Music Education
Lord Black of Brentwood Excerpts(3 years, 4 months ago)
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Lord Black of Brentwood (Con)
My Lords, it is a pleasure to follow the noble Lord. I have an old trumpet and an old clarinet somewhere which I would be very happy to put into his fund if he gets it going. I declare an interest as chairman of the Royal College of Music and a governor of Brentwood School. It is a privilege to have as colleagues on the council of the Royal College of Music two distinguished individuals who have been integral in putting together the national plan for music education, my noble friend Lady Fleet, who has chaired and led the expert panel with such vision, determination and energy, and Jamie Njoku-Goodwin, who is a remarkable campaigner for music and musicians. I am particularly grateful to my noble friend for securing this debate today and for her superb speech. This debate allows us to spend some time looking at an issue which is crucial not just to the future of the creative economy but to our quality of life. I also take this opportunity to join the chorus welcoming the Minister back to his place. As my noble friend Lady Fleet said, he is a great champion of music and the wider arts and I am delighted he has returned to his rightful place.
I agree with the conclusion of the Independent Society of Musicians, of which I am an honorary member, that this is an “ambitious” and “detailed” document that, if it succeeds, will ensure that
“all children will be the beneficiaries of a high-quality music education.”
A huge amount in this plan, which is incredibly impressive in its breadth and vision, is to be commended, not least its unequivocal commitment that music
“must not be the preserve of the privileged few”
but be available to all children. Music enhances all young lives, not just those whose parents can afford it.
I welcome the emphasis the plan places on the “pipeline of talent” and the vital importance of progression. As my noble friend the Minister so rightly says in his elegant introduction to the document:
“It is vital that each part of the music pipeline – schools, community music, further and higher education, and employers in the music and wider creative sector – collaborates to create joined-up talent pathways.”
That has been missing in recent years, and the plan establishes a fresh opportunity to put that right. Crucially, the plan recognises that, for progression to work:
“Early years providers and schools should build a musical culture, identify potential … and enrich children’s experience with music beyond the classroom.”
My own interest in music as a seven year-old certainly came from such a culture, powered by music specialists—something sadly lacking in too many primary schools.
I have a number of observations about the plan. They are not criticisms or intended to detract in any way from its importance or value but seek to strengthen it even further. One is that this plan, like its predecessor, is non-statutory. As noble Lords will know, I am not generally one to argue for the imposition of statute in the creative world, but it seems to me that this is one of those areas in which some modest form of statutory intervention may be required. To produce the step change in music education we all want to see, not least because of its importance to the creative economy of the UK at a time of great uncertainty in the wider economy, there will have to be strong political leadership. I recognise that my noble friend the Minister is hugely committed to this area, but this is too vital to leave to individual personalities. Departments and Ministers need to be under a continuing statutory obligation to see this through, whatever the changes that take place in Whitehall and Westminster.
The plan makes provision for the monitoring of progress over the next eight years, with the first report due in 2025 to set out improvements and look at how the music sector is developing. The establishment of a monitoring board is very welcome, but it is Ministers at the DfE and DCMS who, over the lifetime of the plan, need to be accountable, not least to Parliament, for its implementation.
We are all aware of the need to do everything we can to drive sustainable economic growth in the UK, and the music industry is one of the most reliable ways to do that, providing £5.8 billion in GVA before the pandemic and employing 200,000 people—more than the steel and fisheries industries combined, according to UK Music. Its future simply cannot be left to chance, and I ask my noble friend whether the Government will consider some form of statutory underpinning for the plan to ensure its delivery, not least in ensuring that there is no tension—which there often has been—between music hubs, which are tasked with implementation, and schools, which are not.
It is not just political leadership that is important but leadership within schools. As the plan says:
“Enabling pupils to progress in music requires flexibility from leadership and wider school staff”.
But school leadership is patchy where it comes to music education. I have seen some schools where the head and their senior team fully understand how music can enhance a school’s identity and culture and contribute to the development and well-being of children. Not coincidentally, those schools tend to be the better-performing ones. But there are other schools where the leadership, and that includes governors, are uninterested in the effective delivery of music, to the detriment of their pupils.
