Music Education Debate

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Baroness Jones of Whitchurch

Main Page: Baroness Jones of Whitchurch (Labour - Life peer)

Music Education

Baroness Jones of Whitchurch Excerpts
Tuesday 28th October 2014

(10 years, 1 month ago)

Lords Chamber
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Baroness Jones of Whitchurch Portrait Baroness Jones of Whitchurch (Lab)
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My Lords, first, I very much thank the noble Lord, Lord Aberdare, for tabling this debate this evening. I thank all noble Lords for their excellent contributions. It is clear that across the House we have an understanding of the transformative power of music as well as an impressive unanimity on the challenges to this sector, which I am sure the noble Baroness will address.

Like many noble Lords, we welcomed the Henley report and the subsequent national plan for music. It led many to think that the Government finally understood the real significance of music in our schools and in our culture. Sadly, despite the excellent examples of good practice around the country which we have heard this evening, the overall reality is that the delivery of the national plan remains a source of frustration and disappointment to many. Why is this? We contend that the heart of the problem is inconsistency at government level. At the same time as Michael Gove was signing off the music national plan, he was devising a curriculum review which excluded music from the EBacc at GCSE level. Despite subsequent concessions in 2013, music now has to fight for space in the curriculum in a way it did not in the past. The result is that the numbers taking GCSE music have been dropping, down 9% since the last election.

As we have heard, this inconsistency is further illustrated by the rather precarious nature of the funding of music hubs. Again as we heard, in the three-year period from 2011 to 2014, national funding dropped from £82 million to £58 million. This was compounded by the DfE advising local authorities that they should no longer contribute to music education. While the announcement in July of an extra £18 million for music hubs was welcome, it does not balance the shortfall. As we have heard, this is creating a long-term funding crisis where the hubs feel unable to invest, employ staff or really develop the plans that they are expected to deliver.

Another consequence of this funding dilemma is the increasing evidence that music education is being casualised, with fewer full-time time music teachers working in schools and more working for hubs on zero-hour contracts, trying to supplement their incomes with private tuition and maybe even other less relevant work. The result of this is that the profession is being deskilled, with a lack of investment in music teachers and their continuing professional development as well as a lack of promotion possibilities for music teachers, which cannot be good for the quality of teaching going forward.

Finally, as the reports from Ofsted and the Arts Council have confirmed, the postcode lottery remains. Some music hubs are doing excellent work and others are struggling to make their mark. Some seem to have defined their role as data collectors and others seem to be paying themselves inflated salaries at the expense of improving local provision. At the same time, children from disadvantaged families continue to have less access to quality music education, so we are failing on the central mission of the national plan to extend a good musical education to all children.

We have to ask whether we are confident that the Arts Council has sufficient levers to raise the game of the mediocre music hubs and schools to that of the best. Where will the real drive and authority to meet the original aspirations come from? Will the new cultural education board bring sufficient additional clout to really make a difference? Surely what we need is a guarantee that every child will have a good musical grounding as well as access to watching the best live performers. Surely Ofsted could play a greater part by insisting that no school will be rated outstanding unless it delivers a broad and balanced curriculum, including a central role for the arts and more specifically, music.

I know that we have rehearsed these arguments and that there is a great deal of unanimity this evening. I hope that we have given the Minister sufficient challenges on which to come back and address those many issues. I look forward to her response.