Covid-19: Music Education

Jane Stevenson Excerpts

Tuesday 8th December 2020 Westminster Hall

[Andrew Lewer]

The hon. Gentleman is right, because no one could have predicted the idea that someone could not blow through an instrument because that spreads particles and so on, and it means that so much new work now needs to be focused on this area.

The joint approach I am describing was also highlighted by the Headmasters’ and Headmistresses’ Conference chaired by Sally-Anne Huang, and the Music Teachers Association, which is the country’s largest association of music teachers. They have made a firm commitment to work together to advocate for music in all schools. The vast majority of HMC schools already partner with state colleagues in music, but this is a new national partnership, which will allow co-ordination at an enhanced level, drawing attention to the essential role played by schools in the musical life of our nation. This month they launched the “Bach to School” teaching and singing resource led by Gabrieli Roar, which I would encourage all colleagues to investigate further via its website.

[Jane Stevenson (Wolverhampton North East) (Con)]

I declare a former interest as a professional classical singer who, like many performers, also held down a peripatetic teaching job in several schools for many years. Does my right hon. Friend agree that music is essential to build children’s confidence? It benefits a wide range of other academic subjects. The initiative that he described to keep music education going can also be found in resources that schools have innovated, such as #CanDoMusic. There is more scope to support children whose music education has been adversely affected by covid-19.

[Andrew Lewer]

I thank my hon. Friend not only for her point, but for my promotion to right honourable. I will reflect upon what she has said and how important it is that she said it, given that she is a voice of experience with a background in the subject, who has knowledge about the subject itself and its wider benefits. That is a key part of why I brought forward today’s debate.

In my own constituency, the Northamptonshire Music and Performing Arts Trust, led by Peter Smalley and comprised of over 300 staff, has worked with over 20,000 children and young people in the past year to deliver the promises of the national plan for music education. NMPAT employs a team of peripatetic staff who visit different schools to deliver teaching projects and musical experiences. Its headquarters is in my constituency; I have visited it and attended their concerts. I am looking forward to being able to go to those concerts again as a way of celebrating our re-emergence next year.

With limited experience in the delivery of online teaching, NMPAT reacted quickly to deliver a digital alternative, to ensure children continued to receive vital access to music education. NMPAT has asked me to specifically raise with the Minister its thanks for the job retention scheme, which has been a lifeline for the staff throughout the pandemic, ensuring children in Northampton and the county continue to receive the music education they deserve.

An issue that has been raised with me in numerous calls and in meetings, prior to securing this debate, is funding for the adjustments that NMPAT and others have had to make for the digital age and the creation of covid-secure environments. I hope the Minister will consider that in her remarks. Funding for 2019-20 has not been adequate to cover the costs of the current situation and there is a need for an uplift in 2020-21, back to parity to at least 2011 levels. That is even more pressing now we find ourselves where we are.

Even prior to covid-19, music education was facing significant challenges, including cuts to funding and widening gaps between advantaged and disadvantaged students, particularly when it came to instrumental tuition, as we have already heard. There have been falling teacher training and recruitment numbers, and a continuing decrease in the uptake of music examination courses.

The pressure of accountability measures, such as year 6 SATs in primary schools and the English baccalaureate, or EBacc, in secondary schools, has meant that access to music education has been significantly reduced. For example, “Music Education: State of the Nation,” published in 2019 by the all-party parliamentary group for music education, found that more than 50% of responding schools were not meeting the curriculum requirements in year 6, citing the pressure of statutory tests as a contributory factor. Interestingly, those findings were supported by observations by Ofsted.

Since the introduction of the EBacc in 2010, there has been a significant decrease in the uptake of GCSE and A-level music. The figures from the Joint Council for Qualifications show a 25% decline in pupils taking GCSE music and roughly a 43% decline in those taking A-level music over the past decade. Ofsted’s annual report, which is hot off the press and was published on 1 December 2020, found that

“not all children were receiving a full and appropriate curriculum”

and identified “curriculum narrowing” as a concern. Where the full curriculum is not offered, that often results in inequalities of opportunity for the pupils affected.

The Department for Education’s own figures show that only 82% of the recruitment target for music teachers was reached in England in 2019-20, and the number of music teachers recruited into teaching music since 2010 has decreased by 53%. In the context of the delivery reductions due to covid-19, those trends are likely to deepen. I know that that will be a concern to colleagues here and to those in the teaching sector.

[Jane Stevenson]

Some of these statistics are worrying and make the national plan for music education even more important. Can the Minister commit to a date for a revised national plan? My hon. Friend also raised funding issues. Can the Minister give a date to agree future funding for music hubs, which face significant challenges over the next few years?

[Andrew Lewer]

I am sure the Minister has heard that.

The coronavirus pandemic has had and will continue to have an impact on all aspects of music education: curriculum entitlement, singing in schools, music making, and especially extracurricular activities, learning instruments and examinations. That has been captured by a report published on 6 December by the Incorporated Society of Musicians, titled “The heart of the school is missing”, which I strongly suggest that colleagues and the Minister read.

To measure the impact of covid-19, the ISM collated 1,300 responses from members of the music-teaching profession who work in schools across the UK. It reveals the detrimental impact that covid has had on music education. I will set out the headline figures. Ten per cent. of primary and secondary schools do not teach class music at all, even though it is a requirement in the curriculum. That is on top of schools reporting that, as a result of their lack of access to technology and the resources they need to adapt, many children were not given any music lessons throughout the closure of schools. Sixty-eight per cent. of primary school teachers and 39% of secondary school teachers stated that music provision had to be significantly reduced to ensure that key parts of the curriculum, such as those for exams, are covered due to time pressure as a result of corona restrictions. Extracurricular activities are no longer taking place in 72% of primary schools and 66% of secondary schools this year. That is partly due to the fact that it took time to get guidance on singing, brass and woodwind playing from the Government before schools resumed, and—much more difficult—a lack of access to well-ventilated spaces.

