Music Education

13:30:00

I beg to move, That this House has considered the future of music education. It is a pleasure to serve under your chairship, Ms Vaz. I declare an interest as the co-chair of the all-party parliamentary group on music education. Music has the power to move us and stir our soul. We marvel at a captivating song or composition when we hear it for the first time, and we are transported back in time when we hear a long-forgotten evocative melody. A world without music would be empty and barren: that is why we need to value music and do everything we can to protect its long-term future. Key to that is music education. It brings many benefits to students, aside from the ability to play an instrument or make music: building confidence, improving learning skills, fostering teamwork, increasing concentration, strengthening discipline, inspiring creativity and equipping individuals with the transferable skills necessary to succeed in life. But there is a crisis in music education in our schools, and if we are to reverse it we need to start with the basics. The number of students who receive music tuition in schools is falling rapidly, and schools are no longer encouraging students to pursue a music GCSE. There is a worrying decline in the recruitment and retention of music teachers. Music hubs are being financially stretched, and music education funding remains at a standstill. Music education should be accessible for everyone, but at present it is becoming inaccessible to those who cannot afford to take private lessons or take part in extracurricular music activities. It is no accident that the finalists in this year’s BBC young musician contest were all privately educated. Many older musicians tell me that they became musicians because of the encouragement and inspiration that they received from music teachers when they were young, and the pathways that were open to them to progress and pursue their talent. We are struggling to meet recruitment targets for music teachers, however, and many teachers are leaving the profession altogether. The Department for Education has missed its recruitment targets for music teachers in 11 of the past 12 years. In 2011 there were 8,000 music teachers, but in 2023 the number was 7,184—a decrease of nearly 1,000. The situation is even worse for peripatetic music teachers, who are on low pay and precarious contracts. We have also struggled to meet the recruitment target for postgraduate initial teacher training in music: we have met it only once since 2015. Last year, just 27% of the target was met. Additionally, the financial incentives to train as a music teacher are severely lacking. While trainee geography teachers receive a bursary of £25,000, trainee music teachers are entitled to a bursary of just £10,000. The retention of teachers is also an issue. Key stage 5 music has experienced a workforce decline of 35% in the past 13 years, while taught hours have fallen by 40%, indicating that qualifications such as A-level music are not being offered in school as key stage 5 options for young people. That is why Ofsted’s 2023 music subject report says that some schools have dropped music altogether because they cannot recruit specialist teachers. In other schools, music is now taught by a non-specialist, which is a very worrying trend. One suggestion to improve the recruitment and retention of music teachers is to implement strategies to bridge the gap between trainee music teachers and early career teachers, given the significant recruitment shortfalls over the past 12 years. On recruitment, the Government should commit to increasing the size of the initial teacher training bursary so that it is in line with other subjects. Currently, the initial teacher training bursaries for trainee music teachers are nearly a third of what is offered to trainee chemistry, maths or computing teachers. Being a music teacher should once again be an attractive career option for music graduates. I have been working closely with the Ed Sheeran Foundation over the past few months. One of its key asks is that we urgently train 1,000 specialist music teachers to close the recruitment gap and make sure that students across the country can access music tuition. We need to make sure that there is at least one specialist music teacher in every school by the end of this Parliament. Access to continuing professional development for music teachers in state schools is a serious challenge and is crucial to the quality of music education offered, yet recruitment is struggling badly. In 2024-25, only 331 of the 820 training places for secondary music teachers were filled, leaving a massive 60% shortfall. There are nearly 600 fewer music teachers than there were a decade ago. Investing in focused, reflective CPD is a vital step to bridging that gap and improving music education for all students. With recruitment falling, and with an exodus of specialist music teachers, there is a severe inequality between state and independent schools in children’s access to music education. According to UK Music, 50% of children in independent schools receive substantial music tuition, compared with just 15% in state schools. The Education Policy Institute found that disadvantaged pupils are 39% less likely than non-disadvantaged pupils to take music at GCSE. Funding for music education in English state schools is severely lagging behind the independent sector. The Independent Society of Musicians report on music education found that the mean yearly budget in maintained schools’ music departments was just £1,865; in independent schools it was nearly £10,000. It is clear that music in state schools, where the majority of children are educated, is facing significant difficulties with access and inclusion. That is made worse by the fact that there is no accountability mechanism for schools to teach music. The mechanism for calculating school league tables, Progress 8, heavily incentivises schools to prioritise English baccalaureate subjects at GCSE, which exclude arts subjects entirely. This is creating a two-tier system within schools, with subjects like music deprioritised in the curriculum. The evidence supports this: GCSE music entries have fallen by 30% and A-level music entries have fallen by 43% since the EBacc was introduced in 2010. Music hubs are another key area in need of reform. They support music teaching in schools, typically through instrumental lessons and whole-class instrument tuition, but they also do incredible work outside the school curriculum. I have had the pleasure of seeing that work at first hand at the Haringey music service’s “Mini Massive” concert, at which year 4 children from schools across Haringey come together and perform at Alexandra Palace every year at the end of 30 weeks of whole-class