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MUSICAL MINDS

A HARMONIOUS LEARNING BLOG FOR PRIMARY SCHOOL TEACHERS & PARENTS

Our Robot Army: A Note on Music, Apathy, and Hope


I'm happy to share with you a first draft of the first chapter of a book I'm writing to promote music in our UK primary schools. Structured feedback and constructive comments very welcome:


Introduction: A Note on Music, Apathy, and Hope


This is the part no one reads. But since you’re here, let’s dive in.


This book should never have been written. At least, that’s what “they” (whoever “they” are) would have had me believe. Yet, here it is. So, thank you for buying it—or for borrowing it from a friend. But if you nicked it, do me a favour and drop the cash off at my mum’s. She worries about me; it’d be nice to let her know I’m doing alright.


Now, a little bit about me and how this book came to be. The story starts with my older brother. He was the golden child—good at maths (and yes, there is an ‘S’ at the end) and science. By all accounts, he was the poster boy for academic success, even from a young age. Today, he’s a high-flying accountant. So, you know... good for him.


But let me tell you, growing up in his shadow wasn’t all sunshine and roses. At every parents’ evening, the same refrain echoed: “He’s not quite like his brother, is he?” Those words still ring in my ears, even decades later. The comparisons finally stopped after my mum had a ‘word’ with my maths teacher. If you’ve ever had a ‘word’ with an old-school mum from the 1980s, you’ll know exactly what I mean. If not, let’s just say it was effective. (Thanks, Mum!)


Back then, I knew I wanted to be involved in music. I had dreams of becoming the next John Williams, living in Hollywood and composing the soundtrack to Jurassic Park episode 412 or the eighty-fifth Star Wars prequel. But life, as it often does, had other plans. A lack of focus and guidance in my youth meant those dreams didn’t pan out, and I found myself in the world of education instead.


Now, before you think I’m settling, let me be clear: teaching is not a fallback for me. What I do—and what many like me do—is one of the most important roles in a child’s life. We give kids something they’ll carry with them forever. Who hasn’t envied the show-offs playing those (very) out-of-tune pianos at London’s train stations? I helped that kid get there. I mean, I didn’t play the damned thing, but I got them playing brilliantly enough to make everyone around them a little bit jealous.


Can a science teacher say that? Maths?


Despite the mountains of research showing the benefits of music and the arts, they’re still treated with an alarming level of apathy, especially by those in charge. It’s ironic, isn’t it? As I write this, we’re emerging from a global pandemic that left people with little more than films, music, and books to keep them sane. Yet, we’ve moved on so little from the 1980s that it’s almost laughable.


But here’s the thing: there is hope. You’re reading this, for one. By the time you’ve got this far, you clearly believe in the same things I do—though you might use less colourful language! Whether you’re a music teacher, a parent, or just someone who believes that the arts matter, we have one thing in common: we care.


You’re busy, right? You’ve got a million things on your plate, and reading a book about improving music education might not have been top of your list. But you’re here, which means you’re already doing something right. You’re not settling for the status quo. You’re not willing to let our schools continue to churn out a robot army, devoid of creativity and passion. You’re here to make a difference.


And that’s what this book is about. It’s about changing the narrative. It’s about injecting life back into our classrooms and giving every child the chance to experience the joy of music. It’s about fighting back against the apathy that threatens to drain the soul out of our schools.


So, my little beauties, in those famous words: Are we sitting comfortably? No? Good. Because change never comes from comfort. Let’s get to work


The State of Music Education: A Decline Worth Noting


In the past, music was more than just a subject on the timetable; it was a cornerstone of a child’s education, a gateway to creativity, self-expression, and even academic success. Schools understood that music wasn’t a luxury, but a necessity—a tool for nurturing well-rounded, inquisitive minds. Fast forward to today, and what do we see? A barren wasteland where music education hangs by a thread, if it’s present at all.