Singing and practical music making have all been affected. Teachers report that face-to-face instrument lessons are not continuing in 35% of primaries and 28% of secondary schools. Eighty-six per cent. of secondary music teachers report that they have had to rewrite schemes of work completely due to coronavirus. Sixteen per cent. of music teachers have had no access to specialist classrooms, and 43% have to move between non-specialist classrooms to teach some or all of their music. One teacher was even quoted as saying that they had been given 15 B&Q buckets to use as drums in their classrooms.

An important issue that has become evident because of that is the mental health of staff and the impact that covid has had on them. Many of the organisations that I mentioned highlighted music teachers’ mental health and wellbeing and the damage that has happened as a result of these disruptions and changes. Many of us are very aware of the mental health implications for virtually everybody involved in trying to keep life going as a result of the impact of the pandemic.

Although we face an unprecedented crisis, coronavirus also provides us with a pivotal moment for reflection and an opportunity to reset education policy. We need to begin to implement a strategy that will future-proof music education for future students and reverse the trend of music education being sidelined. As my hon. Friend the Member for Wolverhampton North East (Jane Stevenson) said, the national plan for music education was first published in 2011. It established music education hubs, which provide opportunities to sing and learn instruments in addition to classroom music. Following a consultation in March 2020, a refreshed plan was due to be published this autumn, with the aim of levelling up musical opportunities for children from all backgrounds.

The Government are due to publish the new national plan for music education, and when that document is released, schools need to be informed of their role so that they are fully engaged as part of their own local music education hubs. I hope the Minister will consider that. The need for the joy of music to herald our emergence from this terrible time only serves to underline the need for particular departmental focus on it in the way I have suggested.

The pandemic also offers the opportunity to revisit the nature and purpose of assessments in ensuring that young people are equipped for the future. In the short term, the Department for Education needs to guarantee that pupils sitting music assessments in summer 2021 are not disadvantaged by the pandemic but are rewarded for their achievements.

[Jane Stevenson]

That steady progress, which takes a number of months or years, is an essential element of learning an instrument or taking singing lessons, and I am very concerned about the mental health of students who, no doubt, will feel deflated at not being able to make the progress that they have worked so hard to achieve. I seek reassurance from the Minister on behalf of those children who will sit practical music exams over the coming year and possibly next year. Will the grading process take into account the significant interruption to the progress of those many music students?

[Andrew Lewer]

My hon. Friend makes a key point about an area in which practical and helpful steps can be taken relatively easily. Concessions such as scaling down the requirements of the practical elements of exam courses have been put in place for music qualifications. However, the content and assessment requirements for many EBacc subjects have not yet been changed. That puts pressure on schools to focus their available time on prioritising those subjects, which can create an unnecessary and unhelpful hierarchy of subjects—and a questionable hierarchy at that.

I know that the ISM is concerned that Her Majesty’s chief inspector of schools told the Education Committee on 10 November that, in 2021, exams could take place for core subjects, with centre-assessed grades for other subjects. If that happens, it would lead to a further devaluing of arts subjects, which in turn would cause severe damage to music departments that already feel under threat.

Furthermore, the Government must address the ongoing narrowing of the curriculum, which is happening as a result of reducing accountability measures both in primary and in secondary schools. We have an opportunity after covid-19 to build a curriculum that puts young people’s needs first and that champions creative learning as well as science, technology, English and maths. We need to capitalise on that opportunity.

In conclusion, the purpose of securing this debate was to raise awareness of a sector that in some instances gets overlooked. As I am sure the Minister would expect, I also have some general asks. As I mentioned earlier, funding for 2019-20 has not been adequate in the current situation and there is a need for an uplift in 2020-21, to attain parity with 2011 levels. This is not just a general request for funding, but a specific one because of the particular circumstances faced by this sector as a result of the restrictions that have been placed on it and the subsequent costs it has incurred. I ask the Minister to look at funding levels in the light of that experience.

School and music organisations need clarity on the national music grant funding from March 2021, and these additional costs need to be borne in mind. Music is a key entitlement for young people, and it contributes positively to the health and wellbeing agenda for the current generation.

I ask the Minister and the Department to remind schools of their obligations to provide a broad and balanced curriculum under the Education Act 2002 and the Academies Act 2010, of which music is a vital part. I also ask them to reinforce the scientific findings on, and the subsequent recommendations for, the safe delivery of curriculum and extracurricular music, and to look to a day—it will be a day on which we will all celebrate—when all of the restrictions will be stopped and we will abolish forever the expression “the new normal” and get back to a proper normal in which we can all live and flourish.

Finally, I am concerned that the Government have removed music from the list of the initial teacher training bursaries on offer for 2021 and 2022. The need to attract the finest musicians into teaching is the greatest that it has ever been, and schools are the only place where young people are guaranteed to receive music education. The surest way of achieving that is through the continuing recruitment of outstanding music teachers.

How important is all of this? It could not be more important. As Beethoven himself put it:

“Music is a higher revelation than all wisdom and philosophy. Music is the electrical soil in which the spirit lives, thinks and invents.”