Music Education in England

Kevin Brennan Excerpts

Wednesday 17th July 2019 Westminster Hall

[James Frith (Bury North) (Lab)]

I beg to move,

That this House has considered music education in England.

It is a great pleasure to speak under your chairmanship, Sir George, and to open this debate—the first parliamentary debate I have led—on music education. I thank all those who contacted me about the debate, especially the schools in Bury North that told me about their experiences, as well as the all-party parliamentary group for music education, the House of Commons Library and the excellent sector organisations, including the British Phonographic Industry, PRS for Music, and of course UK Music. Those organisations demonstrate impressive leadership and make a powerful case for music education in their published works.

As friends will testify, when getting to know someone I soon share with them my passion for music. Shortly after that, I will probably mention that I played at Glastonbury in 2003, on what is now known as the John Peel stage, on a Saturday at 11 o’clock—11 am. It is good to be here for this important debate in another early morning slot. Two simple ideas will guide my argument. First, music education must not fall victim to the tired old argument of traditional versus progressive education; it applies to both. Secondly, this debate must look to the future in the light of calls for music education based on current assessments.

[Kevin Brennan (Cardiff West) (Lab)]

I congratulate my hon. Friend on securing this debate and on being one of only two MPs to have played at Glastonbury. I am not the other. Does he agree that the Government could approach this issue without having to change all their assessments simply by stipulating that no school under inspection could be rated “outstanding” unless it had an outstanding creative offer, including in music education?

[James Frith]

My hon. Friend makes a powerful suggestion. I will come to Ofsted’s role later in my speech, as I believe it can be a friend in this mission.

Music output from the UK remains world leading. Artists such as Stormzy are breaking new boundaries and contributing to the success of our £4.5 billion industry. In seven of the last 11 years, the biggest selling album in the world was by a UK act. The heritage of British music is celebrated worldwide, but we must focus on the future. We cannot afford to be complacent at a time of great economic and cultural change. Britain’s role in the world is under new assessment. The rise in automation means that we must emphasise what makes us human, not compete on learned behaviour with the machines we make. Our education system must emphasise what distinguishes us as human, and music education is a huge part of that effort. Creativity, expression and performance are instincts as important as what we feel from the beat of a drum.

Last year, UK Music, the umbrella body for the commercial music industry, released its “Securing Our Talent Pipeline” report, which sets out in great detail the challenges beneath the success stories facing the industry. The report details evidence that 50% of children at independent schools receive sustained music tuition, while the figure for state schools is only 15%. Seventeen per cent. of music creators were educated at independent schools, compared with 7% across the whole population, and 46% of them received financial help from family or friends to develop their career. Growing inequality of opportunity underlines the problem. In that report, the CEO of UK Music, Michael Dugher—formerly of this parish—argues that a career in music must not become the preserve of those who can rely on the bank of mum and dad, and he is right.

[James Frith]

The hon. Gentleman makes an important point, and I pay tribute to any organisation engaged in that endeavour. My argument is that we need a universal approach as opposed to an incidental one, but I absolutely support the work of that organisation.

Our education system must support a deepening of the well of talent that we rely on. Music education is falling in the charts: there has been a drop of nearly 10% year on year for subjects not in the Ebacc, GCSE music entries have fallen by 24%, and since 2010, there has been a 17.8% reduction of music tuition in years 12 and 13. That is a worrying trend that Tom Richmond—a former adviser to the Department for Education and now director of the think-tank EDSK—says can “no longer be ignored.”

There is huge variation between our state and independent schools. Access to music education, with opportunities to learn, play and perform music, remains too exclusive. That must change; we must give every child the opportunity to learn the best of what has ever been said and done. Of course, that means maths and English, literacy and numeracy, but the enrichment that music brings cannot be put to one side. Children should be given the chance to shine at both or either in formal education, whatever their socioeconomic background. They should be invested in with the cultural capital of music education. In March 2019, the BPI’s extensive teacher survey highlighted that just 12% of the most deprived state schools have an orchestra compared with 85% of independent schools, and that over the past five years, state schools have seen a 21% decrease in music provision compared with a net increase of 7% in independent schools over the same period.

