APPG for Music Education

28 April 2025

​All-Party Parliamentary Group for Music Education, Briefing Minutes
Monday, 28 April 2025

Opening Proceedings

Parliamentarians present: Lord Aberdare, Jess Brown-Fuller MP, Bambos Charalambous MP, Earl of Clancarty, Baroness Keeley, Simon Opher MP, Anna Sabine MP

Apologies: Lord Black of Brentford 

The attending parliamentarians were joined by members of the music education sector. ​

Welcome: Bambos Charalambous, MP
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Bambos Charalambous welcomed everyone to the APPG meeting and explained that it had been a very busy time since the last meeting with lots of things happening. Firstly, the interim report on the curriculum and assessment review with the final report due in the Autumn. There has also been the announcement of the new National Centre for Arts and Music Education of which more details would be welcome on how it’s going to work and how it will be funded. 
              

Presentations

Deborah Annetts, CEO, Independent Society of Musicians 
Deborah explained how it’s quite hard at the moment to see the overarching plan in relation to access to arts within our school system. Before the General Election there were lots of statements from the Labour Party about the importance of creative subjects and that mood music was deeply welcome having been subjected to the EBacc and Progress 8. However, since the Labour government came to power, Deborah has been very concerned about some of the engagements with the DfE, such as the disbanding of the monitoring board for the National Plan for Music Education and then suspension of the refreshed Plan. Although it is no longer being promoted, music Hubs still have to deliver in accordance with the plan because their funding depends on it. 

Deborah outlined how the interim report of the curriculum and assessment review does make some vague noises around the EBacc and Progress 8 and she hopes the final report will be more definite. She then went on to explain that in addition to these developments there was an announcement for the National Centre for the Arts and Music Education which no one in the music sector knew anything about and for which there had been no consultation and that Hubs still have no idea about their funding beyond the end of this academic year – just five months away. 

Baroness Keeley 

Baroness Keeley explained how she had asked a question in the House of Lords about the National Centre the previous week, but did not have much more she could say about it. She explained that her question focussed on two issues which were access to adapted instruments and monitoring pupil progress and supporting pupil re-engagement. The answer that was given wasn’t very robust but that was most likely due to their not being much information about it. There were further questions asked by other Peers on the role of technology, where dance sits in the curriculum and where the Centre would be. It seems from the answer that it will not have a physical location but was described as an umbrella organisation.

Stuart Worden, Principal, The BRIT School 

Stuart talked about his introduction to the arts as a pupil through his drama teacher and how he believes that the arts start in schools. He explained that the last time he was in Parliament was with Peter Bazelgette, a film producer, and the actor Michael Sheen to campaign for the arts, arts access and arts education. Despite there being a lot of engagement, nothing happened afterwards, and he is keen that in any conversation about the arts and arts education that something happens. Things have actually got worse since then with less people are studying the arts, particularly music, but also textiles, drama and dance. He went on to mention COVID and the 'dreadful' government ballet advert which was one of the worst pieces of marketing for the arts that we’ve ever had to suffer.  

However, he felt there was some optimism recently, based on three things: the injection from the Department of Culture, Media and Sport (DCMS), the announcement of the National Centre for Arts and Music Education and the fact that culture was named in the top five growth potentials for the future of the country. This last point is particularly key for those young people studying the arts as it promises an exciting future for them. 

Stuart shared a brief outline of the Brit School, which is based in Croydon and is 33 years old. He has worked there for 30 years and stayed because it was a revolutionary idea of an arts education centre that was free. There’s a misconception that the record industry pays for the school, but they only fund 3% of the total budget. 80% of the budget comes from the government and the remaining 17% comes from sponsorship and funding that has to be sought from private investors. This is strange for a state school which has produced so many successful artists and money for the country. Some of the alumni include Rae, Layla Young, Leona Lewis, Amy Winehouse, Olivia Dean, Bashy, Jesse J, Adele and Loyle Carner, none of which could have afforded private music lessons. 

Stuart explained how important it is as arts educationalists to encourage young people to find their voice and talk about the world in which they live as this is when change happens. Change can only happen through the arts. We have to think about the ecosystem too and Stuart outlined how many of the Brit school’s alumni work in areas such as lighting design and technical crew with artists such as Lana del Ray, Beyonce and Kylie Minogue. 

Ninety-eight percent of young people leaving the Brit school go on to higher education or work. Seventy percent of them are in the creative industries 10 years after leaving the school. He sees this as a fantastic victory for the state education system. Stuart sees himself as a fundraiser who runs a school and he’s not sure that is quite right – it's important to back the arts. 

Going forward, Stuart thinks there needs to be mental health strategy because the arts help with this, well-being and self-esteem. He thinks the arts should be vocational and would be interested in a centre that supports young people’s understanding of non-performance roles in the arts. The arts also need engineers, publicists and accountants. Netflix asked if the Brit school could deliver a film accountancy course as that was identified as a skill shortage. There is also a shortage of set builders and productions are having to go to other parts of the world to find them as there aren’t enough trainees in the UK. There also needs to be a cultural shift and investment into the arts as money supports the growth of a young person.  

