Music Education in England

Debate between Lord Vaizey of Didcot and Alex Sobel

Wednesday 17th July 2019 Westminster Hall

[Mr Edward Vaizey (Wantage) (Con)]

It is a pleasure to serve under your chairmanship, Sir George, in particular because you are someone who has campaigned hard for the arts in your constituency. I hope that your Shakespeare North theatre is coming along well.

As I look around at the small but high-quality attendance at the debate, I see before me a fellow member and an officer of the all-party group on arts, health and wellbeing, the hon. Member for Vale of Clwyd (Chris Ruane); an excellent Labour spokesman, the hon. Member for Cardiff West (Kevin Brennan), who is also a fantastic asset of that group; and the shadow Arts Minister for the Labour party, the hon. Member for Batley and Spen (Tracy Brabin). That is not to mention those sitting on our Benches: my hon. Friend the Member for Somerton and Frome (David Warburton), a member of the National Youth Music Theatre and of the National Youth Orchestra; the media star, my hon. Friend the Member for Henley (John Howell); and of course my hon. Friend the Member for Cheltenham (Alex Chalk), who represents such a centre of artistic excellence. I will come to the Minister at the end.

I have been a passionate supporter of music education throughout my time in Parliament. Having checked the records, I am pleased that I can still say, hand on heart, that I did not come to the subject late in the day. Shortly after being appointed as Arts Minister in May 2010, I commissioned Darren Henley, who was then the chief executive of Classic FM, to do a report on music education which he duly delivered in February 2011. It might astound and shock the Chamber to learn that the report was commissioned jointly with my right hon. Friend the Member for Surrey Heath (Michael Gove), who was then the Secretary of State for Education, showing his commitment to music education.

The biggest thing to come out of the report was the creation of music hubs, which I felt strongly we should have for a number of reasons. Despite the fact that I only look 21, I am old enough to remember when we introduced local management of schools in the 1980s, and the first thing that went out of the window was funding for music education. When schools took control of their own budgets, perhaps understandably they chose to spend on repairing the roof or other initiatives that the headteacher wanted to follow, and music education suffered. I did not want that to happen again with the introduction of free schools and academies; I wanted to ensure ring-fenced funding for music education. We did secure it: there were some bumps in the road and some anomalies to be ironed out—obviously most of us in the Chamber would want the funding to be doubled, tripled, quadrupled or even more, to make a real difference—but the fact is that the money was saved and ring-fenced.

Music hubs were meant to be innovative organisations; not just money spent by local authorities, but money spent together with local music organisations. It seems ridiculous not to take advantage of the expertise not just of a local orchestra but of innumerable music organisations that might exist in a local area, including perhaps the local music venue, as the hon. Member for Bury North (James Frith) described so well—it was remiss of me not to have congratulated him in my opening remarks on securing this important and welcome debate.

[Alex Sobel (Leeds North West) (Lab/Co-op)]

I am grateful to the right hon. Gentleman for mentioning music hubs. Before I came to this place, I used to work with a local music hub in Leeds, which opened up vocational routes in music composition, such as work in film, television and video games. Music hubs create new non-traditional opportunities in music. Does he agree that they are important for creating new vocational opportunities for people involved in music?

[Mr Vaizey]

I am delighted that the hon. Gentleman brought up that example; let me take the opportunity to praise the important work he does in this House on video games policy. I am really pleased to hear that example, because the thrust behind music hubs was that they be innovative, different and open up music education in its widest form, not just perhaps in the traditional way.

There were other dogs that did not bark—schemes that have been maintained by the Government and remain effective. One of the most effective was the music and dance scheme, where funding has been maintained to train young musicians to excellent standards and ensure their access to the highest quality specialist music education. Let us not forget that in the wider economy, the Arts Council funding goes to 99 music organisations—not just our major orchestras but important organisations such as Youth Music.

Another aim of the Henley report that I wanted to be implemented was the integration of the In Harmony scheme started by the last Labour Government, which to a certain extent copied the well-known El Sistema scheme in Venezuela. It was whole-class music education. I remember being moved almost to tears visiting a scheme in Everton—not that far from your own patch, Sir George—and seeing incredible children learning music in class. In fact, I was more moved when I met their parents, because the scheme brought the parents and the kids together and brought the parents into school. It gave the kids such pride and belief in what they could achieve. That leads on to a truism that we all know yet we do not act on: things such as music education have a massive impact on kids’ self-esteem and, therefore, on their academic attainment and life chances. If I could wave a magic wand, every school in the country would be part of the In Harmony scheme.

I am very pleased to be on the board of the charity London Music Masters, which does something similar in five inner city primary schools in London. It is heavy going to raise the money but, again, we see an inspiring effect on pupils. I was delighted when they came and played “Here Comes the Sun” in Westminster Hall, breaking every rule possible, but making a fantastic YouTube video. We should all acknowledge not just that music education is important in and of itself, but that it has a massive impact on academic achievement, self-esteem and, as I am sure we will hear from the hon. Member for Cardiff West, people’s health, life chances and mental wellbeing. I know he chairs numerous meditation all-party parliamentary groups.

An important challenge, for the classical music industry more than anything, is diversity. Music education brings the opportunity to learn instruments to a wide range of pupils who would otherwise not get that chance. The creation of the Chineke! orchestra shows the efforts being made in the classical music world to increase diversity, which is urgent.