All our schools should turn with the natural and developing needs of every child and be more responsive, patient and dynamic, and show less rigidity and more agility. If schools do not have the time, resources or funding to do so, we must address those issues, rather than switching off the approach. Children can be better engaged in their education by expressing their natural creativity and curiosity. In fact, the argument for school tests and exams can be applied to the preparation for a musical performance as well—the idea, the studying, the rehearsal, the performance, and yes, the acclaim. Exam hall meets music hall. If we are to prepare our young people for the emerging landscape and an active, working and loving life, we need to pursue a balanced and expansive curriculum that recognises and hones skills and aptitude.

The school accountability system has pushed music education to the fringes of the way that a school’s success is judged. Music is being squeezed out of the curriculum. The suite of EBacc subjects does not include music, and although the year 9 curriculum changes may attempt to include music and creative subjects more broadly, their carousel approach means that they dilute and reduce time spent learning the speciality that music education represents. That concern is supported by the BPI’s teacher survey, which says that 31% of state-funded schools have seen a reduction in curriculum time for music. In a recent Musicians’ Union survey, more than 90% of music teachers reported that the EBacc has had a negative impact on music education.

The APPG for music education’s excellent report on the future of music education goes further:

“Some schools perceive that they have permission to either ignore the curriculum or justify one-off end of year shows or projects as acceptable forms of music provision. Only weekly progressive music lessons can develop pupils effectively in musicianship skills.”

My question for the Minister is: would the Government prefer to scrap the EBacc, or to include music in it? If students are not able to participate in music in compulsory education, they are far less likely to pursue it in further or higher education. According to Ofqual, over five years the number of students taking music at A-level has declined by 30%. However, I commend the Russell Group of universities for its decision to scrap the published list of preferred A-level subjects.

There is of course good practice, which I do not overlook. Some schools in Bury make a difference to their children’s musical education by collaboration. That is innovative, energising and fulfilling, it promotes curriculum richness, and it gives the wider school lots of memorable musical experiences. Bury’s music service is terrific, but the national evidence is that provision is patchy. Studying that evidence, the indices of value all point the wrong way, with a lack of universal, readily accessed music education during formal education time, in school hours, away from the distractions of often complex lives.

Recently, the Government announced that they will refresh the national plan for music education. What plans do they have to consult the industry? When will they be bringing forward recommendations? Does the Minister agree that a refresh of the national plan provides an ideal opportunity to reset the dial on music in education and to take on the challenge outlined in this debate? Will he consider providing creative education a criterion for achieving an “outstanding” rating from Ofsted, as suggested by my hon. Friend the Member for Cardiff West (Kevin Brennan)?

I know that the Minister for Schools recognises the need to get a grip on the issue. He established a music curriculum expert group, and a contract to write a new model music curriculum has been awarded to the Royal Schools of Music exam board. Will he update us on the progress of that work? Will he also assure us that the model music curriculum will work for non-music specialist schools, to ensure that reduced capacity or a lack of specialism in our schools is not a further barrier to progress? Will he explain how monitoring of the impact of any such guidance will be undertaken? According to the BPI, only 44% of music lessons in primary schools are delivered by a music specialist. Support is still needed alongside the model curriculum for teachers who want to specialise in music, whether through a teaching route or a conversion through the postgraduate certificate in education programme. Will the national plan therefore ensure that teacher training and support for music education is improved?

I welcome recent news that Ofsted is to develop its focus on schools providing cultural capital for children. That is a step forward in ensuring that the role of music education is re-evaluated and reintroduced as a norm for all children in our schools. I note favourably that Ofsted will pick that up as part of its new framework. The Cultural Learning Alliance claims that music enhances cognitive abilities by 17%; does the Minister have a view on that proposition, or has he seen any evidence for it? Will the Minister develop the powerful cultural capital argument through his responsibilities at the Department for Education? Indeed, does he agree that one key goal should be for all children, regardless of socioeconomics, to have fair and free access to music education?

