NPME response: Much ‘feels optimistic and acknowledges that it will be a mammoth undertaking’

It is encouraging that the initial reaction to the new National Plan for Music Education (NPME2) seems to be fairly positive – unlike the Model Music Curriculum (MMC), which was divisive due to its prescriptive nature. While the executive summary is full of optimism and underscored by many phrases we all would have expected, the ‘hows’ of this plan may need further explanation.

Super hubs

First of all, there will be schools and hubs appointed as ‘lead schools’ and ‘national hub centres of excellence’ who will be supported in helping to provide excellent CPD, inclusion strategies, and to promote music technology nationally. Unfortunately, hubs will have to compete to become centres of excellence, rather than being selected based on demonstrable good practice in spite of funds and status. The hope is that this competition will be as fair as possible so as not to allow the most well-off and most diverse and inclusive schools and hubs to ‘win’, in a ‘rich get richer’ scenario. On the flip side, this may mean that organisations need to collect and track certain data, which can help the drive for inclusion.

This could, however, lead to less diversity across the country, as hubs and organisations seem to be encouraged in the NPME2 to conduct their activities in a particular way. I use the word diversity for a reason, as the word is used relatively infrequently compared to the clear drive for inclusion (make of that what you will). With the MMC being referenced throughout the document, perhaps the overall goal by the authors is to see that content becoming firmly embedded into practice across the country, much to the chagrin of many.

The hope is that diverse approaches can and will be used, recognised, and applauded, and without the soon-to-be-appointed lead schools being held as the ‘gold standard’ to which all others must adhere. Especially since the murder of George Floyd, many have been taking a closer look at their music curricula, making efforts to eliminate harmful language, music, and visual representations, and it was a shame that certain words and phrases were not mentioned… (but this is a government document after all).

Early years and the talent pipeline

Although receiving only a brief mention, it was good to see early years included in the plan. There are many amazing programmes and people doing work in EYFS, and hopefully this will encourage more support from hubs in this important stage in children’s development. There was also an emphasis on industry, which was very welcome. Aside from the neo-colonial reference to the UK music industry’s ‘soft power’, encouraging these links is vital. If many young people, parents, and carers struggle to see and understand how working in the music industry can lead to a sustainable career, more links with industry will be critical in changing perceptions.

Hopefully this will also encourage hubs to be more ‘in tune’ with local talent and help to generate income for up-and-coming bands and musicians, rather than devoting all resources to taking children to only experience orchestras/chamber music (for example, p.74 contains a whole paragraph on the ‘Fair and More Inclusive Classical Music research’). Potentially, a lot more money is needed to achieve this, and hopefully the many plans that are written in response to the NPME will be conscious of the increased need to feedback into the local economy.

Joined up CPD

It was also good to see emphasis on music technology. This area is fast becoming one of the most important and inclusive means of learning and teaching music and will hopefully see more young people gaining access to technology and being given the tools to express themselves. There will also need to be increased support for the creation of strategic documents and plans which could see more joined up CPD sessions being delivered by a number of experts currently relying on word of mouth for important work they are doing. Hopefully this will increase the number of jobs and opportunities in the sector, rather than decrease them, as CPD offerings slowly become concentrated and controlled by a few.

Overall, this document feels like well thought out, joined up guidance for schools, hubs, and organisations. This was never going to be a perfect document, but there is a lot in it which feels optimistic and acknowledges that it will be a mammoth undertaking to transform music education in the UK. The time and effort it will take to achieve all of this (especially by already overworked music teachers) is not to be ignored.

There will still be lots of questions as to the 'whens', and 'hows' of implementing such a plan, but hopefully this document helps to focus efforts towards making sure that all young people get the opportunity to engage with and create a variety of music in a variety of different ways.

Read the National Plan for Music Education.