Executive summary

Background and Scope of Review

In January 2014 the Paul Hamlyn Foundation commissioned Katherine Zeserson (Director of Learning and Participation at Sage Gateshead¹) to undertake a rapid review of schools based music education in the UK. The aim of the review was to inform the development of the Foundation’s strategic plans for the next decade.

The review was carried out between January and March 2014 to:

• identify key issues and challenges relating to schools-based music education
• identify, and analyse the effectiveness, of the key strategies, drivers and agencies currently influencing schools-based practice
• assess the value and significance of Musical Futures to schools and its impact on musical education in the UK
• identify and analyse potential opportunities for PHF to make a distinctive contribution to tackling the key issues identified and achieve further significant impact in the field of music education

Given the time-frame, the review has been confined to England, and to schools-based activities. That means it has not explored the vibrant and important world of children and young people’s music-making beyond the influence or connections of the school. Further study should be made of this aspect of the music eco-system as there is a great deal to be learned from how children access and develop through music-making in this wider context that would have positive impact on the quality and reach of schools-based activities. There is also much to explore and reveal about partnerships in music education and the ways in which arts and cultural organisations are developing valuable relationships with schools beyond short-term project culture; that deeper study of this aspect of the field was also outside the scope of this review.

Research team, methodology and evidence base

Katherine Zeserson led the Review, with Professor Graham Welch (Institute of Education) as advisor. Sarah Burn (Sage Gateshead) was research assistant, and Jo Saunders and Evangelos Himonides (IoE) produced the online survey and provided additional support.

A mixed methods approach was utilised to address the research aim and objectives rigorously, with a series of inter-related stages capturing primary and secondary qualitative and quantitative data. A process of methodological triangulation was applied to secure the credibility and validity of the results through the use of several data sources – individual interviews, focus groups, reflective analysis, questionnaires, and  existing literature.

The sources of evidence were:

• Desk research drawing on 90 primary literature sources then using 30 in-depth, with the list available in Appendix 1
• Detailed interviews with 35 individuals including representation from Music Hubs, teacher education, teaching musicians and consultants, Arts Council, Music Mark, Sound Sense,
• MEC, academic researchers, school senior leadership and music teachers/ practitioners (see Appendix VIII)
• Email correspondence with some of those colleagues plus additional practitioners
• Round table discussion with sector specialists
• Focus group at Musical Futures
• Champion Teachers conference
• Youth focus groups in London and Gateshead
• An online survey for the music education workforce with 515 respondents

The literature review was conducted before the interviews and online survey, and served to generate the five key topics providing the focus for questioning, which were:

• The place and status of music in schools
• Inclusion and diversity
• Retention and progression
• Teaching and leadership
• Partnership and delivery strategies

There was marked convergence between the headline consensus from interviewees and focus groups, the online survey results and the majority perspectives arising from the literature on the current situation in respect of these five areas. Opinions were nuanced, of course, and several specific themes arose in relation to curriculum and pedagogy which would warrant further detailed investigation to generate insights and guidance on strategies for improvement. These are noted at the end of the review.

All quotes are from interviews or emails unless otherwise stated, and have been anonymised. Many specific examples of good and innovative practice were gathered from schools, Music Hubs and community music practitioners in the course of the review and have informed the findings and conclusions. The team took a decision not to identify specific examples as for  reasons of space all could not have been included; however that detail can be shared with PHF if required in due course.

The literature underpinning the review has only been specifically referenced in the text where fact or assertions are directly attributable to a particular source. A detailed cross-reference matrix was generated as part of the review  process, which anchors the analysis and conclusions to the wider underpinning literature in detail – this is available on request.

Overall findings

1. The place and status of music in schools vary widely across the country.
2. The best music in schools is significantly more inclusive, more musically diverse, and better quality than it was a decade ago.
3. However the quality and reach of schools-based music education is still unacceptably variable and inconsistent – at both primary and secondary.
4. This stems from six interlinked issues :

• Low teacher confidence stemming from insufficient depth of ITE and lack of engagement with post-qualification CPD and professional networks
• Weaknesses in curriculum and pedagogy
• Lack of clarity about how to ensure retention and progression in music
• Insufficient support from Senior Leadership teams
• Insufficient local and national support structures
• Impact of recent education policy changes

Musical Futures findings

1. 30% of secondary teachers surveyed as part of this review reported that Musical Futures has had a significant, positive impact on music learning in their schools.
2. There is strong evidence that MF contributes to enhanced professional satisfaction and teaching confidence in those who use it regularly.
3. The MF strategy for engaging teachers in peer learning and professional networks has much to offer the wider sector as a model for development.
4. An independent Musical Futures would have an invaluable role to play in helping address the key issues that need to be resolved to advance music education.

Conclusions

1. The great opportunity now presenting itself is to thread together the new National Curriculum and the National Plan for Music Education (NPME), through an outcomes based approach taking account of all that should be available through the mixed provision advocated in the NPME.
2. All stakeholders in the music eco-system need to work together more effectively to improve the quality of provision and to disseminate best and next practice.
3. The sector itself must lead this drive to consistent quality and integration in order for it to be sustainable.
4. Current models for music teacher education and post-qualification CPD need to thoroughly reviewed and improved.
5. Governing Bodies and Senior Leadership Teams need to be inspired and supported to understand and demand high-quality music education – at the heart of school life.

Recommendations for the music education sector

1. Pan-sector lobbying and strategic development activity should be focused on achieving significant changes to music ITE strategies and provision and post-qualification CPD.
2. A consortium of Higher Education and other partners should seek research funding to establish a dynamic Research Observatory strategy to support improvement.
3. The NPME should be used across the sector to support and audit statutory National Curriculum provision as well as music beyond the classroom.
4. Funding for music education should be aligned to reflect this integrated approach.
5. Ofsted general inspections should look at more classroom music, and music inspections should use the NPME as the reference point for underpinning judgements about music.
6. Decision makers should listen more to young people.
7. The next round of Hub investment should include clearer requirements of prospective Hubs in respect of needs-based planning, partnership engagement, their offer to schools, local coordination and high quality standards.
8. A specific Music Education Leadership qualification should be developed for Hub leaders and senior staff, managed via the National College of School Leadership.
9. Music Hubs should work closely with Bridge Organisations to embed support for Artsmark and Arts Award into their planning and delivery.
10. Use of mobile and other digital technologies needs to be embedded in music classrooms across the country, building on the pioneering work being done at a local level.
11. A single annual professional development conference and year-round reflective network should be supported by all the separate membership bodies.
12. All stakeholders should support a time-limited Expert Commission to produce advice and guidance geared to improvement and innovation, aimed at schools, Music Hubs, cultural partners and independent providers.