My final suggestion is that the Government should renew the effort to put music venues at the heart of high street renewal and economic development. The industry business model has been flipped in the past 15 years by digital platforms, streaming services and self-publishing. Yes, all the industry went through a period of denial of the change.

[Kevin Brennan]

Does my hon. Friend agree that the Government missed a real opportunity when rate relief was offered to pubs, shops and other organisations on the high street, but the guidelines specifically excluded music venues from that list? Despite appeals to the Chancellor by me, UK Music and others, the Government refused to change that ruling.

[James Frith]

I agree with my hon. Friend. The Government seem to have a bit of a blind spot when it comes to music venues—or perhaps a tin ear is a better phrase.

The industry business model has been flipped in recent years, as I was saying, but will the Government look, for example, at YouTube paying artists next to nothing per stream of their work? Some of the revenue that Google makes from that enormous imbalance could go to support live venues for emerging talent across the country and towards our efforts on music education, whether as a new tax or from a partnership.

Building on the Government’s embrace of the superb agent-of-change campaign, with the protections that brought in, we need more new or improved music facilities for young people outside school hours. UK Music has a network of rehearsal spaces based in deprived and disadvantaged communities to offer improved access to music. What plans do the UK Government have to develop and enhance that scheme? Can Bury have one, please?

Above the funding argument sits a bigger one. Funding plays its part, of course, but there is a bigger one even than that. It is one of choice and a question of priority. What do we expect from our schools and for all our children? If we recognise the value that independent schools place on music and music education, do we still opt to ignore that for the vast majority of all children, accepting the growing inequality of opportunity? Or do we—as I believe we must—ingrain into all our schools the rights of all children to have access to the same opportunities to learn, play, perform and enjoy music?

The truth is, it is hard to do justice to or to outline in policy what is in fact a deep passion and love. Put simply, one’s faith in the power and possibilities of music, performed, recorded and live, is not just a belief in a light that never goes out; it is the knowledge that music makes life better. Music can still your senses or stir your heart, its message motivates and mobilises, it entertains and, given the chance, it educates us all.

--- Later in debate ---

[Mr Vaizey]

I do; it is important to go with the grain of society, and it seems absurd not to engage children in music education by using the kind of technology that they will use in their day-to-day lives, and will use when they leave school and university and go into the workforce.

I want to make two brief points that are somewhat linked. While I have no doubt at all that Members on the Opposition Benches, and perhaps even on the Government Benches, might have a go at the Government about music education, I feel strongly that headteachers—I will try to put this delicately—should not be absolved of all responsibility. School leadership plays a massive part in ensuring high-quality music and arts education. In my constituency, I have been to Didcot Girls’ School and St Birinus School, where there are passionate music and arts teachers who have put those subjects at the heart of the school curriculum, thanks to the support of their headteacher. They do not say to me, “We can’t afford it.” They do it because they understand why it is so important.

[Kevin Brennan]

No one would doubt the right hon. Gentleman’s passionate support for the arts and for music education, but does he not agree that while headteachers should not be absolved of blame, they react to the incentive and accountability measures put in place by this Government? Quite frankly, they have led to the issues that my hon. Friend the Member for Bury North (James Frith) raised, namely the decline in the number of music teachers and the number of children taking music examinations. The Government have some responsibility to make sure they set those expectations centrally.

[Mr Vaizey]

The hon. Gentleman’s intervention shows why those of us in this House who care so passionately about the arts put party politics aside and unite in how we advocate for the arts. I wanted to get on record the point that headteachers must step up to the plate; they have the opportunity to introduce the arts and music.

