The policy and practice of music education in England, 2010–2020

Jonathan Savage

doi:10.1002/berj.3672

Abstract

Since the introduction of the National Plan for Music Education there have been significant changes in music education within England. Whilst some celebrate figures that report increased access and engagement, many teachers and others continue to have legitimate concerns regarding the quality of the music education on offer in schools and Music Education Hubs. There are concerns that the provision of music education is incoherent and patchy across the country. Many would argue that the opportunity to access high‐quality music education has become a ‘postcode lottery’. There is a sense that the fragmentation of music education as a result of curriculum reforms and the diversity of approaches taken by Music Education Hubs and other bodies has significantly enhanced this incoherence. This article seeks to review the policy and practice of music education in England over the last 10 years. It draws on recent research from various sources and maintains a particular focus on government policy and the consequences of this for the field as a whole. It reflects on how things could be improved in the future. It argues for a clearer focus on a practitioner‐led approach to research and advocacy, in particular one led by the notion of ‘policy as practice’ rather than continuing with the current approach and its intrinsic failings.

Highlights

The day-to-day business of music education in England, what Kemmis (2012) calls the ‘practice architecture’, revolves around contested policy and pedagogical approaches
The roles that schools and Music Education Hubs play in the provision of music education are often unclear, with the specific requirements of a National Curriculum and wider roles and responsibilities set by government agencies such as Arts Council England causing tension, conflict and division
Arts Council England and others celebrate figures that report increased access and engagement

Summary

Introduction

The day-to-day business of music education in England, what Kemmis (2012) calls the ‘practice architecture’, revolves around contested policy and pedagogical approaches. The roles that schools and Music Education Hubs play in the provision of music education are often unclear, with the specific requirements of a National Curriculum and wider roles and responsibilities set by government agencies such as Arts Council England causing tension, conflict and division. Constant bickering between different organisations, underpinned by contrasting ideologies about the importance of their particular ‘type’ of music education, has frustrated policy-makers (Ward, 2019). What is often missing from these studies is a closer examination of the organisations that deliver music education programmes, such as schools, Music Education Hubs and a host of other private companies.

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Discussion

Conclusion