Music Education in England

George Howarth Excerpts

Wednesday 17th July 2019 Westminster Hall

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

It is an absolute pleasure to serve under your chairmanship. Sir George. I thank my hon. Friend the Member for Bury North (James Frith) for securing the debate. If this is his first Westminster Hall debate, he has a great career ahead of him; his speech was powerful and impassioned and addressed an important and urgent question that will affect many youngsters across the country. We have heard several excellent contributions from people who have lived experience in this world. Their concerns about the crisis of music education in England are profound and compelling. I will pick out a couple of moments of great interest.

The right hon. Member for Wantage (Mr Vaizey) was, as always, a passionate advocate for the creative subjects for all. The work he did creating music hubs and the Henley report is a solid base from which we all work. The highlight of his speech must be funky Gibb, which will stick with us from now on. My hon. Friend the Member for Vale of Clwyd (Chris Ruane) talked about singing for pleasure and the element of wellbeing. His statistic about cows will also stay with me. The hon. Member for Henley (John Howell), who I will book for my own funeral—he is obviously going to have several bookings now—mentioned early years. Although music is in the list of Ofsted’s expectations, what is the quality of the music provision for the under-5s? We had a debate yesterday about the first 1,001 days of life, and we know that brain development is supported by access and exposure to music. I thank the hon. Gentleman for his contribution.

My hon. Friend the Member for Colne Valley (Thelma Walker) made a profound contribution, speaking about her own experience. No one could challenge her experience of being on the frontline as the head teacher of a school, creating a brilliant experience for young people and giving them an opportunity to live a full and enriched life.

Finally, the hon. Member for Somerton and Frome (David Warburton) talked about the extra pillar to the EBacc. I had a meeting with the Secretary of State to discuss that. His response was, “It will not make a difference.” I hope that when he looks back at this debate he will read the profound and passionate pleas from people who know and have experienced it in their life, and see that this would make a difference.

I welcome the work undertaken by UK Music, Music Industries Association and the Musicians’ Union highlighting the perilous state of music education across the country. As we heard from the hon. Member for Henley, UK Music’s “Measuring Music” reports that the music industry’s contribution to the economy is £4.5 billion, with £2.6 billion export revenue. Britain has less than 1% of the global population but one in seven albums sold worldwide in 2014 was by a British act; I can only imagine those numbers have gone up. Music is a critical part of Britain’s soft power and in the current climate, as we career out of the EU, that power could not be more vital.

The Department for Digital, Culture, Media and Sport’s own report on sector economic estimates showed the value of the creative industries rose by 7.1% in 2017—almost twice as much as the UK economy as a whole—to £101.5 billion. Sadly, the evidence gathered, not just by the unions and other trade bodies but by the all-party parliamentary group for music education, shows that music education is at a point of crisis, with creeping cuts to music education, chaotic music education policies and plummeting morale among teachers and educators.

The Music Industries Association report, “The State of Play—a review of music education in England 2019”, proved beyond doubt that the inequalities in music provision are real, concluding that children from families earning under £28,000 a year are half as likely to learn a musical instrument as those with a family income above £48,000. There are children, certainly in Batley and Spen, for whom coming from a family with an income of £28,000 would make them feel very well off. We should always be mindful of children whose lives are so chaotic that they will never get the chance to experience the joy of playing an instrument or singing in a choir.

Eight years have elapsed since the coalition unveiled its national plan for music education; there was much fanfare around the commitment to give every child the opportunity to learn a musical instrument, with the establishment of Government-funded music hubs. Despite this commitment, as we have heard, the truth is that coherent and impactful music education is entirely dependent on the whims and talents of headteachers, the priorities of the music hub and the youngsters’ postcode. Added to this, the decline in take-up of schools offering music at GCSE and A-level means even those kids who do not necessarily want to play but have a love of music do not get the chance unless their parents can pay for costly out-of-school provision.

Of those surveyed in the “State of Play” report, 60% said the introduction of the EBacc has directly affected music provision in their schools. In a recent National Education Union—then the National Union of Teachers—survey, 97% of the union’s teachers agreed that SATs preparation did not support children’s access to a broad and balanced curriculum, saying the time taken to prepare children for assessment in maths and English has squeezed out other subjects and activities. The problem does not go away when our children leave primary school. As we have heard, the proportion of 15 and 16-year-olds taking subjects like music and drama has fallen to its lowest levels. There are outliers: Feversham Primary Academy in Bradford recently made headlines with its focus on music leading to improved outcomes for its pupils. It made the national press, which would suggest it is unusual. It should not be.

While this is not a competition between schools, one of the many reasons parents pay the eye-watering fees to send their children to places like Eton is the attractive music provision. At Eton, there is a purpose-built orchestral rehearsal room, a recording studio, a 250-seat concert hall, an organ room, the opportunity to learn music taught by seven full-time professionals, 70 visiting teachers with over 1,000 lessons a week, teaching the full range of orchestral and solo instruments, as well as the sitar and tabla. Pupils can join the symphony orchestra, chamber ensembles, jazz, wind and pipe bands, choirs and choral groups, as well as write and produce their own music in the well-equipped music-tech studios.

I am not saying this to attack other schools in any way, but to reinforce the point that those parents know the value of this enrichment. They know that not every child will go on to be a professional musician, a composer or a singer, but they will have developed as a human being and young person with a love for music and it will stay with them all their life. A recent report from the University of Oxford suggested that 15 million jobs are at risk from automation, but artists such as musicians are at less risk. Parents who send their children to schools with great arts provision are future-proofing their children’s destinies.

Creative subjects are marginalised in the curriculum and the number of post-grad students training to be music teachers has shrunk. As Members of Parliament we can encourage local opportunities. I have seen how music can transform the lives of youngsters and adults in the Batley and Spen Youth Theatre Company’s production of “Les Misérables” and Creative Scene’s production “Batley Does Opera”. They transformed lives, reduced loneliness and mental health issues, boosted confidence and raised aspirations.

We know that creative subjects are a magnet for children who are not naturally academic. They might struggle to read, but come to life on stage; they might be unable to concentrate in class, but play the ukulele for hours. No one loses in music, so we all benefit; there are no winners or losers. Music aids better brain development and maths skills, and it increases human connectivity and concentration levels, but we should look at music for its own sake. It is a gift handed down from generation to generation. Everywhere we go we are surrounded by music. We all attach music to pivotal moments in our lives.

What can we do? Labour is committed to reviewing and reforming the EBacc and ensuring that children get the broad and balanced curriculum they need for the 21st century. Creative subjects will be at the heart of that, with a boost of £160 million for arts education. We will use the cultural capital fund to invest in instruments for music hubs and upgrade music facilities in state schools to match the those found in many private schools. Each child will have the opportunity to learn a musical instrument and we will instigate a creative careers advice campaign. Our creative pupil premium will support schools, ensuring that every child has access to the cultural capital that others in less disadvantaged areas can easily access.

Post Brexit, we will need our arts more than ever, not only for jobs and the economy, but for our spirit and soul. We must support children by giving them every opportunity to love music and engage with it, and to be better human beings from accessing music.

[Sir George Howarth (in the Chair)]

I am sure the Minister needs no reminding, but he needs to leave a bit of time for the encore by the mover of the motion.