Compose a New Song: a Musical Blog
Why music education is important
Music is a fundamental aspect of human culture. Its enjoyment and creation is a basic human right. It’s part of what makes us human, and contributes to the building of individuals’ creativity, identity, and wellbeing. The inclusion of music in primary schools is essential, and brings substantial benefits to children and society.
When done well, incorporating music in primary education enables an engrossing experience for all involved. It is not just something to passively sit back and listen to (though there is nothing wrong with appreciation on this level), but something to engage in. It can help children develop creativity, confidence, and a powerful and healthy form of self-expression. The act of creation and performance can help children build collaborative skills they will use throughout their lives. Music can serve as a bridge, allowing access to other cultures, regions, and time periods in human history. Additional needs students and those who ‘struggle’ with academic subjects often excel at music. Its inclusion in schools helps keep these students involved with their classmates and can bolster enthusiasm for school generally. Basically, music is part of a foundation upon which well-rounded human beings are built. By cultivating its appreciation and creation in primary schools, we are sowing the seeds for a well-rounded, more harmonious society.
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In general, the arts are in decline in primary schools, and treated as peripheral to children’s education. The current state of music education in the UK is much like a patchwork quilt, highly varied and non-uniform. Some schools strongly value the arts and embed music within their curriculum. Others have almost no music provision. School leadership and its values strongly influence outcomes; and financial pressures and Ofsted expectations shape priorities. So music education increasingly depends on individual champions, not system design.
Teacher training is inadequate. Universities currently only allocate a few hours of music training in their ITE and CPD courses. Initial Teacher Education (ITE) provides very limited arts training, with many trainee teachers receiving only a few hours of music education. This is compounded by universities' increasing lack of specialist arts educators. School-based training is inconsistent and poorly documented; and teachers lacking experience or confidence in music become less likely to teach it, creating a downward spiral. Continuing Professional Development (CPD) opportunities are insufficient. Government policy has prioritised instrumental specialists, and visiting practitioners, so schools often rely on external providers rather than developing classroom expertise. While useful, these approaches can remove responsibility from classroom teachers, and can easily fail to embed music into daily learning.
Commercial online music schemes (e.g., plug-and-play music programmes) are filling gaps. Teachers are expected to follow programmes without understanding pedagogy. Some schemes discourage teacher agency or creativity; and provisions can lack coherence across year groups.
Due to the changed educational landscape, with the rise of multi-academy trusts and financial restrictions, assessment and accountability pressures, priorities have also changed. Teaching approaches increasingly emphasise efficiency and direct instruction. Concerningly, education is losing focus on disciplines, creativity, child participation and experience.
Composing a new song
It’s clear a reframing of music education is in order. Rather than “doing music lessons”, children should be able to experience and engage with music as part of everyday life. Musical creation, as opposed to re-creation of existing songs, is a vital component of primary music education. Experiencing music, rather than simply receiving instruction and “doing” it, will empower children to build their identity and better express themselves.
Teacher education reform is essential. Too many teachers are uncomfortable with music instruction, but they need not be. Teachers can learn, experience, and create music alongside students. Improving teacher training is also an important lever for change. Musical experts, though welcome and helpful, are not strictly necessary for the experiencing, appreciation, and creation of music within schools.
It’s clear there is a strong need for evidence and research on music education in the UK. Currently, there is a lack of research and data about music provision nationally. Much understanding remains anecdotal. Accessing reliable information from schools is problematic. All of these need to change if music education is to advance in this country. Evidence and practical examples will strengthen advocacy. Tangible evidence will support advocacy work, which should address arts education collectively.
Case studies might be used to help gather evidence. A good first step would be to identify schools demonstrating strong arts practice, so other schools might emulate them. Documenting real-world examples will help schools bolster music education more than theoretical arguments. A network of schools exemplifying good practice can be built as a model for others. Collecting diaries of practice can also be used to judge progress, refine programs, and educate other schools about what’s being done, how, and how it might be implemented in different settings. Producing blogs or reports can show how arts thrive in typical schools.
Finally, policymakers should be challenged, questioned, and confronted with the reality about children’s access to arts experiences and wellbeing with a focus on the arts broadly (not music alone). The responsibility for structural reform ultimately lies with them.
More effective music practice might include:
Schools starting the day with shared music listening
Projects where children compose their own music or opera
Teachers learning alongside pupils rather than acting only as instructors
Consultancy models where specialists support — but do not replace — classroom teachers
A final note 🎵
Music is not a monolith. Like other subjects, it should not stand in isolation, but permeate throughout the curriculum. Its benefits can spill over into academic subjects and life itself. Encouraging the appreciation and creation of music is an essential step in the development of humane society. As such, it should be a cornerstone of primary education, a position it does not currently occupy.
Arts education is a systemic issue, not a niche concern. Primary education requires renewed national attention and curriculum balance must be reconsidered. Music, as well as drama, dance, and other arts should be viewed as core subjects, fundamental to human development and learning. They are human and educational rights which enhance creativity, wellbeing, and identity. Yet visual arts, drama, and dance may be in an even weaker position than music, and will be subjects for a future blog. Thanks for reading, now get out there in the world and make some music.
