(5 years, 6 months ago)
Commons ChamberYes, I offer Jamie King my warm congratulations on achieving membership of the National Youth Orchestra and on attending Chetham’s, which is not an easy school to secure a place in? We help to fund those places through the music and dance scheme. We are also providing £2 million for national youth music organisations such as the National Youth Orchestra and £2 million for In Harmony.[Official Report, 28 February 2019, Vol. 655, c. 4MC.]
While instrumental tuition is important, it is not the only aspect of the curriculum. Earlier this year, I announced that in order to help schools deliver high-quality music education, we were developing a non-statutory model music curriculum for teachers to use in key stages 1 to 3. That will expand on the statutory programmes of study and act as a benchmark for all schools. As well as ensuring that pupils can benefit from knowledge-rich and diverse lessons, the curriculum will make it easier for teachers to plan lessons and help to reduce workload. We have appointed an expert advisory group, chaired by Veronica Wadley, which will oversee the drafting of the curriculum. She is a former chair of Arts Council London and is a governor of the Yehudi Menuhin School.
On that point, will my right hon. Friend reiterate the thanks I gave in my speech to teachers such as John Mustard and everyone involved in music instruction in Moray? The talent they pass on stays with young people for life, and the effort they put in is unquestionable. It would be extremely nice if a Minister at the Dispatch Box of the House of Commons could say that to John and everyone involved in music tuition.
My hon. Friend beats me to my point. I was going to mention John Mustard and thank him on behalf of the rest of the House of Commons for all the work he has put in and his dedication to teaching, helping hundreds or thousands of young people to acquire a real love of music. I thank John Mustard, and I thank my hon. Friend for raising that.
One of the aims of the national curriculum is for children to perform, listen to, review and evaluate music across a whole range of historical genres, periods, styles and traditions, including the works of the great composers and musicians. I was introduced to classical music at primary school, and I want other children to have the same opportunity, so I was delighted to support and help develop the Classical 100, a free online resource for primary schools, to help teachers introduce their pupils to classical music. It was developed by experts in music education at the Associated Board of the Royal Schools of Music, Classic FM and Decca. More than 5,500 schools in England, 7,500 teachers and an estimated 180,000 pupils have engaged with it since it launched in 2015. The 100 pieces were selected to encourage pupils to explore composers such as J. S. Bach, Beethoven, Brahms, Mozart and Tchaikovsky. The most frequently played pieces are “Dido’s Lament”, “Nimrod”, “Londonderry Air”, the “Moonlight” sonata and “Air on the G String”. The online site offers schools a range of flexible resources to support teachers, and I hope more schools will sign up to it. Last October, I was delighted to visit Park Lane Primary School in Wembley and present it with a Yamaha Clavinova digital piano for coming first in the Classical 100 challenge.
I think we can all agree that having the opportunity to study and explore music and to learn to play an instrument is not a privilege; it is part of a broad and balanced curriculum, and it is something we must all continue to champion. A strong and rigorous music education is as important a part of a child’s education as science, history and literature. I hope our commitment to music education is clear. The new model curriculum, the new money for our successful music hubs and a refreshed national plan for music education will ensure that the next generation of Adeles, Nigel Kennedys and Alex Turners have all the support they need in and out of school.
Question put and agreed to.