In the 1970s and 80s, many schools had robust music programmes. Children were often exposed to a variety of instruments, encouraged to participate in choirs, and given opportunities to perform. Music was seen as a vital part of the curriculum, not just an optional extra. It was understood that music education played a significant role in developing a child’s brain, enhancing their ability to think critically, and improving their emotional intelligence. And yet, here we are in the 21st century, where music education is being systematically dismantled, piece by piece.


The Sidelining of Music in Favour of ‘Essentials’


Primary schools across the UK have increasingly sidelined music, favouring subjects like maths and English—the so-called “essentials.” Now, I’m not here to argue that kids shouldn’t learn to add or read (though some might say they could use a bit more rhythm in their arithmetic). But the near-eradication of music from the curriculum is nothing short of tragic.


Consider this: In many schools, music has been reduced to a 20-minute session once a week, often delivered by a teacher who has been handed a tambourine and told to “make it fun.” And that’s if you’re lucky. In some places, music education has disappeared entirely, sacrificed on the altar of budget cuts and standardised testing. The Arts Council England reported in 2018 that music education funding had been slashed by nearly £30 million over the past decade. This has led to a significant reduction in specialist music teachers and fewer opportunities for children to engage with music in a meaningful way.


The government’s own statistics paint a bleak picture. Between 2010 and 2018, the number of secondary school music teachers dropped by 26%. Meanwhile, primary schools—where music should be laying its foundations—are increasingly reliant on non-specialists to deliver what little music education remains. A 2019 survey by the Incorporated Society of Musicians (ISM) found that more than 60% of primary school teachers reported receiving no professional development in music, leaving them ill-equipped to teach it effectively.


The Consequences of Budget Cuts and Policy Decisions


But what led us here? The answer lies in a combination of factors: budget cuts, shifting educational priorities, and a growing obsession with standardised testing. In 2010, the UK government introduced austerity measures that resulted in significant cuts to school budgets. Schools, under pressure to meet core academic targets, began to view music and the arts as expendable luxuries rather than essential components of a well-rounded education.


Standardised testing has further compounded the problem. As schools are increasingly judged by their performance in core subjects, there’s been a corresponding shift away from the arts. The introduction of the English Baccalaureate (EBacc) in 2010—a performance measure for schools that excludes creative subjects—has only intensified this trend.

Schools, eager to climb the league tables, have cut back on music lessons to focus on the subjects that matter most to these rankings.


Consider the example of Feversham Primary Academy in Bradford, which was on the brink of closure in 2012, struggling under the weight of poor academic results. The school took a bold step: it doubled down on music education, integrating it across the curriculum. Five years later, the school was rated ‘Good’ by Ofsted, and its students were performing in the top 10% nationally for reading, writing, and maths. This isn’t a fluke; it’s a testament to the transformative power of music education.


But instead of learning from success stories like Feversham, many schools have gone in the opposite direction. Music is often the first to go when cuts are made. Instruments gather dust in storage cupboards, choirs are disbanded, and opportunities for performance dry up. The result? A generation of children is missing out on the myriad benefits that music brings.


Why Does This Matter?


So why does it matter? Because music isn’t just about learning to play an instrument or recognising a melody. It’s about fostering creativity, improving cognitive abilities, and enhancing emotional intelligence. Studies have shown that music education can improve everything from language skills to mathematical abilities. It encourages teamwork, boosts self-esteem, and provides a crucial outlet for self-expression.


When we strip music from our schools, we’re not just losing the joy of song; we’re losing a vital component of a well-rounded education. We’re telling our children that creativity doesn’t matter, that the arts are secondary to the ‘real’ subjects. But the truth is, music and the arts are what make us human. They teach us empathy, help us understand the world around us, and give us the tools to express our deepest emotions.


The decline of music education isn’t just a disservice to the children of today—it’s a threat to the society of tomorrow. We need to rethink our priorities, and fast, before the next generation grows up in a world where the arts are seen as irrelevant, where creativity is stifled, and where the joy of making music is a thing of the past.


It’s time to stop treating music as an afterthought and start recognising it for what it truly is: a fundamental part of education that deserves to be nurtured, celebrated, and, most importantly, preserved.


