Music Education

John Slinger Excerpts

Thursday 3rd July 2025 Westminster Hall

[John Slinger (Rugby) (Lab)]

It is a pleasure to serve under your chairship, Ms Vaz. I thank my hon. Friend the Member for Southgate and Wood Green (Bambos Charalambous) for securing this incredibly important debate. It is vital that we discuss these issues in this House. I am one of those few MPs who has found a happy middle ground between orchestra and hip-hop. I will go into a bit of detail on that: I learned the violin from the age of seven, played in orchestras, and latterly ended up playing in rock bands—not playing the violin, but playing the guitar and the keyboard, and singing.

I know from personal experience that a background in music improves many aspects of our lives, such as discipline and creativity. It actually teaches people the value of hard work towards an objective, and it provides both hard and soft skills. I sometimes say to people—I mean this with no disrespect—that all too often music is regarded as sitting around the campfire singing “Kumbaya”. I am all in favour of doing that—indeed, I have done so. However, it is far more than that; it is so much more than the mere pleasure and enjoyment of creating the music. It is a stable bedrock to build one’s life on, but I fear that over the past 14 years the opportunity to do so has been stripped back by Conservative Governments.

Students of Paddox primary school tell me that their music department budget has been steadily eroded, and most of the existing music activities are the result of the passionate and dedicated music teacher, Mrs Pearson. A priority of mine as an MP is to give more of a voice to young people, so I am glad to do that. Vanessa from Paddox primary school’s student council explains that there is a strong mandate for an orchestra or band as an extracurricular club. Isabelle speaks for the silent majority of year 6 students, who are sceptical that body percussion music is an adequate substitute for the playing of actual musical instruments in the end-of-year production. Sally Ann, on behalf of many, strongly commends the benefits of peripatetic music lessons, and is dismayed that this is not an option available to everyone.

There is so much young passion for music, so much creative potential, and yet by the time they are in their mid-teens, precious few students take music qualifications, as was set out by my hon. Friend the Member for Southgate and Wood Green. This all contributes to a downwards spiral in too many cases: a lack of space in the curriculum means few, or often no, music lessons for too many students; fewer students take up the subject, so fewer teachers become qualified; and university departments are closing because of poor uptake—they lack the placement opportunities because of a lack of lessons in the curriculum. The cycle must be broken.

After 14 years of the previous Government, the mean yearly budget for music departments in maintained schools was £1,800; in academies and free schools it was £2,200; in independent schools it was £10,000. The Labour Government cannot continue to allow 93% of the student population to be let down. Furthermore, the Conservative Government only allocated enough funding to cover 40% of the cost of music hubs. The remaining cost can only be covered by families, and inevitably this often means only the most privileged and economically thriving. According to the Independent Society of Musicians, the gap between private and state music education has become, sadly, a chasm.

I am really glad that this Government have made significant steps in the right direction: providing £25 million for instruments in schools this academic year; introducing the music opportunities fund, which will support 1,000 young people and children; and changing progress 8 measures to include creative arts subjects, an issue on which I have engaged with my hon. Friend the Minister. I know that she takes it very seriously and is doing great work; however, I respectfully call on the Government to go further.

Music has as much to offer young people as maths or science. I therefore endorse the recommendations of Birmingham City University academics and the ISM—let me put on record my gratitude to the Birmingham City University academics for the time they spent briefing me and for all they do to research this important area. They and the ISM recommend giving music teachers equal priority by increasing bursaries and recruitment, in order to put music at the heart of the curriculum in the upcoming curriculum and assessment review—I know that my hon. Friend the Minister is considering these matters very seriously. They also recommend reforming the EBacc to prevent music being sidelined, making GCSE and A-level music more accessible and appealing, and creating a sustained pipeline for music education.