instrumental lessons. However, since the publication of the second national plan for music education in 2022, music hubs have faced significant funding challenges. The plan promised to maintain funding levels until August 2025, yet no additional resources were allocated to cover rising costs, including teacher pension contributions, despite a clear Government commitment in 2019 to supporting them. There are many good things in the national plan for music, but it is in urgent need of an update. A clear steer is needed from the new Government. Arts Council England’s guidance made it clear that there would be no additional ringfenced funding for pensions, effectively slashing over £1 million in crucial support. On top of that, the rushed consultation process for the plan led to a reduction from 80 hubs to just 43, increasing administrative burdens without evidence that access to music education would improve. The delayed announcement of successful funding bids, which came only in April 2024, left hubs with a mere four months to implement major changes, further straining limited resources. The ongoing uncertainty and underfunding risk undermining the vital role that music hubs play in enabling access to music education across the country. I am sure we all agree that the current situation cannot be allowed to continue, so what needs to be done? Funding levels for music education have been roughly the same for the last decade, which represents a significant real-terms cut. The Government’s plans to increase spending for state schools are welcome, but they must make it clear how much additional funding will be allocated to music. Music hubs need urgent reform and better funding, because without sustainable support they simply cannot provide equitable access to music education for all children, especially those from disadvantaged backgrounds. Many hubs that cover more than one local authority area complain about the duplication of paperwork, which is adding to the pressures of ensuring that quality music services are delivered at a local level. The lack of central co-ordination means that any data collected by the hubs is not properly collated. Additionally, music hubs need the certainty of long-term funding. I know that the Government are looking to give local authorities financial settlements that go beyond a year; perhaps the same can be applied to hubs. To truly reform music hubs, we need improved, detailed and long-term data collection that reflects the diverse musical experiences of young people and local contexts, enabling strategic, targeted funding to support meaningful, high-quality music education across all regions. The announcement of a new national centre for arts and music education presents a good opportunity to make a positive contribution to the development of music education across the state sector, particularly in secondary schools. However, the uncertainty about what it is, what funding will be made available and who will run it is undermining its credibility. The Government are undertaking public engagement on the national centre, but greater clarity would be welcome. Most people involved in music education cite the EBacc and the Progress 8 measure as a barrier to music education and in urgent need of reform. Since the introduction of those accountability measures, schools have been under significant pressure to prioritise other subjects, and music education has been left behind. Research shows a decline in the uptake and provision of music education in schools since the EBacc was introduced, with disadvantaged students most affected. Many in the sector suggest that, as a minimum, a creative or vocational qualification should be introduced in Progress 8, as was previously pledged in the “Creating growth” plan in the Government’s manifesto. I was recently visiting friends in France and was surprised to discover that philosophy is a compulsory subject there until the age of 18, as part of the baccalaureate. If it can be done in France for philosophy, we should be able to do it in the UK for music and creative subjects. The curriculum assessment review is due to report later this year, and although it is narrowly focused, it is vital that it address the issue. I am sure that Professor Becky Francis and her team are doing great work, but I hope that as a result of the curriculum review, creative subjects will be given greater prominence in the school curriculum. By reforming the accountability system, the Government can ensure that music thrives in state schools and gives high-quality music education to pupils from the most deprived backgrounds. Many amazing things are happening in music education. Last week, I saw work that the London Sinfonietta had done in getting local schools in Enfield to create their own musical composition, which was then performed by the London Sinfonietta’s excellent musicians—many thanks to the Enfield music service for co-ordinating that performance. I know that the Minister is a big music fan, as she and I recently attended the wonderful BrightSparks key stage 1 lunchtime concert performed by the London Philharmonic Orchestra in front of a packed house of children at the Royal Festival Hall. It was a wonderful concert, as I am sure the Minister will agree. The English National Opera and many other fantastic music organisations also do incredible outreach work with schools, but if we do not get more direction and leadership from the Government, I fear that the ball will be dropped and we will not get the change that we want. I have some questions for the Minister. First, what steps are the Government taking, including on terms and conditions for peripatetic teachers, to attract and retain more music teachers? Will more support be provided for music hubs, along with the review of their work, including the impact of the bureaucracy that they face? Can the Minister tell us whether the now outdated national plan for music—it was last updated in 2022—will be refreshed under the new Government? If so, when? Can she also tell us more about progress on the national centre for arts and music education and when it is likely to be up and running? Can she tell us of any plans to review the English baccalaureate and Progress 8? Can she tell us when the curriculum assessment review is likely to report back with its final findings? Finally, will she meet me and representatives from music education to discuss the progress of music education? For many people, the music that they are taught in school is their only exposure to the discipline, yet the availability and quality of music education has suffered greatly in the past decade and a half. We need to fix that and ensure that music education thrives under this Labour Government and has a bright long-term future, enriching all our lives.

