Music Education

Baroness Fleet Excerpts

Wednesday 9th November 2022 Lords Chamber

Moved by

[Baroness Fleet]

That this House takes note of the National Plan for Music Education.

[Baroness Fleet (Con)]

My Lords, I thank all noble Lords for coming today. It is an honour to lead a debate on the national plan for music education, and I am grateful to noble Lords who have put down their names to speak on this important subject. Many will have considerable expertise in this area. I remind your Lordships of my music and education interests as listed in the register.

I take this opportunity to welcome back to his place my noble friend the Minister. He is a great champion of music and the arts, and I look forward to continuing to work with him. I eagerly anticipate all contributions, including from my noble friend Lord Black of Brentwood who, as chairman of the Royal College of Music, has led the way in this House on the benefits of music education and has been a much-valued friend and mentor to me.

I was honoured to be asked to chair the advisory panel for the refreshed national plan. The panel, made up of music teachers, head teachers, music hub leaders and leaders of the music industry, gave its expertise, wisdom and considerable time. I take this opportunity to thank them all. every single one of them played a huge role and kept me and the department’s officials on our toes, informing and challenging us every step of the way.

The 2022 plan is called The power of music to change lives for a very good reason. Music gives young people an opportunity to express themselves, explore their creativity, work hard at something, persevere and shine. It is character forming. Music is vital, I believe, for their well-being—it makes them happy. A recent survey by the Royal Philharmonic Orchestra showed that 85% of children wanted to learn a musical instrument. Music should be at the heart of every school. Music is not just about learning notes and techniques; it brings young people together, enriches lives and helps emotional and social development. All this filters through to help with grades and exams. Music changes lives.

The plan is very clear about its ambitions. Every child should have access to music, whatever their background—to learn to sing, play an instrument, create music together and have the opportunity to progress their musical interests and talents. We had the challenge of building on the first national plan for music, commissioned in 2011 by the then Education Secretary, Michael Gove, and the then DCMS Minister, now my noble friend Lord Vaizey. It was a rare, indeed remarkable collaboration between two departments.

The 2011 plan laid the groundwork and set up over 100 music education hubs across the country to deliver music to all schools in their areas. Some progress was made, but not enough. Although many schools do have wonderful music, we recognise there is not yet a level playing field. Many children, particularly those from disadvantaged backgrounds, are missing out. Music is, arguably, even more important for them.

There is now a better understanding of how music can support early years learning. Music helps reading, listening, concentration and memory. Just think of those nursery rhymes you, my Lords, learnt all those years ago. I still remember my mother, who was born in pre-partition India, now Pakistan, teaching me to sing “Nini Raja”, a Hindustani nursery rhyme. I could, but will not, give you a rendition. Each of us will have a different story about how we first came to music.

I have seen at first hand the profound effect that music can have on young lives. As chair and co-founder of the London Music Fund, set up with the support of the then Mayor of London, Boris Johnson, we gave four-year scholarships to children from disadvantaged backgrounds who had a passion for and a commitment to music. Six years ago, one of our scholars, just 11 years old, played his violin at a fundraising lunch in Mayfair. It was a pretty terrifying experience, but he was enchanting. His mother told us how they, a family of immigrants, lived in a bedsit after a broken marriage. She told the generous donors that music had transformed her son’s life and those of the whole family. The mother, by the way, drove a bus at the Peckham bus depot. Earlier this year I watched him, now a strapping teenager and an accomplished grade 8 violinist, take part in a graduation concert with over 100 Music Fund scholars. He plans to study music at university next year. To give another example, Monique was brought up on a challenging high-rise estate but started to learn the clarinet at school and won a scholarship from the London Music Fund. She developed an astonishing work ethic, and so her self-confidence grew. Ten years on, she has taken up a place at Imperial College to read mathematics—music changes lives.

We would all like to see many more young people like Monique be given that opportunity. The talent is there; the opportunities often are not. That is why I am determined that the national plan will be not just a plan but a template for action—an action plan. Throughout the document, we give inspiring examples and detailed case studies of schools that have made it happen and show how they have done it. For example, Feversham Primary Academy in Bradford is in one of the most disadvantaged areas of the country; 27% of the pupils are eligible for the pupil premium; 78% have English as a second language. In 2013, it was in special measures. In 2022, it is rated an outstanding school, achieved thanks to the vision of the headmaster, who recognised the value of music. Every one of the 500 pupils has three hours of timetabled music every week and learns to play an instrument—all achieved within the school’s budget. Music has the power to transform a school too.

When we published the plan, many people said, “Oh, but Feversham is different”. It is, but it should not be an exception. Every primary school could follow Feversham’s model if it wanted to; it depends on the will of the headteacher and the governors. At Shoreditch Park Academy, where I am a governor, the headteacher is passionate about music education. This last summer, 24% of year 11 pupils took music GCSE; 39% of them were on the pupil premium. The Government’s multi-academy trust ambitions will perhaps help; Ark Schools, the David Ross Education Trust and United Learning are among those leading the way. In future, primary schools may well find it hard to be awarded “excellent” if they do not provide high quality music education.

The most exceptional young musicians can benefit from the Government’s brilliant Music and Dance Scheme, which I am pleased to say is still strongly supported. One of the music fund’s first scholars went on to study at the Yehudi Menuhin School with an MDS bursary. Some will be inspired to study music to higher levels at one of our great conservatoires, perhaps to become a musician or music teacher.