We must fundamentally view music in a different light, adapting the motto “Sports for all” to “Music for all”. Hon. Members will not be surprised to hear that, representing the town of Rugby, I am a passionate supporter of sports. They provide people with wonderful lifelong skills. However, it is my personal view that a disproportionate amount of attention is given to sport in our educational settings and, frankly, in society in general. That needs to be reversed. We need a change, frankly, in the culture of our entire society. That goes beyond the powers of any of us in this Chamber, and indeed perhaps even those of Ministers, yet we must all engage in seeking, really, a revolution in people’s attitude towards music.

My dad began learning the trombone in his middle age, and his life has been transformed by the joys that music education and performance have given him. When we had a chat recently, he said that we perhaps should have a “duty of candour” not to abandon one of the most successful aspects of our creative life in schools and beyond.

Caroline Lumsden, my former violin teacher, agrees, saying that we must democratise music. We must make it available to all students, regardless of wealth, and recruit more specialist music teachers, especially in primary schools, because we all know that earlier intervention is better intervention. As I have mentioned, we must intervene at the very beginning of people’s lives and break any destructive cycles.

Caroline and her late husband Alan moved into the village next to the one I grew up in, creating a wonderful music school called Beauchamp Music Group, which started in her front room and then expanded into the dairy of the farm, which still contained dairy equipment. Latterly, they developed the barn into a space that even a full orchestra could play in and where summer courses could take place. That transformed my life. Even my academic abilities improved when I started learning the violin—probably not enough, but they improved none the less.

That experience added to the education at the superb comprehensive school I was privileged to attend, Newent community school. Its head, Mr Landau, was a true believer in music and gave huge backing to my music teacher, Miss Wrenn. She was head of music, and through her dedication and inspired leadership of that department, the students in that state comprehensive school were able to participate in peripatetic lessons. Lots of us took GCSE and A-level music. There was a brass band, a jazz band and a rock band. There were chamber concerts each term. There was a junior orchestra and a senior orchestra. We even wrote the music for one of the school’s dramatic productions and played in the pit orchestra. It was truly incredible and wonderful. However, I would imagine that latterly it has become harder for schools to achieve such a level of provision.

Thanks to those dedicated educators, thousands of young people’s lives were transformed. In a recent meeting that I helped to organise, the chief medical officer for Scotland, quite incredibly but aptly, described investment in the creative arts as a public health intervention. In my view, anything that we can do to invest in music education and the creative arts more broadly is also a hard and soft-skills intervention. It is an anti-crime, community-strengthening, child development and community cohesion intervention. It is an intervention in local economies and our exports. It is an intervention that boosts jobs. Going back to my “Kumbaya” point, it also drastically improves wellbeing, fun, happiness and joy in our lives as individuals and communities.

Yet despite the best efforts and the genuine belief of the Minister and the Secretary of State for Culture, Media and Sport in this cause, there is a chance that the system simply does not quite get it. To be clear, that is in no way to denigrate the excellent work of my hon. and right hon. Friends the Ministers, who I thoroughly believe want to do everything that they can to improve music education. But, as I alluded to earlier, I think the broader system—society at large and parts of the media—do not fully get just how important music and creative arts education are.

I again thank my ministerial colleagues for all the work they have done. I also thank my hon. Friend the Member for Southgate and Wood Green for securing this important debate. I conclude by saying that no student from Paddox primary school should have to give up their passion. No one should be denied the opportunity of a musical education. I challenge any hon. Member here to defy the mandate of Paddox primary school’s student council.

[Valerie Vaz (in the Chair)]

The hon. Member has failed to take the opportunity to give us a verse of “Kumbaya”.

--- Later in debate ---

[John Slinger]

I don’t think you would want to hear me do that.

--- Later in debate ---

[Adam Jogee (Newcastle-under-Lyme) (Lab)]

Let me start by saying that I completely echo the points made by my hon. Friend the Member for Southgate and Wood Green (Bambos Charalambous) about recruitment. It is important that we get that right. I enjoyed him reminding me of my previous life, as he took us through many parts of his constituency; I know much of his new constituency well.

