Baroness Jolly
Main Page: Baroness Jolly (Liberal Democrat - Life peer)Music Education
Baroness Jolly Excerpts
Baroness Jolly (LD)
My Lords, this has been a really delightful debate and I have a huge personal interest in this. The best lesson that I learnt at school was to read music and sing, and it has given me a portable instrument which I have been able to take all around the world with small choirs. I feel that all children should have the same opportunity.
All noble Lords asked about disadvantaged children and music. It is a core role of music education hubs to ensure that every child, regardless of their background, has the opportunity to learn a musical instrument through whole class ensemble teaching, and to help ensure that children from lower income backgrounds have access to instruments and tuition, hubs of discounted instrument hire and lessons for children who are in receipt of free school meals.
I join other noble Lords in thanking the noble Lord, Lord Aberdare, for enabling us to discuss with such expertise—and, it must be said, passion—the national plan for music education and the long-term financial sustainability of the hubs. As I know other noble Lords are aware, there is already much excellent work that we can celebrate following the publication of the plan in November 2011. The 123 hubs which were set up in August 2012, managed by Arts Council England, are working hard to improve the quality and consistency of music education throughout the country. Data from their first academic year of operation showed that, in that first year, hubs gave nearly 500,000 children the opportunity to learn an instrument for the first time as well as working with almost 15,000 school choirs, orchestras or bands.
In order to monitor progress against the plan we have set up a cultural education board chaired by Nick Gibb, Minister of State for School Reform, Ed Vaizey, Minister of State at the Department for Culture, Media and Sport and Darren Henley, the managing director of Classic FM whose report led to the national plan for music education being adopted.
My noble friend Lady Walmsley and the noble Lords, Lord Aberdare and Lord Lipsey, spoke about music hubs giving a patchy service and asked whether DfE will support hub leadership to improve. Arts Council England is putting in place a system of peer-to-peer support for hub leaders, and DfE is currently considering spending allocations to hubs for 2015-16 and will consider whether some of the money should support training for hub managers. Arts Council England is working with all hubs and directly challenging underperformance as well as supporting hubs to improve.
Noble Lords are aware that the plan provides a vision which extends to 2020 and confirmed three years’ funding. Long-term government funding cannot be decided ahead of next year’s general election, but we were very pleased to announce in July—several noble Lords referred to this—an extra £18 million for music education in 2015, which takes the total investment to at least £75 million for the next year. In total, £246 million has been provided for the first three and a half years. I have no access to the Prime Minister but, on his pledge to support sport until 2020, I am quite happy to pass the view of the House to the Deputy Prime Minister.
The national plan recognised that central government funding would provide a contribution to the work of music education hubs, rather than being expected to meet the full costs. A key feature of the hubs’ role is an increased emphasis on partnership working, and they are expected to attract additional investment from other sources. The pattern is very different across hubs. In one hub, government funding accounted for only 13% of the total. In others, government funding was the sole source. This needs to improve. Arts Council England is supporting hubs to improve their business and brokerage skills so that they can widen their income sources and expand their core services to schools and young people.
Arts Council England is looking at encouraging the spreading of good practice. In response to the comments made by the noble Lords, Lord Lipsey and Lord Aberdare, who both used the word “patchy”, hubs are expected to draw in funding from a wide range of sources, such as local authorities, schools, parents and third-sector grants. There are many examples from across the country of hubs securing funding. Noble Lords asked for an example of children in deprived areas. In Hull, the hub has received £10,000 from one council ward to provide bursary funding for local pupils who cannot afford instrumental lessons. East Riding hub is receiving donations of up to £10,000 per year through its engagement with the parent-led Friends of the East Riding Youth Orchestras. In Kirklees, the hub has secured £10,000 from the John Paul Getty foundation to support its orchestral week initiatives.
The noble Lord, Lord Black, talked about the Tri-borough Music Hub north of the Thames. Perhaps it might like to work in partnership with the South London Riverside Partnership, which consists of the hubs of Greenwich, Lambeth, Lewisham and Southwark working together. Those hubs south of the river united their resources and applied for a £99,000 grants for the arts award for a strategic project in partnership with the London Philharmonic Orchestra education team. The BrightSparks education concerts are designed to extend the work of music hubs by providing opportunities for more than 32,000 school children to engage with a symphony orchestra of world-class musicians. The sharing of knowledge, skills and resources between the music hubs and the orchestra has been key to the success of the project so far, helping to raise the profile of the hubs and enabling them to extend and sustain their offer to schools.
It is easy to focus on music education hubs and forget the other elements included in the national plan for music. It is important to be aware that we are continuing to fund the vibrant In Harmony programme, based on the famous El Sistema programme in Venezuela. I listened to the noble Baroness, Lady Eaton. Nothing is new. She was talking about learning the violin in groups, and I can remember my brother doing exactly the same 50 years ago. In Harmony aims to transform the lives of children in six deprived areas: Liverpool, Lambeth, Telford and Wrekin, Newcastle, Nottingham and Leeds.
We are continuing to fund Music for Youth, which provides opportunities for young musicians to perform in some of the UK’s most prestigious venues and gives thousands of young people the opportunity to experience a range of high-quality live music. Thousands of London school children had the opportunity to attend the Primary Proms in the Royal Albert Hall earlier this year, and thousands more children from across the UK will have the opportunity to perform in, or to attend, the School Proms which take place next month, again in the Royal Albert Hall.
My noble friend Lord Black asked me, on behalf of the Government, to reaffirm the commitment to conservatoires. The music and dance scheme receives £28 million a year from the DfE and shares the commitment to allowing all pupils the opportunity to fulfil their talents, regardless of income. The noble Lord, Lord Berkeley of Knighton, might be interested to know that one of the recipients of that money is Wells Cathedral School. That sort of tradition is being carried on.
We are continuing to support national youth music organisations such as the National Youth Orchestra of Great Britain. These provide opportunities for talented pupils to perform at the highest level, whatever their family income. As well as funding specific opportunities for pupils, the national plan was designed to improve the infrastructure and there has been progress here too. For example, the level 4 Certificate for Music Educators qualification has been developed by the music education sector to professionalise and acknowledge their role in and out of school. Students can train for the qualification with the Associated Board of the Royal Schools of Music or with Trinity College London. New resources aimed at supporting primary teachers to teach music have been developed and published.
The noble Lord, Lord Aberdare, asked what the Government are doing to support the sharing of good practice; I think that I have covered that reasonably well. My noble friend Lady Walmsley asked about the EBacc; it is one of those chestnuts that keep coming around. Music GCSE continues to be the headline measure of school performance—the five As to Cs including English and maths measure. Reformed accountability measures from 2016 will include eight subjects, including music.
I still have many questions to answer, so I intend to respond by letter to noble Lords whose questions I have not had time to answer. However, we have heard the noble Lord, Lord Berkeley of Knighton, talk about music therapy. This was echoed by the noble Baroness, Lady Uddin, who spoke about autism; of course, she is an expert in that area. There is a need to start early, to train the muscles and get the muscle memory going. There is the mantra of singing with instruments, solos and in groups. We must work at it. There are large events that children gain so much from going to see and take part in; we have spoken about the proms.
The Government cannot act alone. We are working with schools, hubs, local authorities, the music education sector, music charities, commercial organisations and others to support the vision of a high-quality music education for all young people across England. By drawing the organisations together, we are now witnessing the start of a new era of partnership working in the music sector for the long term. I hope that noble Lords will be reassured by the debate—and, I hope, my letter—that the national plan for music education is alive and well and that music hubs will continue to play an increasingly pivotal role in promoting and delivering its aspirations for many years to come.