Questions/comments

Simon Opher: I was wondering what age you think they should start? 

SW: They start at 14 at the Brit School, but we’re very concerned about primary and secondary. Particularly secondary school education, years 7 to 9, because GCSE music, dance, drama and art are not considered serious subjects. Students aren’t taking it up or are taking it up outside of school, therefore you can only do it if you can afford it. So we will only get musicians, actors and dancers who have got money to pay for private lessons, that is the trend. So we have to sort out primary and years 7 to 9 – I don’t think it’s a supportive trunk. 

David Green, Principal, Shireland CBSO Academy 

David explained how the academy was set up in partnership between the Shireland Collegiate Academy Trust and the City of Birmingham Symphony Orchestra (CBSO). The academy is for all students who have a passion for music and serves Sandwell and the wider West Midlands. It is in a deprived area – the 12th most deprived authority out of 300 across the country. It is incredibly important that these students have the opportunities that Shirelands offer because music isn’t just fun, the arts are integral to education. The skill sets that children need to be able to do well such as the ability to be resilient, self-discipline, teamwork and empathy all come from the arts. There has been a lot of interest in the school because it is the first of its kind and the partnership with a professional orchestra is a huge opportunity for the students. 

There are 150 places in each year group (years 7 to 11) and a capacity for a Sixth Form of 60. The focus is on making sure that students receive an outstanding music and academic education. The curriculum is thematic which allows pupils to connect their learning and has been delivered for over 15 years across the entire Trust. The partnership with the CBSO has allowed them to further tailor the curriculum with a clear focus on music. Every child will study music GCSE or equivalent and in the longer term are also looking to establish A level as well. In Sandwell, where the school is based, in 2022/23 only one child took A level music. David said it would be fantastic if there were 60 doing that each year.  

David explained that one of the key differences between Shirelands CBSO and other schools is that every child has a free instrumental or vocal lesson each week which is funded by the generosity of CBSO donors. There has to be a more sustainable model for this. They also make sure that every child participates in at least one ensemble each week. There are many skills that music engenders and it's really important that all students are given these opportunities but particularly those who wouldn’t otherwise have that level of opportunity. 
The CBSO bring a huge amount and David thinks any other arts sector could look at what they’re doing at Shirelands, take it and build on it. For example, they help with understanding the level, depth and variety of career that’s available in the sector and the school has fantastic opportunities where they can bring the CBSO staff in from all of their different roles to talk to the students about them. 

Alongside the CBSO, the school also works in partnership with the Black Country Music Hub, Sandwell’s music service SIPS (who provide the instrumental and vocal teaching) and the Headstock Group which has provided a lot of opportunities for the pupils. David said it was important to recognise that the successes they’ve had to date are thanks to these partnerships.  

David suggested some key questions following the interim report of the Curriculum and Assessment Review. Firstly, how can attainment and progress measures be developed to support increased participation in music and the arts? Secondly, should schools be mandated to provide strengthened arts provision, for example by creating entitlements around curriculum and time spent in those subject areas? And thirdly, how can the arts workforce be developed to ensure that any increased provision is strong and effective? 

David closes by sharing some points on the clarity required on the National Centre for Arts and Music Education and particularly its role in overseeing music Hubs: A desire that the NCAME is developed in such a way that it trusts, empowers and supports Hubs to deliver on the aims of the Music Hub programme at a local level and a focus on providing what schools really need such as supporting teacher knowledge, skills and confidence in primary schools. 

Questions/comments  

Bambos Charalambous: Did the school approach the CBSO for a partnership? 

DG: No, the CBSO were looking for a partner school and joint bid was submitted in 2018. 

Anna Sabine, MP: What is the connection between the school and the Sandwell music Hubs? 

DG: It’s early days. Hubs in the area are now beginning to work together and have recently appointed their school leads, but there is a clear desire and plans in place to connect with Hubs. 

Sally Bacon, Co-Chair, Cultural Learning Alliance 

Sally explained how the CLA champion arts education for every child, working across all arts subjects and went on to give a summary of the CLA’s response to the curriculum and assessment review’s interim report as it is a critical moment to bring about change. 
The voice of the arts education sector was definitely heard and is definitely reflected in the interim report. The report acknowledged the EBacc has damaged take up and time available for arts subjects since 2010. The CLA think that the direction of travel seems to be that the arts will be valued within a new approach to accountability measures. The report made clear that the socioeconomic gap for education attainment remains stubbornly large. The CLA’s 2025 report card has revealed for the first time the geographical disparity linked to socioeconomic data in relation to arts take up at the age of 14. The most worrying areas are the North West, the North East and the West Midlands so a national centre would need to really think about this. Nomenclature is important – the report puts ‘the arts’ in inverted commas which is worrying, especially when it’s not done for other subjects like science. Expressive Arts would give a proper name to the arts curriculum area which the CLA think will be helpful if the arts are to be revalued as an equal curriculum area. 