That leads me on to another crucial point, which is the quality and calibre of the music staff who will be on the front line of delivering this plan. Music teaching has been under real strain in recent years, not least because of the vicious cycle that has arisen of the decline in music education leading to fewer professional teachers—who are in turn needed to reverse that decay—entering it. Many music specialist undergraduate primary courses and postgraduate secondary programmes have closed, seriously limiting the opportunities for talented musicians to pursue a career in teaching. A forecast by the National Foundation for Educational Research shows that the DfE is likely to recruit only 57% of its target for music trainee teachers this academic year, compared to 166% for PE. We have got our priorities absolutely wrong.
Music teaching needs to be valued in all schools, including ensuring that it is represented in every school’s leadership structure, with a designated music lead and head of department who are given time for training and to organise the curriculum and study. As the Birmingham Music Education Research Group at Birmingham City University has pointed out, the next generation of music educators must have access to high-quality training and development opportunities. Governors have an important role in this area too and should be under a legal responsibility to interrogate the quality of music provision, including details of accessibility and inclusion.
I have two other points. The first concerns funding which, as my noble friend said, is obviously a very tricky issue in the current economic circumstances. The plan has, in a very welcome way, confirmed funding for music hubs of £79 million per annum until 2025, but it is not clear whether these figures—and also the £25 million of funding for instruments—will be adjusted for inflation which, at over 10%, could rapidly eat through these impressive and welcome figures. Could my noble friend tell us whether these figures will be index-linked? If not, there is little chance of delivering the broad ambitions of the plan.
My final point concerns the wider issue surrounding the music industry and the professionals who power it, arising from our fractured relationship with the EU. It is very relevant to this debate because, as the noble Lord, Lord Berkeley of Knighton, said, it touches on the issues of aspiration. If we want the creative economy to flourish, for talented individuals to enter the profession as teachers and to present exciting opportunities for young musicians who leave school, then we have to fix the problems arising from the failure of the trade and co-operation agreement. I do not want to go over old ground, but Ministers promised that free movement for musicians—which is vital to their livelihood and well-being—would be protected. Their failure to deliver has been devastating, with musicians and those who support them on tour having to navigate a complex, confusing and costly system which limits how long they can stay in their main touring market, which is the EU. It is now time—as a compelling report from the APPG on Music said—to put old divisions aside and
“focus on what’s right for UK musicians and the UK music industry.”
Otherwise, why on earth would the next generation of young people, at whom this plan is targeted, want to pursue their learning and careers?
For many years, many of us have felt that music education in the UK has been undervalued, under- resourced and under threat. This excellent report gives us a chance to change all that. Let us take its lead and give it teeth, generous funding, political leadership and a proper position within schools. Then we can secure the future of music.
Music Festivals: Covid-19-related Cancellations
Lord Black of Brentwood Excerpts(4 years, 11 months ago)
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Baroness Barran (Con)
The Government are extremely keen that the festival-going public should have a chance to enjoy live events as quickly as possible, and that is what is behind our events research programme, but we need to be absolutely confident that any scheme would result in an increase in activity.
Lord Black of Brentwood (Con) [V]
My Lords, I declare my interest as chairman of the Royal College of Music. My noble friend will be aware that many students rely on performances outside term time for income, which is vital to support their studies, and have therefore been particularly hard hit in this last year. Will she take the plight of students and recent graduates specifically into account when further considering this issue in order to ensure that the income of young performers is protected as far as possible this summer?
Baroness Barran (Con)
My noble friend is of course right that that pipeline of performers is critical. I will share his concerns with colleagues in the department.
Office of Communications: Chair
Lord Black of Brentwood Excerpts(5 years ago)
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Lord Black of Brentwood (Con) [V]
My Lords, I refer to my interests as set out in the register. Does my noble friend agree that just as important as the new chair of Ofcom are the new powers that Ofcom will have? The regulator will have significant extra responsibilities following online harms legislation and will have a vital role in working with the new digital markets unit to ensure that the platforms are subject to fair competition. Can she tell us what progress is being made on bringing forward the online harms legislation and, crucially, a Bill to give the digital markets unit the statutory powers it needs, particularly in the area of payment for content?