A History of Educational Priorities: From Factories to Failures


To understand how we’ve ended up with a generation of children more comfortable with standardised tests than symphonies, we need to take a brief (and somewhat sarcastic) stroll through the history of education in the UK. Picture it: the industrial revolution—a time of steam engines, soot-stained cities, and the kind of ambition that only a coal-fired economy could muster.


This was when the powers-that-be decided what Britain really needed wasn’t poets or painters, but obedient workers—cogs in the great industrial machine. And so, an education system was born, one with a clear and singular purpose: to prepare young minds for a life of factory work. The focus was on the ‘three Rs’—reading, writing, and arithmetic—because those were the skills you needed to operate machinery, fill in ledgers, and avoid getting your hand caught in the gears.


From Enlightenment to Enslavement: Education Before the Industrial Revolution


Before the industrial revolution, education in Britain was a patchwork affair. It wasn’t that the arts were ignored; rather, formal education itself was a privilege reserved for the few. In the 17th and 18th centuries, grammar schools, which had been around since the Middle Ages, were the primary institutions for formal education. These schools, often rooted in church traditions, did include music as part of the curriculum. After all, what’s a good sermon without a stirring hymn to back it up?


However, access to such education was limited. The wealthy enjoyed the benefits of a broader curriculum, including classical languages, music, and arts, while the poor often learned trades through apprenticeships, with little formal education at all. For the majority, education was more about survival than self-expression. But even then, there was an understanding—albeit in elite circles—that education wasn’t just about churning out workers. It was about creating well-rounded individuals, a concept that would soon be pushed to the back burner.


Enter the Industrial Revolution: The Birth of the Factory School


As the industrial revolution gathered steam, quite literally, the need for a different kind of education emerged. Britain was building factories, not futures, and so the education system was repurposed to serve this brave new world. The arts, which had once been an integral part of the curriculum for the privileged few, were now seen as frivolous luxuries—certainly not something the children of factory workers needed.


In this new era, education became about efficiency. Charles Dickens, the great chronicler of Victorian England, captured this shift perfectly in Hard Times, where Mr. Gradgrind, the epitome of the utilitarian education system, famously declares, “Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life.”


Dickens’ satire wasn’t far off the mark. The early education system was obsessed with rote learning and memorisation. The goal was to produce workers who could read instructions, write reports, and do the basic arithmetic required to keep the machines running and the books balanced. There was no room for music, art, or anything that might encourage independent thought or, heaven forbid, creativity.


The Victorians were nothing if not thorough. The 1870 Education Act (also known as the Forster Act) made education compulsory for children aged 5 to 10, which was a step forward in many ways. However, it also cemented the focus on basic literacy and numeracy, with little regard for the arts. Music, when it was included at all, was often relegated to the status of a “soft subject”—a nice-to-have but not a need-to-have.


Lingering Victorian Attitudes: Why We’re Still Stuck in the 19th Century


Fast forward to the 21st century, and you might expect that we’d have moved on from these Victorian values. After all, we’re no longer preparing children for a life in the cotton mills of Manchester or the coal mines of Wales. But the truth is, the mentality of the factory school has lingered like a bad smell, permeating our education system even today.


Sure, we’ve made some progress since the days of child labour and workhouses (thank you, Mr. Dickens, for highlighting those particular horrors). But the fundamental structure of our education system hasn’t changed much. We still place a premium on the so-called “core subjects,” while the arts are pushed to the margins, often seen as a luxury rather than a necessity.


It’s no wonder that music education has been slowly but surely squeezed out. In a system designed to produce workers rather than thinkers, music—and indeed all the arts—has little place. The focus remains on subjects that can be easily tested, quantified, and measured—because, let’s face it, it’s much easier to grade a maths test than a piece of music composition. But here’s the kicker: this outdated approach is doing more harm than good. By neglecting music education, we’re not just short-changing our children; we’re also stifling the very creativity that could drive future innovation and success.


As Dickens himself might have said (and probably did, though we’ve taken some creative liberties here), “It is a melancholy truth that even great men have their poor relations.” Music education, it seems, has long been the poor relation of the British curriculum—always invited, but never the guest of honour.


