Schools: Music Education

Lord Wallace of Saltaire Excerpts

Thursday 18th October 2018 Lords Chamber

[Lord Wallace of Saltaire (LD)]

My Lords, I can confirm what the noble Lord, Lord Lexden, has been saying about the value of partnerships between independent and state schools. At the age of nine I was lucky enough to go to a choir school and thus to drop out of the state sector. The independent school to which my father’s employer then gave me a scholarship had, in those days, pretty basic music facilities. It has since invested in the most superb music and drama facilities, which thankfully it has made available to the state schools around it. Part of the increased gap that we see between the independent and state sectors is due to the fact that independent schools have now developed these superb facilities, and it is important that they share them. That is part of the public benefit that justifies charitable status.

As I said yesterday, I am the trustee of a music charity, the Gresham Centre, which runs VOCES8 and Apollo5. We have actively pursued those partnerships, and the best independent schools now actively take part in them. One has to praise what they achieve. I wish that the best quality would spread further through the independent sector than it has done so far.

My children went to a state school with a very good music department. I recall attending an early school concert there, at which a young woman of Nigerian parentage sang a Fulani folk song. I thought that was just what diversity in school music should be about. My son then went to the Saturday school at the Centre for Young Musicians in London, which was previously funded by the state sector and is since funded by the City of London Corporation. From there, he managed to go to the London Schools Symphony Orchestra and he spent a year at Trinity College, of which the noble Lord, Lord Lipsey, has spoken. He kept up with the musicians from the independent sector whom he met at university. My daughter was, frankly, intimidated when she arrived at university by the greater self-confidence and achievement of the children arriving there from independent schools. It is sadly that case that music scholarships at Oxford and Cambridge are dominated by children who have been educated in the independent sector, because children in state schools do not get the training and experience to qualify. That is part of the gap that we are talking about.

Where are we? Yesterday, the Minister produced what I felt were rather odd statistics, and evidence that I did not entirely recognise. The extensive briefings we have all received for this debate tell a very different story from the one he tried to tell us. There are two sides to what we are talking about: one is the basic provision of the opportunity to sing and to learn an instrument for all children who go through British schools; the other is the chance for the talented and the interested to progress and learn an instrument to a high quality of performance or to sing with a highly developed choir, and perhaps, in time, to become a professional in either the popular or classical sector.

We have the wider context of the impact of austerity across the board. We know that local authority support for music hubs has been squeezed. We see county orchestras—a valuable opportunity for young children to learn to play to a certain level while still in state education—being cut back. For example, Bradford Council has not only cut much of its support for music but has just closed its final trio of public toilets. Saltaire is a tourist destination as a world heritage site, and I can tell noble Lords that, when you receive busloads of school children and the recently retired who want to look around the village, the first question they ask when they get off the bus is about toilets. The closure of public toilets is an example of austerity at its most acute.

The squeeze on school budgets means that teachers in marginal subjects are not replaced and, with the EBacc, music now looks like a marginal subject. The Minister said yesterday that there are few vacancies for music teachers. But that is because there are fewer posts to appoint them to, and that is not something about which we should be proud.

Last Saturday, in the Yorkshire Post, there was a story on the decline in musical education across Yorkshire. It focused particularly on Foxhill Primary School in Queensbury, in Bradford. As I am sure noble Lords will all know, that is home to the Black Dyke Mills Band. The primary school, therefore, does its best to maintain its own introductory brass band, as well as a school choir. How is it funded? The band play outside Tesco for the four weeks before Christmas, and the school depends on that collection and other donations to support what it wishes to include in its curriculum but cannot otherwise afford. That is the sort of thing schools are having to do to maintain the music.

The evidence of the value of music in schools is overwhelming, and not just from the University of South Carolina, as the Minister cited yesterday. The Institute of Education at the University of London has done research on this in collaboration with my charity, and I am happy to supply that to the Minister if he has not seen it. Collective singing and playing develops discipline and concentration, and is demonstrated to improve numeracy, self-confidence and performance. People often say to me how good the Parliament Choir is. That is not terribly surprising. What basic qualifications do you need to go into politics? You need self-confidence and the ability to stand up on a platform and project your voice. And what do you get from music, particularly from singing? It gives you some of the basic qualifications that you need.

In the context of the charity I am involved in, I watch, for example, the acapella groups we have created in the Grey Coat Foundation schools performing songs written by their members. That is wonderful. It shows self-confidence among teenagers. The other week, I watched the Shoreditch academy choir perform in St Anne’s on Gresham Street, which is our centre. Seeing these mostly young girls singing their hearts out, I know that we are doing something for them. To neglect this dimension of education in order to cut taxes and public spending would be as irrational as cutting spending on the police while claiming to support the principles of private property and secure communities. I am sure that the Government would not think of doing that.

The charitable sector is having to take over more of what the Government previously funded. We are doing that, but the demand is enormous and more than we can cope with. My charity is now involved in training for schools where no teachers have any basis in music, providing them with the core skills to be able to manage a school singing together. The quality of this country’s cultural life matters. The quality of our education matters in the broadest sense.

Yesterday, the director of education for Voces Cantabiles Music at the Gresham Centre sent me a cutting from Singapore. It said that the Singapore authorities are more and more clear that exams and maths are not the full story. When educating children, you need also to inculcate imagination, independent thinking, self-confidence and the ability to work with others. Music does that, and that is why it is a core part of education.