The Parliamentary Under-Secretary of State, Department for Education (Lord Agnew of Oulton) (Con)
My Lords, I am grateful to the noble Lord, Lord Black, for securing this important debate. I also thank colleagues for their contributions. There was much in my noble friend Lord Black’s comments on the benefits of education that I strongly agreed with.
Music is statutory in the national curriculum, so every child in a maintained school must study the subject from the ages of five to 14. Between 2016 and 2020, we are providing £300 million of funding for music education hubs to ensure that all pupils have the opportunity to learn an instrument, sing and perform regularly, and have access to clear routes of progression.
Many noble Lords, including the noble Lords, Lord Clement-Jones and Lord Watson, and my noble friend Lady Redfern, mentioned the national plan. I can confirm that we will announce our plans for the next phase of this within the next couple of months. I say to those noble Lords who may be unware of it that the Government’s priorities for music education are set out in The Importance of Music: A National Plan for Music Education. It sets out our belief that children from all backgrounds and every part of England should have the opportunity to learn a musical instrument, to make music with others, to learn to sing, and to progress to the next level of achievement.
We have set up a network of 120 music education hubs to support schools in providing these opportunities. The noble Lord, Lord Lipsey, spoke about music in Wales, but that is a devolved matter. He was also concerned that children in England should have the opportunity to learn to work together in groups. That is exactly what the music hubs are trying to do, working with local authorities, schools, arts organisations and community and voluntary organisations. Between 2016 and 2020 music hubs will receive £300 million to work with all state-funded schools in England, including academies and free schools.
In primary schools, the national curriculum aims to ensure that all pupils perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of the great composers and musicians. At key stage 1 pupils are taught to use their voices expressively and creatively by singing songs and speaking chants and rhymes, as well as to experiment with, create, select and combine sounds using interrelated dimensions of music. At key stage 2 pupils are taught to sing and play musically with increasing confidence and control. They should develop an understanding of musical composition, organising and manipulating ideas within musical structures and reproducing sounds from aural memory. At this stage pupils will also begin to develop an understanding of the history of music.
To address the concern expressed by the noble Earl, Lord Clancarty, that music is being sidelined in primary schools, with less time being spent on the subject, in the 2016 Omnibus survey, primary school classroom teachers were asked about the time they spent teaching different subjects. The survey showed the time spent on humanities to be broadly similar to that spent on music and the arts. I would also like to put to bed the myth that says academies can opt out of teaching music. This is simply not correct. All schools, including academies and free schools, must provide a broad and balanced curriculum.
Prompted by the noble Lord, Lord Storey, I will offer a couple of examples. Yesterday I corresponded with the chief executive of the Outwood Grange Academies Trust in the north. He said:
“I have specialist teachers working in 10 primaries delivering music, and we use the peripatetic service. I have a specialist supernumerary director who supports music across the whole trust. We annually have students who perform in the Royal Albert Hall. We also book regional theatres for our students to perform in. We are promoting music heavily and have, for example, a youth brass band in our Barnsley school, Outwood Shafton. It is next to Grimethorpe, which has a famous colliery band. We have 206 entries to do music this year”.
I corresponded with the chief executive of the Burnt Mill Academy Trust near Cambridge. She said:
“We get all children to start an instrument in year 7; all pupil premium children in primary. At the end of year 9, they can choose to continue or not. This has a massive impact on self-esteem, resilience and music outcomes”.
I reassure the noble Baroness, Lady McIntosh, the noble Earl, Lord Clancarty, and the noble Lords, Lord Aberdare and Lord Clement-Jones, that Ofsted does consider music education as part of a school’s broad and balanced curriculum—one that promotes the spiritual, moral, cultural, mental and physical development of all pupils. The noble Baroness, Lady McIntosh, is correct that Ofsted is consulting on its new framework, and we will have to leave it to Ofsted to develop it. The noble Earl, Lord Clancarty, asked about the relationship between the DfE and DCMS. I am able to say that we are in touch with each other. That department carried out a survey in 2016-17 which showed that 97% of children aged five to 15 participated in the arts in general.
