Music Education for Children with Physical Disabilities
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The Parliamentary Under-Secretary of State for Schools (Lord Nash) (Con)
I thank all noble Lords for participating in this debate and in particular I thank the noble Lord, Lord Lipsey, for securing it. When this debate first came on the agenda, I was concerned, not so much because of its timing, but because I do not know a great deal about the subject matter. However, I have greatly enjoyed reading myself into this debate and listening to the eloquent speeches, which I found extremely interesting. I have been frankly humbled to learn about how much is going on in this area and how powerful music education can be, particularly for children with physical disabilities.
The Government have the same ambition for children with disabilities as they have for all children. We want pupils to achieve well at school, lead happy and fulfilled lives and have choice and control. I have no doubt that music is a key way of achieving this, particularly for pupils with disabilities and SEN. Several noble Lords attested to that today. I remember vividly that when I was doing research into the academies programme I visited a KIPP charter school in a particularly deprived area of New York City where every child is in an orchestra which travels across the United States to perform. It is renowned for its success.
Music has been confirmed as a statutory subject for children between the ages of five and 14 in the new national curriculum, which comes into force in all maintained schools from September. The revised programmes of study for music have an increased focus on the need for activities to be undertaken musically, with reference to all children learning to play a musical instrument. The new, slimmed-down curriculum provides greater freedoms for teachers to use their creativity and professional judgment in how they teach to meet the needs of the pupils in their class. At key stage 4, the arts are one of four entitlement areas within the national curriculum. Maintained schools must provide all pupils with access to at least one course in the arts entitlement area, which includes music, art and design, dance, drama and media arts.
The Equality Act places a duty on all schools to support disabled children and young people. It includes making reasonable adjustments to prevent them suffering discrimination and supplying additional aids and services. Schools must have also accessibility plans which set out how they will improve access to the curriculum, improve the school’s buildings and environment to enable disabled pupils to take better advantage of the school and improve the availability of accessible information. This includes academies and free schools. Additionally, to make sure that all teachers know how to adapt teaching to respond to their pupils’ needs, part 5 of the teachers’ standards requires teachers to,
“have a secure understanding of how a range of factors can inhibit pupils’ ability to learn, and how best to overcome these”.
To support and encourage all children to experience excellent music education, the Government have set up 123 new music education hubs. Since August 2012, these hubs have been working to drive up the quality and consistency of music education across the country, with an emphasis on forging new partnerships. Hubs are required to develop four core roles, which include ensuring that every child aged five to 18 has the opportunity to learn a musical instrument through whole-class ensemble teaching and providing opportunities for them to play in ensembles and perform from an early stage. They are also expected to ensure that clear progression routes are available and affordable to all young people, and to develop a singing strategy so that every pupil can sing regularly in a choir or other vocal ensembles in their area. In addition, hubs may provide other services, such as professional development for teachers.
In answer to the question asked by the noble Lord, Lord Aberdare, about participation, I am pleased to say that 5% of pupils who participated in instrumental ensembles or choirs in 2012-13 had a statement of special educational needs, compared to 2.8% nationally.
There are some excellent examples of hubs working with children who have disabilities. Telford music education hub offers a bespoke version of its whole-class ensemble tuition programme for special schools. Camden hub integrates pupils from local special schools into the Camden music festival and Surrey music hub, with partner Rhythmix, has run a sound and motion lab looking at how digital technologies can aid music-making for children with movement impairment at the Orpheus residential centre for children with disabilities. In Telford, the hub’s Kreative Kidz programme offers specialist out-of-school arts and music sessions for young people with severe physical needs, under the short breaks duty introduced to local authorities in April 2011. The Staffordshire and Stoke-on-Trent hub’s strategic partner, Make Some Noise, runs training and mentoring programmes for musicians and teachers wishing to improve their skill set and confidence in delivering music activities for children with SEN and disabilities, through the use of assisted music technology specialists and equipment. Bradford music education hub offered training events for teachers of children with SEN and disabilities between November and March last year, covering topics such as song-writing, composition and developing choirs.
As my noble friend Lord German mentioned, schools are also demonstrating innovative practice in this area. At Great Oaks, a special needs school in Southampton, all students learn to use mobile devices to make music. In October 2013, the school held a mobile device concert for students to perform arrangements of popular music songs independently in iPad bands. Bradford music has also established a singing choir at Hanson secondary school, drawing on specialist expertise and advice from Music and the Deaf, a unique charity based in Huddersfield that helps people suffering hearing loss to enjoy music. In Ealing, a partnership on music and autism with the Orchestra of St John’s led to securing funding to develop a series of workshops and performances, led by members of the orchestra, in all the borough’s specials schools.
In response to the comments of the noble Lord, Lord Lipsey, I am delighted to say that the Government appreciate the benefits of the music and this type of work. I am very happy to make that statement. The Department for Education will look to publicise work of this type, whether it is led by music hubs, charities or schools, to help to give due recognition to these extremely worthwhile projects, and it will encourage other organisations to emulate this good practice in their work.
I am grateful for the comments from the noble Lord, Lord Lipsey, the noble Baroness, Lady Jones, and my noble friends Lord Jenkin and Lord German about the announcement on 22 July that our music budget will increase by £18 million in 2015-16, with most of this money going to the hubs. This will bring the total that this Government are spending on music education for the period between 2012 and 2016 to more than £390 million.