13:45:00

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.

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

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

13:57:00

It is a pleasure to serve under your chairmanship, Ms Vaz. I warmly thank my friend the hon. Member for Southgate and Wood Green (Bambos Charalambous) for securing this debate and speaking so passionately on an issue that matters deeply to so many of us. I serve with him on the music education APPG, which I declare as an interest. I want to speak not just in a political capacity, but from personal experience. For me, this issue is deeply rooted in my own story. I grew up in a single-parent household and attended my local state comprehensive school. My journey into music began in a somewhat unlikely way. My clarinet teacher, the wonderful David Leverton, rummaged through a school cupboard and unearthed an old plastic bassoon. David said I was good at music and had big hands and suggested that I started playing it. That was a genius move because bassoonists, as many here may know, are often in high demand. As a result, I was able to join ensembles and experienced opportunities that might not have been available to me as just another clarinettist. The real turning point, and what changed my life, was joining my local youth orchestra. That was possible only because of a music scholarship from Hampshire county council, which supported me to pay to take the train from Eastleigh to Parkstone each week and to cover the cost of the lessons with the incredible Eric Butt, the former principal bassoonist of the Bournemouth Symphony Orchestra, to whom I also pay tribute. At a difficult time in my school life, music offered me more than just education; it gave me new friends, a place to belong and unforgettable experiences. It taught me discipline, teamwork and performance skills. None of that would have been possible without that council scholarship. Today, swathes of young people are being locked out of those kinds of opportunities. We are seeing the steady erosion of music education, with fewer scholarships, less local support and growing inequality in access. Many of us came into politics to lower the rope ladder for those behind us; but right now, it feels as though successive Governments, through policy choices and a broad indifference to the arts, are pulling that ladder up. The facts are stark. As the hon. Member for Southgate and Wood Green said, the Department for Education missed its recruitment target for music teachers in 11 of the last 12 years, and in the most recent initial teacher training census for 2024-25, just 49% of the target for music trainees was met. That is not just a statistic; it is a flashing warning light. According to a 2021 report from the Creative Industries Policy and Evidence Centre, around 60% of people working in music, performing and the visual arts come from privileged backgrounds. As has been mentioned, we now see a vicious cycle. With less music education in schools, fewer young people are choosing to pursue it professionally, further deepening that divide. At the heart of our communities, music hubs remain vital engines of creativity, inclusion and opportunity. They give children the chance to pick up an instrument, find their voice, and discover joy, resilience and confidence through music. They spark lifelong passions and, in many cases, careers. But despite their enormous impact, many music hubs are hanging by a thread. National funding for music hubs has been frozen in cash terms since 2015-16. In real terms, that has meant a significant cut, especially in the face of rising cost and inflation. That is compounded by deep uncertainty about future funding, new responsibilities under the national plan for music education, and a recent structural overhaul that imposed additional and often unbudgeted, costs. I have spoken to representatives of one south-west hub where the situation is particularly alarming. It has received a 100% cut in local authority support, as of March this year, which has left it facing a massive financial shortfall. As a result, that hub has had to cancel a major children’s concert at a professional venue, creative projects with local artists have been scaled back, grants to vital community ensembles have been reduced, and schools—of which, locally, 100% subscribe to the hub—face a 20% price increase, while special projects and emergency support have been shelved altogether. If that trend continues into 2026-27, the consequences for that hub will be even more severe: staff redundancies, the dismantling of a highly successful model, and a dramatic reduction in services for schools and young people. That is not an isolated case. Music hub leads across the country are sounding the alarm. They are doing everything they can, but are stretched to the limit. Without urgent investment, the entire ecosystem is at risk of collapse. If we are serious about nurturing the next generation of talent, and truly believe that every child should have access to the transformative power of music, we must act. That is why I and the Lib Dems are calling for three things: first, proper funding for music education through an arts pupil premium so that access to music is not determined by postcode or privilege, but by potential and passion; secondly, a significant expansion in the number of teacher training places for specialist music educators, so that we can rebuild the pipeline of talent needed to inspire the next generation; and thirdly, we have to reverse the real-terms cuts to arts education and music hubs. If we cannot sort the structural issues with music education, I worry that no number of new national centres for arts education will stop the steady decline in young people from all backgrounds being able to take part in a full music education.

