Schools: Music Education

Lord Storey Excerpts

Thursday 18th October 2018 Lords Chamber

[Lord Storey (LD)]

My Lords, I start by thanking the noble Lord, Lord Black, for initiating the debate and for his tour de force of a speech. He said everything. I agree with the noble Baroness, Lady McIntosh, in that I have agreed with everything that everybody has said so far.

My own roots in Liverpool mean that I have a particular fondness for both the sound of the Mersey and the Mersey sound. As all noble Lords will know, Liverpool is the capital of pop music, having had more number one songs in the popular charts than any other city. I think I have asked the quiz question before that if anyone knows which the first one was they would win a prize. Nobody came forward last time so I will give your Lordships the answer: it was “(How Much is) That Doggie in the Window?” by Lita Roza. Music in Liverpool is, of course, not just pop music and the Beatles, but our world-famous symphony orchestra, the Royal Liverpool Philharmonic Orchestra, which does incredible outreach work in many deprived communities in the city.

I have a great deal of respect for our Minister—I think that he is a very genuine and decent person—but he has an impossible task today. No doubt he will trot out numerous examples, quite rightly, of good practice throughout the country, with particular music hubs doing this and particular projects doing that. But the fact is, no matter how much he or his civil servants dress it up, I am afraid that the statistics from the Incorporated Society of Musicians make quite terrifying reading. Music teaching in our schools is currently in terminal decline. Of course, it is not just music but the creative subjects as well.

I just do not understand this. As the noble Earl, Lord Clancarty, said, why would we bury our heads in the sand? Why would we allow this to happen? The UK music industry is worth £3.5 billion to our economy, including £1.4 billion-worth of exports. The wider creative industries are worth £85 billion, growing at twice the rate of the British economy. Why would we put that in jeopardy? Any other country would be nurturing and developing this opportunity, yet survey after survey, whether from the BBC, the Institute of Education, the National Education Union or UK Music, shows that music and the creative industries are in decline.

Of course, as we have all heard, there is one beacon of hope—the independent sector. Perhaps it is no wonder that a disproportionate number of our actors, for example, come from the independent school sector. It would be interesting to know, just as we had the question about the amount we spend on education in this country, when the figures come through about teachers and creative subjects, whether we have stripped out the independent sector. Do we know what the figure actually is? I pay tribute to the independent sector for the support it gives to the maintained sector and academies up and down the land. One wonders today whether some of Liverpool’s icons, such as Simon Rattle at Liverpool College, Paul McCartney at the Liverpool Institute, or John Lennon at Calderstones comprehensive, would have been able to aspire to the positions they are in today, or were in, if music had been developed as it currently is.

What do we need to do? It is not difficult. It is one of those few occasions where we are not asking for lots of money. A couple of simple things can be done. First, we talk about the national curriculum. It is not a national curriculum. It is not national because it does not happen in Wales or Scotland, and because free schools and academies do not have to do it. That is why we are seeing increasing numbers of schools deciding to ditch the creative subjects, particularly music.

The second thing we need to do is reform the EBacc. Actually, I would prefer to get rid of it completely, but we could reform it. The good old noble Lord, Lord Baker, who was a fantastic Secretary of State and brought us the national curriculum, which gave an entitlement that every school followed and brought about creative subjects, has an idea of how we could reform the EBacc that would really work.

I have the opportunity in my role to visit quite a lot of schools up and down the country. Sadly, more and more schools do not have a music teacher. You see the teacher trying to do a singing lesson or a school concert where the CD button is pressed and the children sing along—a sort of kids’ karaoke. I was pleasantly surprised at a school I visited recently that there was a pianist—how unusual—playing a piano, not a keyboard, and a teacher conducting the choir. In many areas, what used to be the norm is now the exception. Pianos and pianists in primary schools are an endangered species. In this case, the school was lucky to have found a volunteer who could play the piano.

For many children, key stage 2 tuition on an instrument depends on whether the school can afford it, or, more likely, whether the parents can pay for small group lessons and instrument hire. A colleague I was speaking to earlier this week was paying £90 a term for his granddaughter to learn to play the clarinet. She was fortunate enough to have grandparents able to do so. Of course, they hired the clarinet as well. The same grandparents had already set up a standing order to the school fund to pay for the field trip at the end of year 5. I am not sure whether universal credit will pay these costs.

A secondary school was so short of music teachers that anyone wishing to train as a music teacher, even those with a 2.2—I do not diminish that—would be given a bursary of £9,000, assuming that, first, the secondary school can find the money to employ a music teacher; secondly, that the school can recruit a music teacher; and, thirdly, that the school has the instruments for the students to play

Only a handful of children have the opportunity to learn an instrument. Often tuition is supported by parental or grandparental contributions, and as in the primary school, these are in addition to regular requests for this, that and the other.

I would like to make it clear I am not criticising head teachers, who have to make ends meet with increasing demands on a decreasing school budget. Nor am I criticising primary and secondary teachers, who struggle to convey a passion for music to their students. Nor can I criticise local authorities, whose contributions to music hubs have been cut by over a third in one year. Without the resources to provide a minimum of adult social care or a guarantee that vulnerable children can be kept safe, reducing the grant to the nearest music hub is the tough choice local councillors are having to make.

A combination of austerity, a narrowing of curricula and a focus on quantitative exam results rather than a qualitative education experience has created a perfect storm for music in schools. Teachers are knee-deep in triple marking and whole music departments have been swept away by the tide of budget pressures. Meanwhile, the music hubs are making valiant efforts to rescue schools and children, efforts which in many areas are reduced to damage limitation.

In “Twelfth Night”, Duke Orsino proclaims,

“If music be the food of love, play on;

Give me excess of it…”

There is scant danger of there being an excess of the food of love in any of our schools. But we must focus what resources we have on ensuring every child has a rich musical education.

I was a head teacher at a school in a very deprived part of Liverpool. We had a full-time music teacher who taught from reception to year 6, and we had a 50-strong school orchestra. We were lucky to be awarded an Arts Council gold award. Those opportunities in the creative subjects were absolutely life changing for the pupils in that deprived community, and they should be available for all children.