Other programmes include In Harmony, which we sponsor alongside Arts Council England and others. In Harmony is transforming the lives of children through community-based orchestras for music-making in six areas of exceptional deprivation. Again, we are aware of excellent inclusion practices. For example, in a participating Nottingham school, a child with muscular dystrophy has had a half-size guitar adapted so that it can be tuned to the correct pitch, enabling her to carry out pizzicato alongside her classmates. In Newcastle, In Harmony has helped a child with a very severe speech disability to excel on bassoon. He has performed solo at Newcastle’s Literary & Philosophical Society and is now attending the Sage Gateshead centre for advanced training.
Our funding for Music for Youth is also enabling children with disabilities to attend and perform at regional and national festivals at world-class venues. Sixteen children and young people with additional needs from Beacon Hill Academy in Essex, a specialist college for sensory and physical needs, performed in a mass ensemble showcase performance at the Royal Albert Hall for the Schools Prom in 2013. This was part of an exclusive music project in Essex, delivered by Music for Youth in partnership with three music education hubs.
I thank the noble Lord, Lord Lipsey, for drawing our attention to the achievements of one-handed musicians and the extraordinary and pioneering work of the One-Handed Musical Instrument Trust. The Government have been clear that all pupils, whatever their individual needs, should benefit from an education in music, and through our work with the Arts Council and others we will continue to make sure that providing opportunities with SEN disabilities is essential to the work.
I enjoyed the comments of my noble friend Lord Jenkin about Douglas Fox and his wonderful work. I also thank him for highlighting the commendable work of Jessie’s Fund in helping seriously ill and disabled children through the therapeutic use of music. Through its Soundtracks programme it is running creative workshops in more than 80 schools for children with special needs. It is doing excellent work in supporting children to take part in the musical process.
I am grateful to my noble friend Lord German for his comments about the benefits of music as therapy and its ability to break down barriers. This is evident in the work of programmes funded by the department. In Cambridgeshire, there is an established music therapy programme providing clinical interventions, while Telford and Wrekin’s In Harmony programme has a specialist nurture group.
I noted comments about establishing an international paramusic competition, and I will discuss it with DCMS, as it seems like a very good idea. Technology is also crucial. I have already pointed to the innovative work with mobile devices at Great Oaks School in Southampton.
The noble Lord, Lord Aberdare, and the noble Baroness, Lady Jones, emphasised the importance of making sure that the money we have provided is well spent and reaches students with disabilities and SEN. We have been working with the Arts Council to support and challenge hubs. We have introduced a new requirement for hubs to develop school music education plans. They must clearly demonstrate how they are connecting with all the schools in their area and how they are planning to provide targeted support to schools where necessary. We have also set up a new hubs advisory group, which is providing strategic advice to the DfE on the effectiveness of hub networks. Members are drawn from organisations with an interest in the performance of hubs, including representatives from schools, music hubs, Ofsted and other music stakeholders. There is an SEN teacher on the hubs advisory group.
The Arts Council also analyses the data from hubs to ensure that children and young people with SEN and disabilities are engaged. Several hubs are currently undertaking specific research and activity with children and young people with SEN, and we will share this across the network as appropriate. The Arts Council runs a flagship Artsmark programme to enable schools and other organisations to evaluate, strengthen and celebrate their arts and cultural provision. Artsmark is nationally recognised as demonstrating excellence in arts and cultural provision, and any school, college or young justice organisation can apply. It is open to SEN schools. A specialist leaders in cultural education course has been developed by one of ACE’s bridge organisations and this is open to special schools.
The noble Lord, Lord Aberdare, asked about the national plan for music education’s monitoring board and whether this will continue. It continues to meet termly as the cultural education board, chaired by Ministers from DfE and DCMS, and Darren Henley. I will ask my officials to investigate the use of technology in music GCSEs and will write to the noble Lord on that issue.
I am very grateful to my noble friend Lady Nicholson who spoke so powerfully about the power of music for deaf children. She highlighted the excellent Mary Hare School for the deaf. I was very impressed to hear about the school and its arrangements in Romania. Schools with real expertise can make significant contributions by sharing their knowledge internationally. I would be very pleased to discuss this with my noble friend. I should be grateful if she could keep me informed and would be delighted to meet representatives from Romania when they are here.
The noble Baroness, Lady Jones, made the point that top-performing schools in music are often independent schools. Sadly, that is true. As we all know, the top-performing schools in this country absolutely, and in many areas, are disproportionately represented in the independent sector, which is why this Government are so determined to increase the performance of the state education sector.
I believe that the policies and programmes that I have described demonstrate our desire to ensure that no child is excluded from receiving a high-quality music education due to a physical or other physical disability. I am sure that noble Lords will agree that the impact of our programmes on disabled young people is evident from the examples that I have given throughout the country.
The Deputy Chairman of Committees (Baroness McIntosh of Hudnall) (Lab)
My Lords, that concludes business in Grand Committee this afternoon. The Committee stands adjourned and I take this opportunity to wish all noble Lords and others a very pleasant recess.