The Modern Factory School: Why Creativity is Still on the Sidelines


Despite the undeniable progress in technology, pedagogy, and society, our education system remains rooted in the same principles that guided the Victorians. We still prioritise the subjects that are seen as useful for economic productivity, while the arts are treated as expendable. In fact, the introduction of the English Baccalaureate (EBacc) in 2010—a performance measure that sidelines creative subjects—has only intensified this trend.


Today, students are often encouraged to focus on STEM subjects (science, technology, engineering, and mathematics) because these are the areas that supposedly offer the best career prospects. While there’s no denying the importance of STEM, the relentless focus on these areas has come at the expense of the arts. Music, once a central part of a child’s education, is now viewed as a hobby, a distraction from the ‘serious’ business of learning.


But here’s the thing: creativity isn’t a distraction—it’s a necessity. In a world that’s changing faster than ever, the ability to think creatively, to innovate, and to adapt is more important than ever. The arts, and music in particular, nurture these skills. They teach children to see the world differently, to solve problems in novel ways, and to express themselves in ways that go beyond the written word.


So, while our education system may have been designed to churn out factory workers, it’s high time we redesigned it to nurture the creative thinkers and innovators of tomorrow. After all, as Dickens might remind us, “The pain of parting is nothing to the joy of meeting again.” It’s time we reunited with the arts, and put music back where it belongs—at the heart of our education system.


The Consequences of Marginalising Music


So, what happens when we push music to the periphery of education? The short answer is: nothing good.


For starters, we’re depriving children of a crucial outlet for creativity. Music is one of the few subjects that encourages students to think outside the box, to express themselves in ways that words and numbers simply can’t capture. Without music, we risk raising a generation that can recite their times tables but struggles to find their own voice.


Moreover, the benefits of music education extend far beyond the music room. Numerous studies have shown that children who engage with music perform better academically, particularly in areas like maths and reading. Music has also been linked to improved memory, better social skills, and even enhanced emotional well-being. In short, music makes kids smarter, kinder, and happier. So why on earth would we cut it?


Let’s not forget the broader societal implications. By marginalising music education, we’re reinforcing the idea that creativity is a second-class skill. We’re telling our children that unless they can measure it, it doesn’t matter. This is a dangerous message, particularly in a world where innovation and creative thinking are more important than ever.


Imagine a future where the arts are reserved for the privileged few who can afford private lessons or independent schools. Where music is no longer a universal language but a luxury item. If we continue down this path, that’s exactly where we’re headed.


Fighting Back: Why Music Education Matters


It’s clear that something needs to change. We can’t afford to continue sidelining music education if we want to nurture well-rounded, creative, and emotionally intelligent students. The good news? It’s not too late to turn things around.


Music education needs to be reinstated as a core part of the curriculum, not just an afterthought. This means investing in proper music programmes, training teachers, and ensuring that every child has the opportunity to engage with music in a meaningful way. It’s not enough to hand a teacher a tambourine and hope for the best; we need to equip our schools with the resources and support they need to deliver high-quality music education.


But it’s not just about the schools. Parents, too, have a role to play in advocating for music education. Whether it’s pushing for more music in the curriculum, supporting music initiatives in the community, or simply encouraging their children to explore music at home, parents can be powerful allies in the fight to save music education.


And let’s not forget the students themselves. Young people are more passionate and capable than we often give them credit for. They have a voice, and they should be encouraged to use it. Whether it’s participating in school music programmes, joining community bands or choirs, or simply speaking up about the importance of music in their education, students can be powerful advocates for their own learning.


The battle to save music education is about more than just preserving a subject; it’s about protecting the very heart of our education system. Music isn’t just a nice-to-have; it’s a must-have. It’s the key to unlocking creativity, boosting academic performance, and nurturing the emotional well-being of our children.


So let’s stop pretending that music doesn’t matter. Let’s stop raising robots and start raising thinkers, creators, and innovators. It’s time to put music back where it belongs: at the core of our education system.


Because when the music stops, so do we.

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