--- Later in debate ---

[John Howell (Henley) (Con)]

It is a pleasure to serve under your chairmanship, Sir George. I congratulate the hon. Member for Bury North (James Frith) on securing this important debate. I, too, have a musical background, but a classical one; I am a choral conductor and an organist. When I mentioned that before in the main Chamber, I was astonished at the speed with which the former hon. Member for Banbury came up to me and booked me as the organist for his funeral. Fortunately, I have not yet had to play for that, as he is still very much alive and thriving, but at least I have one booking in the bag.

I congratulate the all-party parliamentary group for music education on a fantastic report, which sets out a huge number of criteria and statistics. I will not repeat them, but I will draw attention to the report and the points it makes. It mentions that music tuition is compulsory between the ages of five and 14. That is fine, but the problem comes a bit later and in that earlier period, where I feel that the music teaching profession has been so put down that we need to do something to improve it. I will come back to that at the end of my speech.

A number of hon. Members have already mentioned how the sheer love of expressing themselves goes to the heart of what being a child is all about. If they cannot express that through music, I do not know how they can express it. I quite agree with those who have said that whatever sort of music we try to achieve, it brings out the inner person within us.

The hon. Member for Bury North touched on the importance of the music industry to the UK, but I will just repeat some of that. The industry is worth close to £4.5 billion a year for the UK—a phenomenal amount. The all-party parliamentary group brought out the point that we punch well above our weight internationally. We have something like 1% of the world’s population, but when we think of the hard-hitting albums that have been sold, we realise that a huge number have come from the UK.

If we look at the impact of music, as a number of hon. Members have already commented, we see the imagination it creates among young people. I would also bring out another thing it creates: team building. Anyone who has ever played in an orchestra will know how much team building counts in producing a good sound. Certainly, in the days when I was a clarinettist and played in a number of orchestras, it was a discipline that I appreciated.

Music therefore has a big impact on mental health, and the sustainability of music education is something we should pay a lot of attention to. As the Minister himself has said, music should not simply be the preserve of the elite; it should be available to us all. The school curriculum is not enough on its own to achieve all that; we need a range of extracurricular activities—school orchestras, school bands or whatever they may be. We need a range of other activities that fit in with what is going on in the school curriculum.

My right hon. Friend the Member for Wantage (Mr Vaizey) mentioned Youth Music, a national charity helping young people to change their lives through music. I have a great deal of affection for Youth Music, not least because my son is an ambassador for the charity, helping to push forward its aims. I met him last night, because I knew I was going to participate in this debate, and we discussed a number of these points.

Personally, I am disappointed to see the declining number of areas in which singing is encouraged. When Sing Up was Government funded, it had an enormous reach in schools and provided a great base for primary school children. I would like to see more done to help to push that along, and to keep on developing the skills needed to keep a singing culture alive. We are one of the few cultures in Europe that has largely lost its tradition of folk songs; most people do not sing folk songs to their children, despite what the hon. Member for Vale of Clwyd (Chris Ruane) may have sung.

[Kevin Brennan]

May I invite the hon. Gentleman to join the all-party parliamentary group on folk arts, chaired by myself with my hon. Friend the Member for Vale of Clwyd (Chris Ruane) as vice-chair? We are looking for more Tory members.

[John Howell]

For a moment, I thought the hon. Gentleman was going to invite me to sing, which I promise, Sir George, I will not do in this session. I thank the hon. Gentleman for his very kind invitation and I will certainly look closely at that.

We have already discussed how powerful music is in developing the personal and social skills of all those who participate in it, but there is one area that I brought up in an intervention that I would like to bring up again. The Music Commission and Youth Music have challenged the curriculum because it does not provide enough technology. The reason they stress technology is that, whether someone is a classical musician or not, the technology involved in composing or producing the music is the same across the whole industry. My son is a composer and uses a tremendous amount of technology to do that. I urge more emphasis on the technology aspect of music.

I said I would return to one thing in particular that I think we can do. We have had a number of campaigns in the past that have taken social workers, for example, and tried to ensure that they feel loved, valued and part of society. We should do the same for music teachers too. We need a great effort on all our parts to ensure that music teaching is appreciated, that it is seen to be appreciated, and that we can all play our part in taking it forward.