When talking about music education in primary schools, I would like to share a splendid example that came to me via the music education hub in Gloucestershire. One of the hub’s partner organisations, the Music Works, delivers whole-class ensemble teaching on iPads. According to one teacher:
“The year 6 children from Chesterton Primary School, Cirencester, had a wonderful time combining music and technology. Even our most reluctant musicians are finding out about time signatures, chords and composition as they enjoyed exploring GarageBand”—
that is not a genre I am familiar with—
“on the iPad”.
I appreciate the kind words of the noble Lord, Lord Storey, although he made me feel like a young subaltern at Balaclava with Lord Raglan telling me to charge—but I will now address the EBacc issue. I reassure noble Lords that the EBacc is not responsible for forcing music out of the curriculum. These concerns were raised by nearly every speaker: the noble Lords, Lord Wallace, Lord Aberdare and Lord Clement-Jones, and my noble friends Lady Bloomfield and Lord Black. First, the data shows that the percentage of time spent by secondary school teachers teaching music remained broadly stable between 2010 and 2017. This data is drawn from the school workforce survey, which is a statutory survey, not a limited poll.
Secondly, there is no evidence that arts subjects, including music, have declined as a result of the introduction of the EBacc. In response to an Oral Question yesterday, I said that there were 31,000 entries for GCSE music in England in 2017. That was fewer entries than seven years ago because the cohort was smaller. The percentage is the key figure, and it has remained broadly stable at around 7%.
The noble Earl, Lord Clancarty, spoke about the rise in the number of pupils studying geography and history. He is right: it went up from 48% in 2009-10 to 76% in 2016-17. I believe this is a matter for great celebration, and it very much plays into the point made by the noble Baroness, Lady McIntosh, about facilitating subjects. One of the main reasons why we pushed for this was to help those from disadvantaged backgrounds get a decent chance of going to a good university. I take on board the noble Baroness’s challenge—that should be taken to the universities. I accept that music is a very challenging subject and it should get recognition, but that fight should be taken to that sector. In 2018, 23% of children in the independent sector participated in art and design GCSE, compared with 27% in the state sector. The best schools are combining a high-quality cultural education with excellence in core academic subjects, and we are committed to ensuring that all pupils have access to both.
Some noble Lords raised careers and secondary schools, and GCSE study leads me on to the subject of careers. The Government want to encourage young people to consider careers in music and have published a comprehensive careers strategy, building on the improvements we have already made to the careers system. We are investing more than £70 million this year to support young people and adults to get high-quality careers provision. Of the 330 new apprenticeship standards approved so far, 28 have been made available for the creative and digital industries, with a further 33 in development.
The noble Lord, Lord Watson, asked about the recent pay rises. We have committed to provide £500 million for an increase in pay for classroom teachers on the main pay scale of up to 3.5%. It is being paid directly to schools on a per-pupil basis, that being the quickest and simplest way to get the money into the system. The number of teachers centrally employed by councils represents only around 1% of the teaching workforce. We are in discussions with local authorities about how this issue is dealt with.
The noble Lord, Lord Watson, challenged me on what I think he described as an arts pupil premium. It is important to put on the record that we have created a pupil premium which has delivered more than £12 billion into the schools sector over the past five or six years and is aimed at those in areas of disadvantage. We are providing £300 million for a network of music education hubs. To break that down, we have given £400,000 to Music for Youth to provide opportunities for young people and families who might otherwise not have access to perform at or attend regional and national festivals. More than 10,000 pupils attended Music for Youth Proms primary concerts in London and Norwich last week. The festival series reaches its climax next month when around 3,000 young people will perform at the Music for Youth Proms concerts at the Royal Albert Hall. Department for Education funding helps to support the festival series, including supporting those participating or attending for the first time.
To address my noble friend Lord Lingfield’s concern about orchestras, we have a £2 million fund for national youth music organisations such as the National Youth Orchestra, the National Youth Choirs of Great Britain and the National Youth Jazz Collective. This helps them to continue their excellent work and ensures that they remain able to provide bursaries to those from disadvantaged families who would otherwise be unable to take up the opportunities.
The noble Lord, Lord Watson, raised the issue of funding for the music and dance scheme. The actual figure is £118 million for exceptionally talented young musicians and dancers, which is not quite the sum that was mentioned.
