Music Education in England

Tracy Brabin 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.

[The Minister for School Standards (Nick Gibb)]

It is a pleasure to serve under your chairmanship, Sir George. I congratulate the hon. Member for Bury North (James Frith) on securing this debate. He speaks with a passion for music, which I share. He is preaching to the choir—excuse the pun. I say to my right hon. Friend the Member for Wantage (Mr Vaizey) that this funky Gibb will and does stand up for music in our schools. One of the initiatives that I am most proud of in my time as Schools Minister is the Classical 100 website, promoting classical music in primary schools, which was produced by the Associated Board of the Royal Schools of Music, Classic FM and Decca Records. Over 5,000 primary schools are already signed up to the site and I urge every primary school to do so.

The opportunity to study and explore music should not be a privilege; it is a vital part of a broad and balanced curriculum. All pupils should have access to a world-class music education. That is why music is compulsory for all pupils aged five to 14 in state-maintained schools. Academies, which do not have to follow the national curriculum, have to provide a broad and balanced curriculum. Ofsted’s new inspection framework, coming into force from September, will support that, providing a greater focus on the provision of a broad and balanced curriculum.

This Government are committed to music education. We are putting nearly half a billion pounds into arts education programmes—more money than any subject other than PE—to fund a range of cultural and music programmes between 2016 and 2020, in addition to the funding schools receive to deliver their curriculum. In November 2011, we published the national plan for music—referred to by my right hon. Friend the Member for Wantage—which sets our vision for music in schools: to enable children from all backgrounds in every part of England to have the opportunity to learn a musical instrument, to make music with others, to learn to sing and to have the opportunity to progress to the next level of expertise. We will refresh the national plan. We will consult widely on it and make further announcements in the coming plans.

Schools are responsible for delivering the music curriculum, but they cannot do it alone. Our network of music education hubs supports schools to provide high-quality music tuition. I pay tribute to the vital role my right hon. Friend played in the development of that policy. Between 2016 and 2020, we are providing in total over £300 million of ring-fenced funding for music education hubs, in addition to the funding that goes to schools to deliver the curriculum. Earlier this year, we announced an extra £1.3 million for those hubs. That funding supports pupils, whatever their background, family income, or special needs. No child should be excluded from music because their parents cannot afford to pay for lessons or an instrument, or because they have physical disabilities or other special needs.

Music education hubs help hundreds of thousands of young people learn to play an instrument in whole classes every year. They also ensure that clear progression routes are available and affordable. Many hubs subsidise the cost of lessons for pupils. The programme helps schools to nurture the budding seeds of musical passion that can unlock so much pleasure throughout life, as we heard from the hon. Member for Bury North. In the years to come, many adults with a passion for music will have the work of music hubs to thank for first introducing them to the joys of playing an instrument and playing in ensembles. In the provision of music education, the Government believe in excellence, as well as equity. Talented young musicians need the opportunity to make music with others of a similar standard, and access to selective ensembles and a demanding repertoire. Music education hubs provide high-quality borough or county-wide ensembles and direct the most talented towards specialist provision.

Bury North is served by the Bury music hub, which works as part of the collaborative Greater Manchester music hub. In this academic year, the Bury hub has received over £292,000 of funding from the Government. Last year the hub delivered over 3,500 individual singing and instrumental lessons, and 14,000 small group singing and instrumental lessons. A report by Birmingham City University showed that in 2016-17, hubs worked with 89% of schools on at least one core role and helped over 700,000 pupils to learn to play a musical instrument in whole-class ensemble teaching. That is an increase of 19% on 2013-14, the first year in which like-for-like figures are available, when the number was 596,000.

My hon. Friend the Member for Henley (John Howell) spoke about singing. The Government recognise the value of singing in schools. Developing a singing strategy to ensure that every pupil sings regularly is a core role of the music education hubs. According to the last published figures, 70% of schools in England were supported by hubs with singing strategies.

I want to ensure that the music lessons young people receive are of the highest quality and that pupils leave school having experienced an excellent music education, so that those who wish to do so can take up opportunities to pursue musical careers. To ensure that, we have started work with music experts to develop a high-quality model music curriculum, which builds on the national curriculum and forms part of our plans to ensure that all pupils can benefit from knowledge-rich lessons. It is being drafted under the direction of an expert panel composed of practitioners, education leaders and music specialists, and will provide schools with a sequenced and structured template curriculum for Key Stages 1, 2 and 3. I hope that the curriculum will make it easier for teachers, including non-specialist teachers, to plan lessons and will help to reduce their workload. I agree with my hon. Friend the Member for Henley that folk songs are an important part of our musical heritage and I hope they will be included in that curriculum.

