is access to appropriate accommodation and storage. Group practice sessions are held at the project’s base. Where more than one school is involved, this may be at a ‘neutral’ community base. A growing sense of community cohesion exists as the children make progress both in musical ability and social skills.