Lord Watson of Invergowrie
The issue I raised concerning the music and dance scheme was not the total funding but the fact that it was set up to assist students from disadvantaged families, yet many of its students are from families that could certainly not be described in that way. Can the Minister clarify why that is happening?
Lord Agnew of Oulton
My Lords, I am not familiar with the exact mechanics of the scheme but I will write to the noble Lord to clarify that.
My noble friend Lady Bloomfield spoke about In Harmony, a scheme that is running some excellent programmes in Nottingham and is working with 26 primary schools. Last month, it ran a music camp for children in need of extra support to move into the after-school band. In March next year the programme is organising an immersive play-along concert with the Robin Hood Youth Orchestra. Impressive work is happening too in Liverpool. Next year the Liverpool In Harmony programme is celebrating its 10th anniversary. In March the Royal Liverpool Philharmonic Opera is holding an In Harmony benefit concert, there is a special children’s orchestral production at Liverpool Philharmonic Hall and further Liverpool In Harmony concerts are planned in Leeds and Newcastle.
My noble friend Lord Lexden, the noble Lords, Lord Aberdare and Lord Wallace, and the right reverend prelate the Bishop of Chichester all spoke about independent schools. As my noble friend rightly said, we have recently agreed a joint understanding with the Independent Schools Council. This is the first of its kind and it sets out the commitment that independent schools are making to support disadvantaged pupils, including looked-after children, and to work with others across the sector on things such as the better targeting of bursaries. I am aware of an excellent drama and music production organised by the King’s College School in Wimbledon in partnership with Ricards Lodge High School, Coombe high school, St Mark’s Academy and Cricket Green special school. Interestingly, the statistics for those studying music GCSE are broadly the same in the independent sector and the state sector: about 6% in the state sector and 7% in the private.
We held a round-table meeting in Downing Street a few months ago with independent schools as part of something that I am very committed to: getting them to collaborate more with the state sector. At the round table, I asked the question: “What more should be happening?”, and all the heads from the independent schools said, “We should have state school heads in this meeting next time”. They are passionately committed to supporting the state sector in the promotion of good music, among other things.
My noble friend Lady Bloomfield referred to the quality of teacher training. In December last year we launched a consultation on strengthening qualified teachers’ status and improving career progression. This will happen for all subjects but I do not yet have specific details on music.
My noble friend Lord Lingfield may be interested to know of the Classical 100, which was mentioned by the noble Lord, Lord Aberdare. Classical 100 was launched in 2016 and is a free online resource that provides classical music to primary schools. It was developed by experts in music education and the Associated Board of the Royal Schools of Music, Classic FM and Decca. Over 4,000 schools have signed up to this resource, with 6,300 teachers registered as users. The 100 pieces were selected to encourage people to explore, discover and listen to a range of styles over 10 centuries, including JS Bach, Beethoven, Brahms, Mozart and Tchaikovsky. The online site offers schools a range of flexible resources to support teachers and can be used not only in music lessons but as part of school assemblies, plays and dance and drama studies. My noble friend Lord Borwick is right: technology is emerging to offer different routes into music and the teaching of music, and the Classical 100 is a good example of that.
Let me say a few words about the Music for Youth Proms concerts taking place next month, from 5 to 7 November. The Proms is an annual event which takes place at the Royal Albert Hall and is a celebration of the entire Music for Youth season, showcasing high-quality performances from some of the UK’s most creative, innovative and energetic young musicians. The DfE funds Music for Youth, and each night, more than 1,000 different young musicians take part in a concert which sees full-scale orchestras showcased side by side with some of the brightest young jazz bands, chamber groups, rock bands and choirs from across the UK. This is a tremendous experience for young people, giving them an opportunity to perform in a world-renowned venue alongside their peers.
I close by reassuring your Lordships that the Government absolutely understand the value of music. I cannot put it more personally than this. My own father studied music at university just before the outbreak of the Second World War. He volunteered to fight before graduating but it remained an important part of his life. A few years earlier, at school, he used singing to overcome a debilitating stammer. I understand the power of music.
I again thank my noble friend Lord Black for tabling this debate to give the Government a chance to put on record all that is being delivered in music. I take note of all noble Lords’ concerns and will ensure that the Government bear in mind all of today’s contributions.