Music Education in England

Lord Vaizey of Didcot Excerpts

Wednesday 17th July 2019 Westminster Hall

[Mr Edward Vaizey (Wantage) (Con)]

It is a pleasure to serve under your chairmanship, Sir George, in particular because you are someone who has campaigned hard for the arts in your constituency. I hope that your Shakespeare North theatre is coming along well.

As I look around at the small but high-quality attendance at the debate, I see before me a fellow member and an officer of the all-party group on arts, health and wellbeing, the hon. Member for Vale of Clwyd (Chris Ruane); an excellent Labour spokesman, the hon. Member for Cardiff West (Kevin Brennan), who is also a fantastic asset of that group; and the shadow Arts Minister for the Labour party, the hon. Member for Batley and Spen (Tracy Brabin). That is not to mention those sitting on our Benches: my hon. Friend the Member for Somerton and Frome (David Warburton), a member of the National Youth Music Theatre and of the National Youth Orchestra; the media star, my hon. Friend the Member for Henley (John Howell); and of course my hon. Friend the Member for Cheltenham (Alex Chalk), who represents such a centre of artistic excellence. I will come to the Minister at the end.

I have been a passionate supporter of music education throughout my time in Parliament. Having checked the records, I am pleased that I can still say, hand on heart, that I did not come to the subject late in the day. Shortly after being appointed as Arts Minister in May 2010, I commissioned Darren Henley, who was then the chief executive of Classic FM, to do a report on music education which he duly delivered in February 2011. It might astound and shock the Chamber to learn that the report was commissioned jointly with my right hon. Friend the Member for Surrey Heath (Michael Gove), who was then the Secretary of State for Education, showing his commitment to music education.

The biggest thing to come out of the report was the creation of music hubs, which I felt strongly we should have for a number of reasons. Despite the fact that I only look 21, I am old enough to remember when we introduced local management of schools in the 1980s, and the first thing that went out of the window was funding for music education. When schools took control of their own budgets, perhaps understandably they chose to spend on repairing the roof or other initiatives that the headteacher wanted to follow, and music education suffered. I did not want that to happen again with the introduction of free schools and academies; I wanted to ensure ring-fenced funding for music education. We did secure it: there were some bumps in the road and some anomalies to be ironed out—obviously most of us in the Chamber would want the funding to be doubled, tripled, quadrupled or even more, to make a real difference—but the fact is that the money was saved and ring-fenced.

Music hubs were meant to be innovative organisations; not just money spent by local authorities, but money spent together with local music organisations. It seems ridiculous not to take advantage of the expertise not just of a local orchestra but of innumerable music organisations that might exist in a local area, including perhaps the local music venue, as the hon. Member for Bury North (James Frith) described so well—it was remiss of me not to have congratulated him in my opening remarks on securing this important and welcome debate.

[Alex Sobel (Leeds North West) (Lab/Co-op)]

I am grateful to the right hon. Gentleman for mentioning music hubs. Before I came to this place, I used to work with a local music hub in Leeds, which opened up vocational routes in music composition, such as work in film, television and video games. Music hubs create new non-traditional opportunities in music. Does he agree that they are important for creating new vocational opportunities for people involved in music?

[Mr Vaizey]

I am delighted that the hon. Gentleman brought up that example; let me take the opportunity to praise the important work he does in this House on video games policy. I am really pleased to hear that example, because the thrust behind music hubs was that they be innovative, different and open up music education in its widest form, not just perhaps in the traditional way.

There were other dogs that did not bark—schemes that have been maintained by the Government and remain effective. One of the most effective was the music and dance scheme, where funding has been maintained to train young musicians to excellent standards and ensure their access to the highest quality specialist music education. Let us not forget that in the wider economy, the Arts Council funding goes to 99 music organisations—not just our major orchestras but important organisations such as Youth Music.

Another aim of the Henley report that I wanted to be implemented was the integration of the In Harmony scheme started by the last Labour Government, which to a certain extent copied the well-known El Sistema scheme in Venezuela. It was whole-class music education. I remember being moved almost to tears visiting a scheme in Everton—not that far from your own patch, Sir George—and seeing incredible children learning music in class. In fact, I was more moved when I met their parents, because the scheme brought the parents and the kids together and brought the parents into school. It gave the kids such pride and belief in what they could achieve. That leads on to a truism that we all know yet we do not act on: things such as music education have a massive impact on kids’ self-esteem and, therefore, on their academic attainment and life chances. If I could wave a magic wand, every school in the country would be part of the In Harmony scheme.

I am very pleased to be on the board of the charity London Music Masters, which does something similar in five inner city primary schools in London. It is heavy going to raise the money but, again, we see an inspiring effect on pupils. I was delighted when they came and played “Here Comes the Sun” in Westminster Hall, breaking every rule possible, but making a fantastic YouTube video. We should all acknowledge not just that music education is important in and of itself, but that it has a massive impact on academic achievement, self-esteem and, as I am sure we will hear from the hon. Member for Cardiff West, people’s health, life chances and mental wellbeing. I know he chairs numerous meditation all-party parliamentary groups.

An important challenge, for the classical music industry more than anything, is diversity. Music education brings the opportunity to learn instruments to a wide range of pupils who would otherwise not get that chance. The creation of the Chineke! orchestra shows the efforts being made in the classical music world to increase diversity, which is urgent.

[John Howell (Henley) (Con)]

For classical musicians or otherwise, it is important to remember the role that technology plays in producing music is enormous. Does my right hon. Friend agree that there should be more investment in the technology side, and that it should be part of the curriculum?

[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.

[Thelma Walker (Colne Valley) (Lab)]

As a former headteacher, when I meet my former colleagues in Colne Valley they tell me that where budgets are concerned, they have crossed a red line. They are making cuts primarily with support staff and the creative arts and music curriculum.

[Mr Vaizey]

Funding of schools and education is a matter of concern to all Members, particularly those of us who represent rural constituencies where we lobby Ministers for a fairer funding formula. As I say, at the schools I visit where the headteacher is passionate about the arts and music, they do not say it is a budget issue; for me, it is a leadership issue.

To pick up on the point made by the hon. Member for Cardiff West, I agree that Government can and should provide leadership. One of the frustrations of working with the former Secretary of State for Education was that on the one hand, he was a fantastic colleague who supported me in campaigning for better funding and clearer organisation of music and arts education; but on the other hand, he was relentlessly focused on science, technology, engineering and maths, reading, writing and arithmetic, and the EBacc. That created not only an enormous amount of confusion for teachers in an ever-shifting curriculum, but a clear signal to them that they would not be rewarded for putting arts and music at the centre of their schools. A terrible paradox was created where teachers became afraid to do that, because they felt they would be penalised in the league table. That can and must change.

That brings me to my final point. Leadership is absolutely violent—not violent, vital. We need vital leadership, not violent leadership, from Ministers, to emphasise that the arts are important, particularly in a world of technology and automation where British creativity will be centre stage in our success. I remember battling hard with successive Education Secretaries, desperately asking them just to make a speech about the importance of the arts. That leadership is needed now more than ever.

The Minister has a week left in his job—[Laughter.] In his current job—who knows what will happen to him when my right hon. Friend the Member for Uxbridge and South Ruislip (Boris Johnson) comes in on his no-deal ticket? From my own experience, let me tell him that if he is sacked, it will not be on the first day, but if he is promoted, it will be on the first day. All I say to the funky Gibb that sits before us is, “Get on your feet! Stand up for music and arts education.” In his heart, I know he believes in it and he can do that funky Gibb dance today.