But what of the rest? The wider benefits are so obvious to those of us who are passionate about music. As well as developing an understanding and love of music, it will give them the motivation and communication skills to succeed and an appreciation of collaboration, which is so important in society. Some will join the pipeline of talent that contributes so much to our brilliant and economically powerful creative industries. All, I hope, will become audiences of the future.

Under the plan, we would like to see every school—primary and secondary—have timetabled curriculum music of an absolute minimum of one hour a week, a music development plan, access to lessons for all across a range of instruments, a school choir or voice ensemble and an instrumental ensemble or band. Every school should have space for rehearsals and individual practice, a school music performance every term and the opportunity for children to go to a live performance at least once a year. These are clear ingredients of great music in school.

The expert panel recognised that many schools need further support and guidance to deliver all this. We have therefore provided practical and financial solutions. Partnerships are key; local orchestras and choirs, professional music organisations and local amateur music groups will all have a role to play. Just look at what has already been achieved in Manchester, where the multi-authority music hub is in direct contact with all local primary and secondary schools—over 1,000 of them—helping them deliver excellent music lessons, ensembles and orchestras. Forward-thinking organisations are already rallying around the plan. The Royal Northern College of Music is working with the ABRSM to provide career development, CPD, for non-specialist teachers working in primary schools.

Parents will play an important role too. A recent poll from UK Music showed that the majority of parents recognise the value of high-quality music education and want it for their children. I accept that there have been significant barriers to learning music for many young people. This is particularly true for those from black and other minority-ethnic groups and those with a disability. This must now change. I want to see every child given that chance. One new initiative in the plan is a progression fund, to be launched next autumn. This pilot will give pupils with significant potential, like Monique, the opportunity to make progress and fulfil that potential.

I would love all parents right across the country to understand what the plan offers, to see what the expectations are for their children. When choosing a school, they should look at what music is available. If their child is not receiving high-quality music lessons, at least one hour a week in the curriculum, and a range of musical opportunities in and out of school, they should ask why. Parents need to be heard, making it clear to teachers and head teachers that music is mission-critical. Research just published shows that singing in a choir or playing in an orchestra builds resilience, which is so important in these challenging times.

The government funding of £79 million a year promised for music hubs up to 2025, plus additional money for new initiatives in the plan, is guaranteed. On top of that, a new pot of money of £25 million, which the Department for Education has earmarked for the purchase of musical instruments, will be essential. I thank the Minister for the critical role that he and my noble friend Lady Barran have played in securing these funds.

There will always be calls for more money, and more money is always welcome, but money is not the only answer. As chair of the expert panel, I believe that the aims of the plan can be achieved within the budgets boosted by the additional funding announced in the plan. Critics may also point out that the plan is not mandatory, but it is a strong, clear steer from government. I hope that we will hear from the Minister what measures will ensure that all schools follow the recommendations in the plan. One important strand that was not part of the remit of the expert panel was teacher training. What plans are there to scale up and train more specialist music teachers, and what support will be given to non-specialist music teachers? During their one-year initial training, they currently receive little more than a couple of hours focused on music. This is totally unacceptable.

The plan is a catalyst for change and a turning point. Many brilliant head teachers and many brilliant music teachers across this country, supported by governors and trusts, are already backing and delivering music. They are finding the money within their budgets, the time in their timetables and the space for lessons and rehearsals. With an emphasis on inclusion, progression and excellence, the plan will help give all children that opportunity, whatever their background and wherever they live. The plan is ambitious, and not everything will happen instantly, but I hope it will encourage everyone to work together to achieve what I know can be achieved.

I shall finish here, because I am very keen to hear all noble Lords’ contributions. I thank noble Lords for taking part in this important debate.

--- Later in debate ---

[Baroness Fleet (Con)]

My Lords, on behalf of the whole House I thank my noble friend the Minister for his insights and typically generous remarks to me and to everyone here. It has been a really good natured debate; at times, I felt we were all on the same side, which in itself is a good thing. It has been quite a passionate debate but music is a very passionate subject and we all care so much about it. I will do my very best to hold the Government’s feet to the fire, as the Minister suggests, and monitor this to ensure it really is a plan of action, not just a plan.

I would like to thank all noble Lords personally but we are probably running out of time. However, I will note the comments of the noble Lords, Lord Aberdare and Lord Berkeley, who I have come to know quite well over recent months through our shared interests. They are both brilliant advocates of music education, as all your Lordships are, and never willing to let the Government off the hook—good for them. We cannot hear enough of their arguments or those of the noble Earl, Lord Clancarty. My friend the noble Baroness, Lady Bull, has courageously taken on a fantastic new role, which I am sure your Lordships all know about. I congratulate her on being appointed as chair of the advisory panel for the cultural education plan. That really is an important piece of work and we are most fortunate that she has agreed to take it on.

I will say a few words to sum up what an important debate this has been, rather than taking each speaker separately; I thank them all. I would like to pick up on a point made by the noble Lord, Lord Black, who is right that we need political leadership to give the plan a proper position in schools. I am sure we would all be delighted to hear the new Secretary of State at the DfE express her belief in the importance of music and music education. We have been waiting for this for some time; there has been rather a lot of moving chairs and people around, but now is the moment. We all need good news, and this really would be very well received by all Members of this House and the other place. It has been most constructive and an important subject for all of us. I hope it will be taken away by those in government, and the whole of the sector, and studied and acted on, for children and young people are at the heart of the national plan for music education. We must work together to ensure that we bring music into their lives and into the lives of all children, whatever their backgrounds and circumstances. I thank noble Lords for their inspiring contributions.

Motion agreed.