You know what it’s like when you are on a commuter train - read a book, do Sudoku, go to sleep or try to do some work. Sometimes you combine both work and sleep. And that’s what I did on a journey from Kings Cross to my nearest station at Biggleswade. From time to time people ask, ‘well what’s your vision?’ Now I think many people in music education have very strong views about their vision, though it is implicit rather than explicit. So I started jotting down my vision and by the time I had reached Biggleswade I was on No 26. I thought I would share them here, and would be interested if your vision is the same of mine.

1. Every child really does have the opportunity to learn to play a musical instrument, initially for one year
2. Every school is truly a singing school; it knows what quality singing is all about and singing permeates across school life
3. Pre-school music education is strengthened so that all children get off to a flying start
4. The pathways beyond KS2 are clear, well sign-posted and progressive
5. Young people who may, for whatever reason, miss out in school life have high quality and easily accessible opportunities to develop their musical talent
6. Those children that wish to continue playing beyond the first year of learning are able to do so, whatever their financial circumstances
7. A continuum is established between KS2 and KS3 and from the formal to the informal and the non formal
8. Musical Futures is embedded in all secondary schools and personalised learning is at the heart of learning in and through music
9. Distinct approaches/initiatives/programmes are truly combined into a complete, holistic offer
10. Socio-musical programmes e.g. In Harmony are available in all communities that need them, not just selected
11. Diversity is reflected in the range of genres and music leaders/teachers
12. Mechanisms are in place to ensure that LA service providers are supported with core funding, whilst meaningful autonomy is maintained in schools
13. Music is embedded in the National Curriculum entitlement and any additional programmes are connected to this
14. Programmes for special needs, including the musically gifted, children with learning or behavioural difficulties, or physical disabilities are incorporated more into the mainstream – with greater, joined-up planning and realistic funding
15. Primary school teachers receive regular and effective CPD so they have more confidence in music
16. The role of secondary school music specialists is widened, so that they can utilise their skills in the community of schools e.g. in primary schools
17. The music education sector unites, not just in vision, but in practical, strategic plans
18. Inequalities of funding are ironed out, so that every child benefits from equal opportunities in music; funds are available for all legitimate members of the music education sector
19. Music is seen to support other arts and contribute fully to the cultural offer; there is synergy, but nothing is taken away from music for the sake of other artforms; there is real collaboration
20. Music networks effectively bring together the rich resources of all providers; real and meaningful partnerships underpin the provision for children, schools and families
21. Family learning is supported and promoted, extending from opportunities in schools
22. Education and training are joined-up; there is more coherence in vocational training; the value of music education is recognised in supporting the country’s wealth
23. Music leaders are recognised for what they do – in employment and CPD
24. Everyone in the country benefits from a coherent approach to lifelong learning, whatever their age
25. The world is a better place because of music
26. Music education makes music work; it gives music power

Now please don’t criticise me for having too many points - the next job will be to refine them down to three. So next time you’re on a train, see what you can do in between blinks.

John

Mayor’s music education fund

A £100,000 grant was announced this week to seed fund partnerships between local authority music services and orchestras and ensembles in London.  The programme will open in May 2010 and will cover projects in the academic year September 2010 to July 2011.  The aim is to give young people the experience of working with professional musicians, encouraging them to make music in ensembles whilst helping to raise their musical aspirations.  It will also strengthen and deepen the partnership working between London’s music services and the orchestral sector.  The fund will be administered by the GLA in partnership with the Federation of Music Services’ London region, and working closely in the first instance with the Association of British Orchestras (ABO). 

The GLA Music Education Programme steering board will be chaired by Karen Brock, Head of Tower Hamlets Arts and Music Education Service (THAMES).

You can download a copy of the GLA Music Education Strategy here:

Making Music Matter - Music Education Strategy for London 2010-2012

by Graeme Smith, Head of Croydon Music and Arts, Treasurer of Federation of Music Services

Member of Music Manifesto Partnership and Advocacy Group

Investment in music and cultural education in Finland and its place as the top performing country for educational attainment of 15 year olds in reading, maths and science is no coincidence.  That was my conclusion after spending two days in Finland visiting schools and music schools, talking to key music educators and studying information about the Finnish education system.

In Finland the key to the link between music and cultural education and educational attainment is that across all Finnish education there is a focus on Finnish culture.  From history to home economics the national curriculum in Finland stresses the importance of studying Finnish culture, other cultures which have influenced Finland, and other cultures from around the world.  The sense of identity this gives to people living in Finland is a major factor in promoting confidence and achievement in a nation which has historically been overshadowed by its much larger neighbours.

In the UK we tend to use the arts to teach about different cultures.  It is time we developed a more positive approach to giving young people a cultural identity.  This will also improve community cohesion in multi cultural Britain.  To enjoy and value other cultures we must first value the culture of our own heritage.  That is true whether a young person’s cultural heritage is from a region in England or from another part of the world or a mixture.

We already know how music and the arts can contribute to young people’s development.  They can learn vital personal, social and educational skills to enable them to achieve.  Through the arts young people can explore challenges and adversities in life, understand them better and take strength from coping with them.  Young artists can make a positive contribution to their communities.  Investing in arts education will build resilience in vulnerable young people, reduce youth crime and disorder and reduce the number of NEET young people (Not in Education, Employment and Training).  Investing in arts education will save money.

This is well understood in Finland.  An international study of arts education in more than sixty countries found that Finland has far more arts education than any other country.  Finnish music schools have more than five times the funding from central government compared to music services in England, and more than eight times the funding from Finnish municipalities than music services receive from local authorities in England.  Yet the overall spending on education in Finland is very similar to here.

Let us use music and cultural education to give our young people their own cultural identity and the confidence, self esteem and aspiration which goes with it.  Let us use music and cultural education to enable our young people to achieve as highly as the highest performing nations in the world.

The full-length article can be downloaded here:  Lessons in music and education from Finland