Baroness Barran (Con)
My noble friend is right that it will be extremely important in future for Ofcom to co-ordinate its activities with other digital regulators, including the new digital markets unit being set up in the CMA. We are working at pace to prepare the online harms legislation, which will be ready later this year. In December, the Government received advice from the CMA on design and implementation of the new regime. We are carefully considering this and will consult on it as soon as possible.
Music and Performing Arts Students: Visas and Work Permits
Lord Black of Brentwood Excerpts(5 years ago)
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Lord Black of Brentwood
To ask Her Majesty’s Government what assessment they have made of the impact of the visa and work permit requirements for touring in the European Union on music and performing arts students in the United Kingdom.
Lord Black of Brentwood (Con) [V]
My Lords, I beg leave to ask the Question standing in my name on the Order Paper and declare my interest as chairman of the Royal College of Music.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)
My Lords, the Government recognise the importance of international touring for UK cultural and creative practitioners. British music and performing arts students seeking to tour within the EU are now required to check domestic immigration and visitor rules for individual member states. The DCMS-led working group on creative and cultural touring, involving sector representatives and other key government departments, is working to assess the impacts and ensure that the sector gets the clarity and support it needs.
Lord Black of Brentwood (Con) [V]
My Lords, we are all aware of the damage to the creative economy from the new visa and work permit requirements for EU touring, with jobs lost and tours cancelled, but perhaps hardest hit are students in music and the performing arts. Does my noble friend acknowledge that students need to perform in Europe to progress their careers and enrich their education, but now cannot because the cost of work permits and the bureaucracy of multiple visa applications are prohibitive? It is essential we reach bilateral agreements on work permits with member states urgently if we are not to blight a generation of students, so can my noble friend tell the House what progress has been made on that front?
Baroness Barran (Con)
The Government absolutely agree with my noble friend about the importance of touring for students, both within the EU and more broadly around the world. He will be aware that our rules for touring creative professionals are more generous than those of many EU member states. The working group to which I referred met for the first time on 5 February to try to get clarity on the issues impacting creative professionals and how best to support them. I reassure my noble friend that we are working across government to address the important issues he raises.
European Union: Visa-free Touring for Musicians
Lord Black of Brentwood Excerpts(5 years, 2 months ago)
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Baroness Barran (Con)
There were a number of drawbacks to the EU proposals, which did not meet the requirements of our sectors, as I mentioned; they covered only ad hoc performances, they were non-binding and did not address technical staff or work permits. Our door absolutely remains open to reviewing these points, but in the meantime we will do everything we can to support our sectors.
Lord Black of Brentwood (Con) [V]
My Lords, I declare my interest as chairman of the Royal College of Music. Will my noble friend acknowledge that the current impasse will have a profoundly damaging impact on UK students, who need to travel to progress their careers but, as they will not earn large fees at that stage of their lives, will find themselves priced out of the market because of expensive and complex visa requirements? As there seems to be political will on both sides to ensure that musicians can continue to work freely in Europe, do we not owe it to students, above all else, to get back to the negotiating table to sort this out?
Baroness Barran (Con)
My noble friend raises a very important point. There are two different issues here: on going back to the negotiating table, as I said to the noble Lord, Lord Clement-Jones, our door is absolutely open but, in the short term, understanding the picture for students and how we can support them is part of our work—if there are specifics my noble friend would like to share with me, I will endeavour to make sure that fellow Ministers are briefed on them.
Covid-19: Arts Sector
Lord Black of Brentwood Excerpts(5 years, 3 months ago)
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Lord Black of Brentwood
To ask Her Majesty’s Government what steps they are taking (1) to support freelance workers in the arts sector during the COVID-19 pandemic, and (2) to ensure a return to live performances in that sector as soon as possible.
Lord Black of Brentwood (Con)
My Lords, I beg leave to ask the Question standing in my name on the Order Paper and declare my interest as chairman of the Royal College of Music.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)
My Lords, the Government recognise the significant challenge that the current pandemic poses to our arts sector and to the many individuals, including freelances, working across it. We are working very hard to help freelancers in those sectors access support, including through the self-employment income support scheme and funding from Arts Council England.