14:02:00

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”—

It is on SoundCloud, actually.

SoundCloud—there you are. The point is made: he is cooler than I am. I am grateful to my hon. Friend the Member for Southgate and Wood Green for securing this important debate, and I refer hon. Members to my entry in the Register of Members’ Financial Interests. This is an important subject, and how lucky we are that my hon. Friend the Member for Rugby did not sing in his speech. Music is very important to us in Newcastle-under-Lyme, from music venues such as the Rigger, in town, to the Brown Jug on Bridge Street, where my late uncle Colin and his Climax Blues Band used to perform on a Friday night in many years gone by, not to mention the karaoke sessions in a number of pubs right across the constituency. Recently, I had the good fortune to attend the 50th anniversary concert of the Keele Bach Choir, which was brilliant. I pay tribute to all those involved, including people who joined the choir when it started 50 years ago and are still singing today. I give a particular shout-out to Glynis Brewer, the constituent who extended the invitation to me. I was raised on my parents’ Motown collection, and who does not enjoy an Irish traditional music session on a Sunday night? Music is a tonic and a skill; it can be a refuge, and it brings people together. That is why music education is so important. One of the best decisions of the Labour Government that was in power when I was growing up was the introduction of free music lessons in schools. The only thing I regret is my choice of instrument. Like my hon. Friend the Member for Rugby, I chose the violin but I wish I had gone with the saxophone, which would have been much cooler. I used to watch “The Simpsons” every day after school, and the saxophone from Lisa just rubbed that in. I have been advised that there is nothing stopping me picking it up now, but since coming to this House there has been a bit more on the agenda. I remember Mary Jones, my music teacher at primary school, very well. If she is watching the debate today, I remain grateful for the tolerance that she showed me week in, week out. Since my election to this place, I have seen the power that music has in our schools. On a recent visit to St Mary’s primary school in Newcastle-under-Lyme, I met Caroline Walton, who has been teaching music there for almost two decades. I pay tribute to Caroline and her colleagues for the work they do to ensure that young people in our community are able to benefit from the power that music brings. I also pay tribute to the Newcastle-under-Lyme Community Orchestra, led by Tom Barlow-Coxon. It is a community project based in our patch that aims to create a friendly atmosphere for local musicians to make music. We want people to join that orchestra, so we need music education in our schools for them to be able to do so. I want to speak briefly about a couple of specific points. First, the scope of the independent curriculum review is very narrow, focusing just on the content of the national curriculum and methods of assessment for qualifications. The important issues—time spent on arts subjects, accountability measures such as the EBacc, teacher numbers, teacher training, funding and resourcing —are outside the scope of the review, and that is a matter of some regret. The review will report later this year and it will then be in the hands of politicians in this place. What will the Government do to ensure that all the structural issues undermining arts education in our schools, not just the ones within the scope of the review, are properly and adequately addressed? I hope that the Minister will be able to address that specifically. If not, perhaps she can find time to meet me to talk about it on a separate occasion. Like Members across the House, I welcome the news of the national centre and the fact that hubs will be part of it. We have heard colleagues mention hubs, which I think speaks to this point. I hope that the Minister can confirm the funding that will be available for the national centre, and that it will not be the same amount previously provided to hubs but now with the expectation that all arts subjects will be covered from the same pot. I am conscious that the Minister’s response will be that it is not for her to write Budgets—our hon. Friend is not the Chancellor—but I would be grateful if she could get as close as she can to confirming that an inflation-based funding increase will be provided to hubs, separate from the new settlement that will be needed to cover other arts subjects. Will the Government follow other nations in the United Kingdom and commission a review into the pay and conditions for visiting music teachers? Those teachers, who come to the classroom from different professional backgrounds to provide different teaching, are vital to the Government’s plans for music education. Yet many of those teachers are on low pay and precarious contracts, and there is no oversight or policy governing how they are paid. A review is at the very least a first step, so I hope the Minister will consider that. One of the most important parts of education is the ability to share, discover and unpick. With that in mind, there remains a glaring omission from our reset with our friends and neighbours on the European continent, and that is action on visas. A visa waiver for touring artists could lower costs for UK artists and increase the amount of time that they are able to work in the European Union, allowing for more last-minute bookings and European collaboration opportunities. A visa waiver agreement for touring artists would enhance the competitiveness of the creative industries in our country and strengthen our ties with the EU as a whole. I hope that the Minister will take that point back to the Paymaster General and Minister for the Cabinet Office so that we get the issue firmly on the agenda. This is an important debate. I accept that I have given the Minister several quite detailed questions, but I am happy for her to follow up in writing or to meet me in person. I am grateful to my hon. Friend the Member for Southgate and Wood Green for bringing the debate to the House.