My hon. Friend the Member for Rugby (John Slinger) was typically modest. I believe he is one of very few Members of the House, if not the only one, who has a track on Spotify. So forget “Kumbaya, my Lord”—

[John Slinger]

It is on SoundCloud, actually.

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[Ian Sollom (St Neots and Mid Cambridgeshire) (LD)]

It is a pleasure to serve under your chairmanship this afternoon, Ms Vaz. I congratulate the hon. Member for Southgate and Wood Green (Bambos Charalambous) on securing this important debate. I say that as someone who, just a few weeks ago, stood in this hall and led a debate on the contribution of maths to the UK, where I argued that investment in science, technology, engineering and maths education was crucial to the UK’s future.

To some, it may seem a little odd that I am about to make the same argument for the creative arts, which sadly are often pitted against STEM, as though we must choose to side with one versus the other when devising education policy. I would argue that that is a false dichotomy. There is no reason why we cannot afford appropriate time and funding to both areas. In fact, I would suggest that they work hand in hand in many ways. Many fundamental mathematical discoveries came from those who first had musical inclinations. Pythagoras identified the harmonic series through an interest in the sounds that a water-filled urn made when struck. Leibniz once stated:

“Music is the pleasure the human mind experiences from counting without being aware that it is counting.”

[John Slinger]

I very much appreciate the hon. Gentleman’s comments. Does he agree that this is the cultural and societal-level challenge that I referred to in my speech, whereby music is seen in some way as a flowery activity for an elite or a tiny minority of the population? Perhaps it is seen as something that men or boys would be less inclined to do—as dancing is—and it is regarded as a particular niche. That is not helpful, because we need to show that music is for absolutely everybody and that it has benefits to offer all, just as we do when we talk about sport.

[Ian Sollom]

I could not agree more. This absolutely goes beyond the practicalities of learning an instrument or understanding music theory. It is about those soft skills that we so regularly talk about in sport, but less so in music for some reason, and that is a cultural challenge.

Beyond that, music can also be hugely pleasurable as an activity that does wonders for mental health and stress relief. Certainly, I most reliably relax when I sit down in front of the piano or pick up the guitar, although I do not think the people I live with relax quite as much. Above all, music brings value to our society, and the UK’s thriving cultural sector is a national treasure. The creative industries are crucial to our economy and are worth £126 billion. Too often, they have been neglected, and they will decline without appropriate attention.

Like any other subject, everyone should have fair access to participation in music education. Unfortunately, as hon. Members have observed today, music education in the UK is currently one of the poorest performing subjects for fair access and inclusion. Although music forms part of the national curriculum from key stages 1 to 3, meaning that all maintained schools must teach music from ages five to 14, a 2022 survey by the Independent Society of Musicians found that there was significant variability in the quality of teaching across the country. Whether a child is lucky enough to attend a school with good musical provision is a complete postcode lottery, and that is stifling the pipeline of future creative professionals, which will impact industries such as film, theatre, music and design. Has the Minister considered giving Ofsted the power to monitor curriculum breadth, ensuring that schools are offering a rich and diverse programme that gives equal weight to academic, creative and practical learning?

In my constituency, Cambourne Village college, in particular, is an example of great music education, where students are entitled to three sessions of music a fortnight, as opposed to only once a fortnight in a carousel with other performing arts subjects, as is often the case in other schools. As such, the school’s GCSE music numbers have remained stable and healthy for many years, but real-terms per-pupil cuts have led to a narrowing of the curriculum that is felt acutely at key stage 5, where subjects attracting small numbers are not financially viable. The Cambourne sixth form has found itself unable to offer either music or music tech A-levels, despite there being more than enough enthusiasm, at least from teachers.

Yearly school budgets also expose the inequalities faced across the country. To repeat some of the statistics cited by the hon. Member for Rugby (John Slinger), there was an average of £1,865 per year allocated to music departments in maintained schools and around £2,000 in academies and free schools, in 2022. That contrasts with the £10,000 spent in independent schools. For maintained schools, that is sometimes around only £1 per student each year, so the cuts really make a big difference.