The review showed that 19% of responding parents and 15% of responding young people want more arts provision, but the polling also made clear that they really want the vital capabilities that arts subject deliver, and CLA is developing a new capabilities framework in collaboration with five universities. These include creative thinking, problem solving, employment and communication skills. The CLA thinks there is insufficient public and policy understanding of the important benefits the arts deliver in terms of skills for life and work. 
The interim report notes that breadth may also be provided by enrichment activities beyond the curriculum and the CLA is always nervous about attempts to only value expressive arts subjects in these terms if they are not firmly anchored within the curriculum and accountability structures. Whilst we know that arts activities beyond the curriculum are extremely valuable in supporting attainment and achievement, they should only ever be seen as additional and not a substitute for curriculum arts delivery. 

The report has a strange denial that arts technical qualifications take up is declining, when they absolutely are and have been since 2022. There are also lots of issues beyond the scope of the curriculum review which are crucial for arts subjects, in particular, workforce issues, which has had a shocking decline in Initial Teacher Training (ITT) recruitment. 

Sally outlined some areas of the review to be aware of. The review is still focused on evolution not revolution and the panel has doubled down on wanting to see a curriculum that is knowledge rich. The CLA don’t have a problem with knowledge, but they also need to see a strong emphasis on skills and experiences. Good arts teaching should encourage art making, questioning, debate, experimentation, risk taking, presentation, critical reflection as well as knowledge acquisition. ‘Knowledge rich’ can be a battleground for polarised debates in the public and political discourse around education, particularly following a Govian emphasis on this since 2010. 

Questions/comments 

Bambos Charalambous: The devaluation of the arts is a clear problem. How do you make the case for them? 

SB: There is a value narrative at the end of the CLA Report Card. CLA are working with five universities on the skills needed for life and work, eg creative thinking. They have developed seven capabilities (see the end of the 2025 Report Card) and these will be fleshed out in the research, which they will report on in due course. 

Bambos Charalambous: How do we influence the final curriculum and assessment review report? 

SB: There is a small window, as intel indicates that they won’t be consulting with anyone after June this year. 

Dr Renuka Fernando, CEO, The Ed Sheeran Foundation 

Renuka began by saying how proud she felt that everyone at the APPG were gathered together as people who are going to make a difference. She explained how the Foundation felt the same as Barbara and Deborah about the National Centre and how it needs to be more than a website. She referenced the work of the Brit School and how important careers information is. An artist doesn’t just become an artist out of the blue. Ed Sheeran has 150 touring with him on stage – A and R, marketing, technicians, sound engineers – and this is the future economy and jobs of the UK. She then referenced the work of Shirelands and highlighted how there are new models of doing things with lots of innovation which need to be celebrated and supported.  

Renuka explained how the work of the CLA and ISM and others had driven them to do something about the situation. What is not said in the media and elsewhere is the vicious cycle leading to the current crisis. The EBacc sends a message that music and the arts aren’t important, therefore there are less music teachers, therefore you have fewer students taking up music because it’s not incentivised. You have less in terms of music budgets and on top of that music teachers are not supported in terms of becoming music teachers, even if they want to and sou teacher targets are not reached. 

The Foundation sees a celebration of music in the UK, on the world stage, but not a concrete investment. Some of this is not about money, it’s about attitude and values. They are particularly concerned about the poor recruitment of trainee teachers and when they speak to the DfE they don’t get any answers as to how it’s being resolved. 

Apprenticeships (the government’s way of looking beyond the classical way of studying music and creative subjects) are really struggling. Only 0.5 per cent of apprenticeships are in the creative sector, let along music. It is worse when you look at black, minority and ethnic communities where they are likely to take unpaid internships. 

Organisations attending the APPG are doing work to the best of their abilities despite of, not because of, the current system. Renuka went on to detail the open letter which was published on 23 March 2025, signed by over 600 artists plus educators and those in industry. They were quite amazed how many people wanted to back the letter – it was cross-sector and unanimous. Artists really care about the issues, either because they had a brilliant music teacher or they came from a background where they didn’t have one and want others to. The focus of the letter was that we can’t have the UK on the global stage and we can’t bring £7.6 billion into the economy as a music industry without the ecosystem of music in schools and Hubs. It’s about having a music teacher in a school, properly funded music departments and grassroots venues so they can perform.  
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The letter had three calls for action. Firstly, fund music like sport. Sport is very good at investing in the grassroots and the Foundation would love to see the same for music. There is a £324 million PE and sports premium for primary schools and a similar amount for music would go a long way. Secondly, ensuring that every secondary school in England has a music teacher – you can’t have successful music without people. Finally, music apprenticeships which are fit for industry, not fit for bureaucracy. At the moment, they’re not flexible and you can’t change an industry to fit an apprenticeship structure. 

Actions agreed

• Aim for a meeting of creative education APPG Chairs, MPs and Peers with Becky Francis before June 2025.
• ​Parliamentary questions on the National Centre and Music Hub funding 
• A Westminster Hall debate ​

Closing proceedings
Bambos Charalambous thanked everyone online and in person for attending and declared the APPG meeting closed at 6.37pm.