14:08:00

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.”

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.

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.[Official Report, 10 July 2025; Vol. 770, c. 10WC.] (Correction) 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.

14:20:00

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.

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.

The hon. Gentleman has taken the opportunity to put on the record an important point of clarification. I understand that the Leader of the House is looking at modernising the terms that we use in this place—the word “Bill” will be scrapped, perhaps—so the next time we come to this Chamber, it may no longer be a Westminster Hall debate, but a sound system clash or some equivalent that has been modernised. To create a sense of balance, I will say various things about what the last Government did on music education. I will not say that everything in the world was brilliant—obviously it was not—but, for the sake of balance, let us hear some of the things we did. We introduced the music education hubs, which hon. Members have mentioned. They did a mix of providing musical education directly and helping schools. There are, I think, 43 in England today, and we put in £79 million over the past three years towards that programme and another £25 million for the direct capital funding of musical instruments for kids. We brought in the first ever national plan for music education, a key goal of which was to give every child the chance to learn a musical instrument. By 2018, a record number of children were learning instruments. That plan also set out goals to have high-quality music education and more partnerships between schools and others, and to try to reverse the decline in the amount of time spent on music in schools, which I will come back to in a moment. I will not make lots of political points today, but I note that the current Government have pulled the funding for the national youth music organisations. I think it was in February that the national youth music organisations announced that the Government would not be renewing their contribution of £0.5 million towards their work. That is one thing that perhaps takes us in the wrong direction. A question I want to ask the Minister early on in my remarks is about something where there is quite a lot of uncertainty for parents. The Government announced that they would top up the music and dance scheme bursaries for musically gifted young people, so that the effect of the VAT increase on independent schools was counteracted, and they said that that would mean that things would remain unchanged for the rest of the 2024-25 academic year. I want to ask the Minister what will happen for future academic years, which are of course now looming. We have only two weeks left of school, certainly in Leicestershire; it may be three in the rest of the country. The next academic year is looming, and I am keen to understand from the Minister whether that decision will stand for all future academic years and in particular for the one coming up. We have talked a bit about the various changes and trends in music education. It has not been one thing over the last 14 years; there have been different phases. There definitely was a squeeze on music in the coalition period, in the years from 2010 to 2015, but there has been a recovery since, which has not necessarily come out in the debate so far. If we look at the number of hours of music taught across all years, we see that that has gone up from about 80,000 hours a year in 2017-18 to about 86,000 now, so the total amount of music education has been going up since that low point in 2017. This is all aligned with some of the things that were happening to funding over that period. Very difficult decisions on funding were being made in the light of inheriting, in 2010, the largest structural deficit in our entire peacetime history. That was not something we wanted to inherit, but over time we moved towards more generous settlements for schools. In the last Parliament, for example, there was an 11% real-terms funding increase per pupil, and that benefited lots of different things, including music. We have talked about the loss of music teachers, but the number of music teachers has followed a similar, U-shaped trajectory. We have 1,000 more music teachers than we did in 2017-18. The number went from about 6,500 up to 7,500 by 2024. It is worth bringing out some of the nuances in this debate. Also, in a lot of debates about this subject—I have read previous debates on it—we hear people talking about GCSE entries, but as the Government’s own curriculum and assessment review points out, we have to also look at the other qualifications. Although GCSEs have gone down, technical music qualifications that are not GCSE qualifications have been going up, so it is worth having the full and rounded picture. Speaking of full and rounded pictures, the hon. Member for St Neots and Mid Cambridgeshire also talked about the nature of education debates and the way we often have different priorities being advanced. As someone who has followed education for a long time, I am very conscious that there are constant calls for x to be put on the national curriculum or for schools to do more y. Of course, our poor old teachers, our hard-working teachers, have only so many hours in their day. They are already working hard and there are inevitable trade-offs. The hon. Member for St Neots