Budget cuts have had a disproportionate impact on music and arts departments, leading to fewer resources, less specialised teaching staff and reduced opportunities for students. I have heard from one music teacher who told me of his regret about leaving his state school post for an independent one. He felt that in the state school he was not just a teacher, but a shoulder to cry on, because music sessions were sometimes the only chance for students to talk to someone one on one. However, the pay difference between an independent school and a maintained school was just too much to turn down. It is clear from this that the lack of opportunity is not only shrinking our children’s future options, but having an impact on their wellbeing.

Liberal Democrats have long campaigned to ensure all teachers are paid a fair wage for the work they do and are empowered to deliver high quality education to their pupils. In many previous debates on education, I and many other colleagues have made the point to the Minister that, because inequalities in the arts are not tackled at their root in schools, they continue into universities. The decline in the further study of music can therefore be seen working its way up through the education system, with several high-profile cuts to music degree programmes over the past few years, including the well-regarded department at Oxford Brookes University.

The Sutton Trust has found that music as a university subject has a far larger percentage of privately educated students than any other subject, with more than 50% of music students at Oxford, Cambridge and King’s College London coming from upper-middle-class backgrounds. That is not the case with STEM. Some might question why that matters, but it is a fundamental question of fairness. If children are interested in music or show talent, they should be able to pursue that just like they would in any other subject.

That is part of the reason why the Liberal Democrats believe that art subjects, such as music, fine art and photography, should be included in the English baccalaureate, so that students do not have to choose between that false dichotomy of STEM and creative subjects, particularly music, and do not have to narrow down their options so early in school.

The Britten Sinfonia in Cambridge is the only professional orchestra in the east of England. It has historically done some excellent outreach work at schools in the area, including at Impington Village college in my constituency, leading workshops and mentoring to improve the standard of the school’s orchestra and, in doing so, widen access. In 2023, it had its Arts Council England funding completely cut. It was not a small cut; it was totally removed. It was left high and dry with a shortfall of £1 million over three years.

Cutting the budget of Arts Council England is just one example of the way that the previous Government neglected the social, economic and mental health benefits that the arts can bring. I strongly urge the current Government to do better with the funding.

When Pink Floyd claimed, “We don’t need no education,” they wrote a great song but were very wrong. Some suggest that they actually wrote the song about what is now Hills Road sixth form college, which serves my constituency; it is a brilliant institution with a clear track record of producing excellent musicians. Pink Floyd were wrong, because we do need education—perhaps not the restrictive, authoritarian education that they were railing against, but fair and inclusive education, of which music is absolutely part.

[Neil O’Brien (Harborough, Oadby and Wigston) (Con)]

It is a pleasure to serve under your chairmanship, Ms Vaz. I congratulate the hon. Member for Southgate and Wood Green (Bambos Charalambous) on securing this very important debate.

They say that politics is showbusiness for ugly people, and in my case that is directly true: the only reason I am here is that the band that I was in when I was 16, alas, did not work out. It was very unfair. The main reason it did not work out is that we were objectively terrible, and I was probably the worst member. None the less, I have always appreciated the contribution of music to our lives.

Like others, I thank our fantastic music teachers and all those involved in music education in and out of schools at all levels. I would particularly like to thank my former music teacher, Tim Slater—alas, no longer here—and those who teach in my daughter’s primary school, who put on the most amazing musical works, including a series of musicals at Easter for the Passion that they wrote themselves. The quality has to be heard to be believed: they could genuinely be on Broadway. For weeks afterwards, our children and I were going round the house humming bits of the songs written by the music teachers in that little primary school, so incredible work is done across this country by wonderful people.

We have had fantastic speeches from Members from both sides of the House, including the hon. Members for Frome and East Somerset (Anna Sabine), for Newcastle- under-Lyme (Adam Jogee) and for Rugby (John Slinger). I always find Westminster Hall debates fascinating, because they are like peeling an onion: we see new sides of colleagues, from the plastic bassoon and the fusion of hip-hop and classical to the discovery that the hon. Member for St Neots and Mid Cambridgeshire (Ian Sollom) is also into the Floyd—we must take that offline.