Lord Black of Brentwood (Con)
My Lords, the Covid emergency has been a catastrophe for music and other parts of the creative economy, and in particular for the freelancers who make up 72% of those working in the performing and visual arts. Nearly four in five of them earn less than £30,000 per year and many are having to rely on universal credit. Can my noble friend tell us what steps are being taken to ensure that the support that the Government are giving to music and the arts, including the £165 million recently announced, will directly benefit freelancers, and when will freelancers have the security of a revised road map to return to live performances once restrictions are eased?
EU: British Musicians
Lord Black of Brentwood Excerpts(5 years, 10 months ago)
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Baroness Barran
I am sorry if I was not clear; I was aiming to refer specifically to those in the performing arts. There are not currently plans for a unilateral agreement. We are optimistic that we can reach an effective reciprocal agreement. We are not looking for a bespoke or unique deal. We are trying to build on existing free trade agreements and ensure that they are appropriate for our performing arts and wider service sectors.
Lord Black of Brentwood (Con)
My Lords, I declare my interest as chairman of the Royal College of Music. At the end of the transition period, new customs requirements will come into force which mean that musicians will be required to purchase an ATA carnet, costing up to £700. For many musicians who struggle financially at the best of times, let alone after the disaster of Covid, that is a big cost which many will not be able to afford. Will the Government either cover the cost of these carnets or include a cultural exemption for musical instruments, so that they are not required?
Baroness Barran
My noble friend is right that the carnet can be expensive, particularly for individual musicians. That is why we are trying to negotiate a reciprocal deal, which may mean that there are new processes that musicians will have to comply with. But we hope that they will be practical and workable for them.
Charitable and Voluntary Sector
Lord Black of Brentwood Excerpts(5 years, 11 months ago)
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Lord Black of Brentwood (Con)
My Lords, I declare my interests as a trustee of a number of charities. This virus is making us all appreciate what is really important to us. One thing that unites many of us is our love of our pets, which are especially important for many lonely and vulnerable people.
The main point I want to make is that our pets, along with the animal charities that care for them, have been impacted by the onslaught of Covid-19 and need support. These charities are doing all they can to help, through, for instance, short-term fostering of pets where owners, including key workers, need respite care when they have been affected by the virus and, crucially, supporting victims of domestic abuse.
However, the emergency presents huge challenges. First, it has reduced the ability of charities such as Cats Protection and the Dogs Trust to rehome stray, unwanted and abandoned animals. A recent survey of members of the Association of Dogs and Cats Homes found that nearly nine in 10 had ceased rehoming, at a time when increasing numbers of domestic animals are being abandoned. During the second week in April, Cats Protection admitted just 47 cats, compared with 690 in the same period last year.
Secondly, there is inevitably pressure on income, with nearly half of those same homes surveyed saying they do not have enough funds to operate for more than three months as a result of the closure of charity shops and an end to most fundraising events. One in five have so few funds they could close at any time.
Finally, as vets are rightly prioritising emergencies, there is limited access for other treatments, especially neutering. As we approach the kitten season, this will mean higher numbers of unwanted litters, placing ever greater burdens on charities that are already under huge funding pressure.
Will my noble friend ensure that animal charities, which are such an important part of civil society and so important to many vulnerable individuals, get the support they need and deserve during this crisis?
The Deputy Speaker
My Lords, I announce that the noble Baroness, Lady Pitkeathley, will shortly take over the Chair from me as Deputy Speaker. In the meantime, I call the noble Baroness, Lady Barker. Baroness Barker?
Since we do not appear to have been able to connect to the noble Baroness, Lady Barker, I call the noble Baroness, Lady Hayter of Kentish Town, and we can reverse the order of these two speakers.
Covid-19: Music Sector and Creative Economy
Lord Black of Brentwood Excerpts(5 years, 11 months ago)
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Lord Black of Brentwood
To ask Her Majesty’s Government what assessment they have made of the impact of COVID-19 on (1) the United Kingdom music sector, and (2) the creative economy.
Lord Black of Brentwood (Con)
My Lords, I beg leave to ask the Question standing in my name on the Order Paper, and in doing so I declare my interest as chairman of the Royal College of Music.
The Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport (Baroness Barran) (Con)
My Lords, the Covid-19 pandemic presents a significant challenge to many of DCMS’s sectors, including, of course, music and the wider creative industries. The Government have announced unprecedented support for business and workers to protect them against the current economic emergency, including the Coronavirus Job Retention Scheme, £330 billion of government-backed guaranteed loans to support businesses, and the self-employed income support scheme. We are continuing to work very closely with partners across music and the creative industries to understand the impact of Covid-19 on their activities and to provide the necessary support.
Lord Black of Brentwood
I thank my noble friend for that Answer. Music, the bedrock of our creative economy, is in deep trouble. The virus has had a terrible impact on the sector, because music cannot exist without audiences and human contact, and both have disappeared along with the livelihoods of thousands of musicians. Is my noble friend aware that four in 10 creative organisations, where many hourly-paid musicians are employed, have seen their income drop by 100%? The truth is that the music business model is being destroyed as a result. As it becomes clear that mass gatherings are likely to be the last to be reintroduced after lockdown, and with many event cancellations having started in January, this will be a devastating lost year for the whole sector and so many individual artists. Does my noble friend agree that there must be an urgent sector-specific package of financial support for music and the arts, similar to the €50 billion programme in Germany, to ensure that the sector and all those who work in it survive the emergency?
Baroness Barran
My noble friend is right to highlight the huge challenges to cash flow for these sectors of our economy. The Government, as I said earlier, have focused on offering very broad support, and doing so at scale and at pace. My honourable friend the Minister for Digital and Culture is meeting representatives from the music industry and the wider creative industries on a weekly basis to understand individual impacts, gather the evidence and then see what we can do to support them on any issues that emerge from that.
Cairncross Review
Lord Black of Brentwood Excerpts(6 years, 1 month ago)
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Lord Black of Brentwood (Con)
My Lords, I declare my interest as deputy chairman of the Telegraph Media Group and my other media interests. I am also a member of the Select Committee on Democracy and Digital Technologies.
Dame Frances’s review was the first time that the Government acknowledged that the sustainability of our media is in jeopardy and that public policymakers needed to do something to help. Her report was welcomed across the industry because it identified practical steps to support the media on its path to fundamental change. The causes of the stress on the sector are straightforward. The news media faces brutal competition on two fronts. On one side are Google and Facebook—70% of UK online advertising spend now flows through this duopoly. This means that they take over £9 billion a year in digital ad revenues while the news media companies that create content for them earn only around £500 million. Then there is competition from the BBC, whose guaranteed £3.8 billion income produces a massive market distortion that makes it challenging to grow subscription businesses.
The Cairncross recommendations are a step in the right direction, but I have two points of concern. One is time: Cairncross was established in 2018, reported in early 2019 and the Government have only just responded at the start of 2020. Most of the recommendations have still to take practical effect. The grim truth is that help is needed now if many local newspapers are to survive while they bridge the gap between print legacy and digital future. My noble friend understands that. Will she tell us more about the timetable to implementation, particularly on the issue of VAT zero-rating for digital products, which could make a rapid difference to businesses building subscription models, and other financial measures, including tax reliefs, which will give time for the report’s structural measures to take effect?
My second concern is clarity. The Cairncross recommendations are just part of a plethora of other reviews, consultations and policy documents. We have the Furman review, initiatives from the Information Commissioner, reviews by the DCMS on brand safety and the supply chain, an investigation by the CMA, ongoing work from Ofcom, and the online harms White Paper. These are all important pieces of work, but there is real danger that we cannot see the wood for the trees. Too many initiatives from too many separate departments and organisations present a real risk that nothing will end up happening or that it will simply take too long.
Does my noble friend agree that the best way forward is to identify a handful of strategic issues where action to support the industry during its transformation can be taken speedily and preferably without the need for legislation, which will take far too long? I agree entirely with my noble friend Lord Wakeham that a consolidation review of ownership laws must be one of them.
There is speculation that my noble friend does not wish to continue in this role. She would be much missed. If she does move on, will she consider leaving a note in her desk for her successor saying simply, “The media needs your help. Many local newspapers face closure. Other publishers struggle to support high-quality journalism. There is no time to lose if we are to save our democracy. Please act now to help them”?