and Mid Cambridgeshire said—I agreed with 90% of his speech—that these things are not in tension with one another. To some extent, they are. There are only a certain number of hours in the school day or in a child’s day, and we do need to make choices. I do not always say this, but one very sensible thing that the Government did was to commission some polling, as part of the curriculum review, about what parents and young people themselves want to see more of in school. The results are really interesting. The survey was of kids who did their GCSEs last year and their parents, and they were asked, “What would you like to have spent more time on in school?” In response, 35% say employment and interview skills, 27% say academic subjects, like maths, history and science, 26% say digital skills and computing, 26% say creative thinking and problem solving, 22% say sports, 22% say communication, like debating and public speaking, 19% say technical subjects, 18% say volunteering and outdoor pursuits and 15% say cultural activities like music, drama and media. I mention that not to say that music is not important—obviously it is; the whole point of this debate is that it is hugely important—but merely to sympathise slightly with Ministers for once, because a lot of different people want more of different things in the school day and there are tensions and choices for them. In that same poll, only about 1% of parents said that their kids were not doing arts subjects because they were not available at their school. There was more of an issue with technical and vocational subjects. One of the things that I am proud of about our time in government is that we prioritised gateway subjects, which has had positive effects. For example, having fallen from 83% to a low of 70% between 2006 and 2011, the share of pupils who take double or triple science has now increased to 98%, and the share of children doing triple science increased from 6%, to 27% in 2019. There was a real turnaround in science, and the same is true in other areas. One of the reasons that English schoolchildren have become the highest achieving in the western world in reading and maths, in studies such as the trends in international mathematics and science study and the programme for international student assessment, while Scotland and Wales have gone backwards, is that we have focused on the important core academic disciplines. None of that is an argument against music or doing more in music; it is simply that there are choices for us. If people say that they want more of the school day devoted to something, they should be clear about what they do not want. I am a bit sceptical about messing around too much with long-running accountability and progress measures such as Attainment 8 and Progress 8. Of course, a student’s results in GCSE music can already be put into those measures if it is one of their eight best subjects. There is discretion: three of the eight have to be from the broad range of subjects in the EBacc, but three do not, so there is already huge school choice in the measure. I am very sceptical about using it as the way to solve our problems. I will end by introducing a thought that has not been much discussed in previous debates on music education. I will not relitigate the debates we have had with the Government about phones in schools, and I do not think that this is something we will disagree on, but we need to think about the way that young people are spending their time, including out of school. I am alarmed by the changes in the way that young people are spending their time: the increase in the amount of time they are spending alone and on social media and the incredible number of kids who, when you ask them, “What are you doing this evening?”, say, “I’ll be scrolling TikTok.” That is incredibly depressing, and we can see that it is having negative real-world consequences. It is leading to worse mental health among young people and worse real-world consequences in, for example, A&E admissions. It is eating up the time for other things that, when we are much older, we wish we had spent more time on. I wish that I had spent more time learning the guitar and less time faffing around on the ZX Spectrum, that time thief of the 1980s, but young people today have it much worse because of social media. They feel compelled to be on it because of social pressure and because it is designed by geniuses to be incredibly addictive, and it is eating up their time. One thing we may find a consensus on over time is the need to do something about that and to change the balance of young people’s lives and the amount of time they spend on social media, often on platforms that they are not supposed to be on but that happily welcome young people, who they can monetise—in violation of their own terms and conditions, by the way. I fear that I am veering away from the subject, but this is an important part of the conversation. Here is a very large part of the time of young people, who are at the time of their lives when they have the opportunity and the mental sponginess to learn something new—and could, unlike me, make a success of a career in rock and roll—yet it is being swallowed up by things that in future they will not think were a good use of their time. I again congratulate the hon. Member for Southgate and Wood Green on securing this very important debate, which I welcome. There is a lot more we can do. I hope that the Minister will cover the point about the special bursaries scheme.