[John Slinger]

I merely want to correct the record. I hope it is understood that I am not claiming to be a hip-hop artist; I do not want to get the wrong booking or anything like that. I played in a rock band, which probably sits somewhere in between, not a hip-hop band—much as I like hip-hop.

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[The Minister for School Standards (Catherine McKinnell)]

Let me begin by expressing my gratitude to my hon. Friend the Member for Southgate and Wood Green (Bambos Charalambous) for opening this valuable debate on the future of music education. He made it clear what a great advocate he is for music education. He chairs the APPG on music education and is a constant powerful voice on this issue in this House. I also want to declare that my husband runs a music venue. It is not directly relevant to this debate, but I put it on the record just to be clear.

I thank my hon. Friend the Member for Rugby (John Slinger) for his thoughtful contribution. I appreciate his concerns about ensuring that music is held in the high esteem it deserves in the education system; they came across clearly in his speech. I enjoyed hearing about the childhood experiences of the hon. Member for Frome and East Somerset (Anna Sabine) and about that aspect of music that creates a sense of belonging and friendship. That is in short supply for too many young people; where music can meet that demand, we need to make sure that the opportunity is available. My hon. Friend the Member for Newcastle-under-Lyme (Adam Jogee) gave a wide-ranging speech, covering an array of Departments, which clearly displayed his passion for this issue. I hope that I can answer his questions.

Finally, I thank the hon. Members for St Neots and Mid Cambridgeshire (Ian Sollom) and for Harborough, Oadby and Wigston (Neil O’Brien) for their thoughtful contributions—in particular the latter, who was uncharacteristically comradely. That obviously shows the measure of him, but it also indicates the level of cross-party agreement on this issue, which is always welcome in this place.

The Government are clear that music education must not be the preserve of the privileged few. Creative subjects such as music are important pillars of a rounded and enriching education, which every child should have. That is why, as part of our opportunity mission, we want to widen access to the arts so that young people can develop their creativity and find their voice. That is important in its own right—creative exploration is a critical part of a rich education—but it also helps young people to find opportunities and helps to support our desire to power growth for the creative industries.

I learned to play a musical instrument at school. I played the flute, which, I have to say, conflicted with my talkative nature—that was probably the thinking when they gave it to me. I had the opportunity to play in the school orchestra, perform in school productions and sing in the choir. From those experiences, I know that music can be incredibly beneficial to academic achievement, too. It taps into parts of the brain that many subjects just do not reach. It builds confidence, presentation skills, teamwork and resilience, and it really feeds the soul, which is what keeps the mind expanding as well.

It starts with the curriculum. We want every child, regardless of their background, to have a rich, broad, inclusive and innovative curriculum, including in music. That is why one of our first actions in government was to launch the independent review of the curriculum and assessment system, chaired by Professor Becky Francis. The review is an important step in the Government’s mission to break down barriers to opportunity, with a new curriculum that will set up all our children to achieve and thrive at school. It is considering all subjects, including music, and seeks to deliver a curriculum that readies young people for life and for work, including in creative subjects and skills.

The review is being informed by evidence and data and is being conducted in close consultation with education professionals and other experts, parents, children and young people—as the hon. Member for Harborough, Oadby and Wigston referred to—and other stakeholders, including employers, universities and trade unions. We have had over 7,000 responses to the public call for evidence, and a range of research and polling. The final report, with recommendations, will be published this autumn, along with the Government’s response.

We will consider all the associated implications for accountability measures, such as EBacc and Progress 8, alongside the changes. We are legislating too, so that, following the review and the implementation of reforms, academies will be required to teach the reformed national curriculum alongside maintained schools. That will ensure that music education is reinstated as an entitlement for every child in a state-funded school. It will give parents certainty over their children’s education while giving both academies and maintained schools the freedom to adapt their curriculum to meet the needs of their pupils.

