NPME response: The keys to success are time, money, great musicianship, and great people

What’s in the Plan?

The National Plan for Music Education (NPME) is split into three parts which appear to work cohesively in pursuing the vision of ‘enabl[ing] all children and young people to learn to sing, play an instrument and create music together and…progress’. Part one pertains mostly to schools and the provision of high-quality music education for all; part two focuses on music education hubs and collaboration; and part three – which really piqued my interest – is all about joining the dots, ensuring that young people are supported in their musical development.

The NPME acknowledges that informal and non-formal music-making contribute to musical development. As this is relevant for many of my own students and the young people we work with, this possibly excites me the most. The Plan raises awareness of the value of music-making beyond school, highlighting the need for increased connectivity between schools, hubs and music teachers, industry, music in the community, and the evolving role of music technology. 

What does the NPME mean for classroom music teachers?

From the early years through to post-16 study of music, the NPME encourages organisations to identify a music lead. Relevant training is to be made available via lead hubs – identified over the coming year to 2024 – and each school is asked to develop its own (non-statutory) Music Development Plan that meets its own needs, in time for the 2023/24 academic year.

The Plan identifies the following as being exemplary of high-quality music provision in schools at KS1–KS3:

• Timetabled curriculum music of at least one hour each week of the school year
• Access to lessons across a range of instruments, and voice
• A school choir and/or vocal ensemble
• A school ensemble/band/group
• Space for rehearsals and individual practice
• A termly school performance
• Opportunity to enjoy live performance at least once a year.

I agree that this makes for excellent practice, with a few key additions of a strong music technology offer, adequate staffing and resources to make all of this happen, an inclusive and diverse music offer, and the opportunity to compose and create original music. The NPME certainly acknowledges the value of all these ways of engaging with music through its case studies and explanations.

Primary schools are encouraged to sing regularly, to draw from the Model Music Curriculum (MMC), connect with their local hub, and to provide the opportunity to learn an instrument through WCET (whole class ensemble teaching) where possible. The importance of sufficient support through CPD, particularly for primary teachers, is raised. We are also encouraged to provide a rich co-curricular (extra-curricular/enrichment) programme, and to consider carefully how we handle transition between KS2 and KS3.

At the heart of educational progress is strong communication with parents and carers, and the NPME acknowledges this, advising that schools use their newly devised Music Development Plan as a form of clear communication between the school and parents/carers about the offer available to pupils. This includes suggested communication about the progress made in instrumental learning, and this can only serve to benefit pupils and families, provided schools give appropriate time and guidance to those responsible for these communications.

Bringing it all together

There have been several key documents published in recent years relating to music education in England: Ofsted’s Research Review; the Model Music Curriculum; the National Plan for Music Education – all of these are underpinned by the statutory National Curriculum for Music.

I believe we should take note of these documents and ensure that colleagues are aware of them too. Not everyone has been a fan of them, but my view is that there is a lot of value, for the benefit of our young musicians, in each of these documents. They’ve been put together by knowledgeable and experienced stakeholders and their intentions, although at times grand, are aspirational. Start up some conversations about these documents with the people who’ll be delivering music in your schools, and talk to your local music education hub, who will be happy to hear from you and offer support.

A note on the Music Progression Fund pilot

Without knowing much about what this might look like in practice, I would like to see this fantastic offer of musical progression for disadvantaged pupils – supported by the top music institutions and organisations – go further than its pilot stage. I’d love to see this rolled out to reach children in all schools across the country, with time allocated to music teachers to devise the suggested music progression strategy.

Working collaboratively in partnership

Music hub lead organisations, in partnership with their schools and academy trusts, local authorities, music and wider arts and education organisations and so on, will devise and facilitate a Local Plan for Music Education. This will support schools, provide a range of opportunities in and out of school, and develop talent.

In order to feed support from the hub into the school’s Music Development Plan, music leads firstly need to be aware of what’s available to their school community. I would suggest that the first step is hubs building closer relationships with all school and academy music leads to fact find about the needs of the school or trust, and to share their fantastic offer of music, which should be available to all young people.

Music teacher autonomy and agency

Looking at the Plan as a whole, I am slightly hesitant about what seems like the centralisation of decision-making. I would never want to see the autonomy of music teaching removed. As creatives, we like to try things out, our way, and in a way that potentially works for our pupils. I would prefer to be able to choose a pathway from a range of options, led by a Local (or Trust) Development Plan. Teacher autonomy is hinted at in parts of the Plan, however – for example, on p.39, it reads: ‘School leaders and music teachers should be able to articulate how their provision ensures every aspiring musician in their school can access the high-quality opportunities they need.’

The identification of local Lead Schools by 2024 will be headed up by the hub, and with innovation and a broad musical offer highlighted, this is a real opportunity for hubs to facilitate peer-to-peer support across schools.

Final thoughts

At first glance, this aspirational plan for music education is welcomed and has the potential, over time, to continue to take music education in England in a very positive direction. Time, money, great musicianship, and great people are the key resources required for us to really see the impact of the NPME in schools and the wider community.

As educators, we must ensure that we interpret this Plan to suit the needs, interests, and opportunity for developing musical potential in our school settings. We shouldn’t be afraid to swap in genres and musical traditions that may connect with our learners.

With £25m promised for instruments and equipment and £115m committed to cultural education per annum over the next two years, let’s hope that music leads within schools will be consulted about how the money might best be spent and invested into children and young people’s music education. 

Read the National Plan for Music Education.