14:34:00

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.

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.

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.

Will the Minister accept my invitation, from one Newcastle MP to another, to follow up on her visit to the school in Washington and come and see the formative impact that music has at St Mary’s school in Newcastle-under-Lyme? I am sure she would be very welcome.

As my hon. Friend will know, I am a big fan of Newcastles. It would be nice to come and see the other one, as I have never been; I would love to accept his invitation if there is an opportunity. High-quality teaching is the in-school factor that makes the biggest difference to a child’s outcomes. That is why, as part of the Government’s plan for change, we are committed to recruiting an additional 6,500 new expert teachers across secondary and special schools and our colleges, where they are needed the most, over this Parliament. To support that, we are offering a teacher training incentives package for the 2025-26 recruitment cycle worth £233 million—a £37 million increase on the last cycle. It includes a £10,000 tax-free bursary for music. We are seeing positive signs. The 2024-25 initial teacher training census reported that 331 trainees had begun courses in music, up from 216 in 2023-24. We have also agreed a 5.5% pay award for teachers for 2024-25, and a 4% pay award in 2025-26, meaning that teachers and leaders will see an increase in pay of almost 10% over two years. We have expanded our school teacher recruitment campaign and we are allowing planning, preparation and assessment time to be undertaken at home to give more flexibility to the profession. We are also working hard to address teacher workload and wellbeing, and to support schools to introduce flexible working practices. We have the “Improve workload and wellbeing for school staff” service, developed alongside school leaders, with a workload reduction toolkit to support schools to identify opportunities to cut excessive workload. I spoke on teacher recruitment at the Schools and Academies Show just over a year ago, prior to the general election, when I was the shadow Minister. After I finished speaking about our vision of unlocking opportunity for children to access art, music, sport and enrichment at school, I said hello to a gentleman who had been patiently waiting to speak to me. He introduced himself; I asked him what he did, and he said, “I’m a music teacher. To be honest, I had taken the decision to give up and do something else, but after listening to you today, I think I’m going to hang on.” I thought he should definitely hang on—we need more people like him—and that we had injected a sense of hope that this Government would care about music and enrichment. Now that we are in government, I hope that he is still teaching, along with many others, and that he knows that we are determined to deliver our vision to unlock access to music for all children. I hope our brilliant teachers feel supported to have a rewarding and fruitful career inspiring the next generation of musicians. We know that enrichment opportunities like music and the arts help young people to gain skills and strengthen their sense of school belonging, supporting them to thrive. That is why we are supporting schools to plan a high-quality enrichment offer, with a new enrichment framework developed in collaboration with a working group of experts, including from school, youth, sports and arts organisations. The Department is working closely with the Department for Culture, Media and Sport, and we are committed to publishing the framework by the end of 2025. It will identify what a high-quality enrichment offer will look like, reflecting the great practice that already exists in schools and providing advice on how to plan a high-quality enrichment offer more strategically and intentionally, including how to make use of specific programmes to increase access to sport and the arts. In addition, under the first ever dormant assets scheme strategy, which was announced last month, £132.5 million will be allocated to projects to increase disadvantaged young people’s access to enrichment opportunities, including in music, to boost wellbeing and employability. The fund will be delivered by the National Lottery Community Fund, with which the Government are working to design the specific programmes that will be delivered. We recognise the importance of specialist training in supporting young people to pursue the most advanced levels of music education. That is why we continue to provide generous support to help students to access specialist music and dance education and training: we are committing £36 million for the academic year 2025-26. As several hon. Members have mentioned, this important scheme provides means-tested bursaries and grants to enable high-achieving children and young people in music and dance to benefit from truly world-class specialist training, regardless of their personal and financial circumstances. The scheme supports students to attend eight independent schools and 20 centres for advanced training that provide places at weekends and evenings and in the school holidays. The bursaries support more than 2,000 pupils per year, with about 900 pupils attending one of the schools. The Government continue to provide such generous support because we recognise how important it is. All families earning below the average relevant income of £45,000 a year and making parental contributions to fees will continue to benefit from the additional financial support in the next financial year, so they will not be affected by any VAT changes introduced in January 2025. Any future funding will be determined as part of the post-spending review process.