We recognise, however, that curriculum reforms alone will not be enough to give all children access to a high-quality arts education, including in music. We know that we need to support our schools and teachers, which is why we have announced our intention to launch a national centre for arts and music education, which a number of Members asked about. The new centre will help us meet our ambition for an improved and more equitable arts education. It will support schools in the teaching of music as well as art and design, drama and dance. Music will be an important aspect of the centre’s work, as it will also be the national delivery partner for the music hubs network. The 43 hub partnerships are central to supporting schools.

I recognise some of the challenges outlined by my hon. Friend the Member for Southgate and Wood Green, who wants to see less bureaucracy and a more streamlined service. The aims of the national centre will be to support excellent teaching, develop sustainable partnerships and promote arts education. The research is clear that high-quality teaching is the in-school factor with the greatest positive impact on a child’s outcomes, particularly for disadvantaged children.

Sustainable partnerships between schools themselves, within and between academy trusts, and with cultural organisations with knowledge of arts education are so important in supporting teachers and addressing equity in arts education. The promotion of arts education in and of itself is needed to tackle the persistent inequity of access in and beyond schools.

As this work develops, we will very much take on board some of the concerns about how the current system is working. The intention is to launch the new centre by September 2026, and to appoint a new delivery partner for the centre through an open, competitive procurement. We have been engaging with sector stake- holders, including the music hubs network, to refine the details of the centre, and the invitation to tender will be issued later this year.

I can assure my hon. Friend the Member for Newcastle-under-Lyme that the funding for the national centre will be separate from the grant funding for the music hubs. Funding for the centre and the hubs from September 2026 will be confirmed in due course.

Music hubs play a vital role across England in supporting children and young people to access music education and providing opportunities for them to progress. The 43 music hub partnerships across England offer a range of services, including musical instrument tuition, instrument loaning, whole-class ensemble teaching and CPD for teachers.

[John Slinger]

I have heard a rumour that a local authority found in one of its municipal buildings a vast store of unused but usable musical instruments. Will my hon. Friend ask her colleagues in the Ministry of Housing, Communities and Local Government if they might gently ask other local authorities to do a little audit to see whether they have similar stores? If they do, the instruments could be distributed to primary schools, in particular, where they are very much needed.

[Catherine McKinnell]

That sounds like a very sensible suggestion, and my hon. Friend now has it on the record. We will make sure that it is raised in the appropriate way.

We continue to support the crucial music hubs programme, for which grant funding of £76 million has recently been secured for the full academic year 2025-26, up until the end of August 2026, following the outcome of the spending review. We will confirm longer-term funding as part of the spending review process, which is ongoing. To widen access to musical instruments, which my hon. Friend the Member for Rugby rightly raised, from the current academic year the Government are investing £25 million in capital funding for musical instruments, equipment and technology. Those instruments and technology must be put to good use, so we will take his concern on board.

For some pupils, in particular those facing disadvantage and with additional needs, the barriers to accessing music education can be particularly high. That is why we are also investing in a new programme to pilot targeted support for children from disadvantaged backgrounds or with special educational needs and disabilities. The Government’s music opportunities pilot offers pupils across primary and secondary schools the opportunity to learn to play an instrument of their choice or to sing to a high standard by providing free lessons and supporting young people to progress, including by taking music exams. The Government are investing £2 million to support the pilot over a four-year period up to 2027-28. It is backed by a further £3.85 million from the Arts Council and Youth Music. The pilot is delivered by Young Sounds UK in 12 areas of the country as an expansion of its successful Young Sounds Connect programme.

I saw for myself the impact of the pilot on a visit to Mountfield primary school in Washington, where I had a lovely time chatting to the children about the difference that accessing music education had made to them. Indeed, for some of them it was why they came to school. The impact was evident. We will use the pilot’s findings to inform future policy on widening music opportunities, but it is a really rich start.