The hon. Member for Bury North raised concerns that careers in the arts have become the preserve of the privileged and privately educated. To ensure that that is not the case in years to come, the Government are continuing to fund more than 500 full-time places at four specialist music schools, including the Yehudi Menuhin School and the Purcell School, and a similar number of places at four specialist dance schools, including the Royal Ballet School, through the music and dance scheme. The vast majority of pupils board, and means-tested bursaries are available to ensure that entry to the schools is based on pupils’ talent, not on their parents’ ability to pay fees. As my right hon. Friend the Member for Wantage pointed out, funding for the music and dance scheme has been maintained since we came into power. The scheme also funds places at the junior departments of six music conservatoires.

As well as supporting the music hubs, the Government are committed to a number of programmes, including the National Youth Choirs of Great Britain and the National Youth Orchestra, that aim to enhance the musical opportunities of young people and ensure that the talent pipeline that is so important to this country remains open. Our funding helps to ensure that no one is turned away because their parents cannot pay. We also provide funding for In Harmony, an intensive orchestral experience focused on schools in some of the country’s most deprived communities.

The EBacc, which the hon. Member for Bury North and others raised, was introduced to give young people the same chances to succeed through education. It is key to increasing social mobility, and an important part of that is giving all children the opportunity to study the five core academic areas at GCSE: English, maths, science, humanities and a foreign language. The range of subjects that the EBacc offers provides a sound basis for enriching pupils’ studies, opening up a variety of careers beyond the age of 16 and giving a broad general knowledge that will enable pupils to participate in and contribute to society. Research published in August 2017 by the Centre for Longitudinal Studies found that studying the EBacc combination of GCSEs increases the likelihood that a pupil will stay on in full-time education.

It is not the case, however, that the EBacc has had an impact on the uptake of music GCSEs. Since 2010, the proportion of pupils entered for GCSE music has fluctuated but remained broadly stable at approximately 6% or 7% of the total GCSE cohort. People tend to cite the raw numbers, which have fallen since 2010 along with the total number of secondary school pupils, but the proportions have remained broadly stable.

[Tracy Brabin]

The question is about the family backgrounds of those 6% or 7%. Are those children taking music because they are supported by wealthy families who can afford the instruments and the lessons?

[Nick Gibb]

The proportions have remained broadly stable during that period. I do not have a breakdown of the free school meal figures, but there is nothing to suggest from the raw proportions that there should be any change in those figures. However, I will come back to the hon. Lady with the precise numbers, which I hope will reassure her.

The EBacc was designed to be limited in scope to allow pupils to study additional important subjects such as music. The percentage of time spent teaching the arts subjects in secondary schools remained broadly stable between 2010 and 2018, and our survey of primary schools indicates that they spend the same amount of time teaching music as they spend teaching other important subjects such as history and geography.

It should also be recognised that many pupils decide not to study the arts as academic subjects, but continue to take part in artistic activities in and out of school, such as singing in choirs, playing in orchestras and bands, and performing in school plays. The DCMS Taking Part survey in 2018 showed that 96% of children aged five to 15 had engaged with the arts in the previous 12 months. We are investing more than £70 million this year to support young people and adults to get high-quality careers provision, including careers advice on arts-related careers.

Northampton School for Boys is an example of how the EBacc does not necessarily mean a reduction in the arts. It has more than 20 ensembles and choirs, yet it also enters 70% of its pupils for the EBacc combination of GCSEs—significantly above the national average of 38%. My right hon. Friend the Member for Wantage cited Didcot Girls’ School in his constituency for its exemplary music provision; at 52%, its EBacc entry figures are way above the national average.

As my hon. Friend the Member for Somerton and Frome (David Warburton) pointed out, the music industry is vital to this country; the hon. Member for Bury North was absolutely right to pay tribute to it. We are a nation with natural musical talent and a love for music that we all have an interest in cultivating. UK Music’s report “Securing Our Talent Pipeline” helpfully highlights the importance of the music industry to the UK economy, and I agree with its conclusion that if we want to produce the stars of the future, we must invest in talent for the future. I hope that it is clear to all hon. Members present that the Government are committed to doing precisely that.

I am enormously grateful to the hon. Member for Bury North for his securing this debate and for his passionate case for the importance of music education. He raised some important concerns, and I hope that I have reassured him that the Government share his commitment to ensuring that music can be enjoyed by every young person. The new model curriculum, the refreshed national plan for music, the ongoing support for our successful music hubs and our other music programmes will make sure that the next generation of music superstars have all the support that they need in schools, from their first exposure to the joys of music at a young age to provision for the brightest and most talented young musicians. All children deserve the chance to fulfil their musical potential. Thanks to the national network of music hubs, the music and dance scheme, and the support of organisations such as UK Music, I believe that pupils are being provided with that opportunity.