The Minister talks about the next financial year. Can she be clear about which school years are covered? People going into the start of the school year in September 2026 will be covered, but the Government have not made a commitment for those starting in September 2027—I just want to check that that is correct.

My understanding is that the current commitment is for this academic year, 2025-26, and we will confirm funding for future years in due course. The Department also provides a grant of over £210,000 to the Choir Schools Association and its choir schools scholarship scheme, offering means-tested support to choristers attending member schools, including cathedral and collegiate choir schools in England, to help those with exceptional talent to access this specialist provision. As part of our plan for change, we are committed to ensuring that arts and culture thrive in every part of the country, with more opportunities for more people to engage, benefit from and work in arts and culture where they live. Between 2023 and 2026, Arts Council England will invest £444 million per year in England through its national portfolio to drive participation in cultural activities, including by children and young people. The Government have also announced more than £270 million in investment for our arts venues, museums, libraries and heritage sector. That sum is made up of multiple funds, including the £85 million creative foundations fund and the £20 million museum renewal fund, to invest in fit-for-purpose cultural infrastructure. The arts sector also benefits from generous tax reliefs. From 1 April 2025, theatres, orchestras and museums and galleries benefit from higher tax relief rates of 40% for non- touring productions and 45% for orchestral and touring productions. My hon. Friend the Member for Newcastle-under-Lyme asked about touring. That is the responsibility of the Department for Culture, Media and Sport, but colleagues in Government are clearly very engaged with counterparts and stakeholders to make sure that these issues are addressed, because clearly there is a huge interest in supporting both non-touring productions and touring productions, where they create cultural, creative and industrial exchanges on a global basis. As part of Labour’s “Creating growth” plan, the Department for Culture, Media and Sport is currently undertaking a review documenting current and past funding for the arts, culture and heritage sectors. It is important that all that public money be spent really well. Baroness Hodge of Barking is leading the independent review of Arts Council England, examining whether the regions have access to high-quality arts and culture across the country and whether everyone is able to participate in and consume culture and creativity regardless of their background or where they live. I know that she was in the north-east recently, as part of that work.

Order. Will the Minister wind up?

Yes, Ms Vaz. Growth is the number one mission of the Government, and our new industrial strategy is central to the growth mission. As a sector in which the UK excels today, and which will propel us forward to tomorrow, the creative industries have been announced as one of the eight growth-driving sectors. Ensuring that the UK can provide a workforce that has the right skills and capabilities is key to unlocking that growth, which is why we have prioritised it within Skills England. We also want to see all that opportunity unlocked within our education system. In closing, I hope that I have responded to the various questions that have been raised. [Interruption.] Sorry, I have a potential correction—well, I don’t think it is a correction, because I think it is what I said. We have committed the £36 million for the next academic year, 2025-26, in full, including support for lower-income families.

Order. We will not get a chance for Mr Charalambous to wind up if the Minister has not finished. Has she finished?

I hope that I have managed to respond to all the issues raised. Finally, I want to underline my and this Government’s commitment to ensuring that all children can access and engage with high-quality music education. I know that creative subjects, music and art are a vital part of a rich and broad school experience. That is what we are working towards. They must not be the preserve of the privileged few. I thank my hon. Friend the Member for Southgate and Wood Green again for the opportunity to discuss these issues today.

14:56:00

It has been a delight to take part in this debate. We have had cross-party unanimity about the need for better music education, and I am heartened to hear the Minister’s remarks. All the speakers today thanked their music teachers; we should all say a big thank you to all music teachers for the service that they provide, whether they are at school or peripatetic—many thanks to them all. I hope that the Minister will look at recruitment of teachers. If things are not working, we will need to put things in place. I was not quite sure about the national plan for music, but I will catch up—

My hon. Friend’s final question was a request to meet and discuss the matter. I am more than happy to do so.

Thank you. Bearing in mind that we have so many talented musicians both in this room and in the Cabinet—including the Chief Secretary to the Treasury, who is a saxophonist, and the Prime Minister, who is a flautist—the future is bright. We must make sure that we have these discussions and get the best future we can for music education. Question put and agreed to. Resolved, That this House has considered the future of music education.