Like the wider education world, music teaching is subject to periodic government review. Some, like the high-profile Music Manifesto Report (2006), written by a research group chaired by composer Howard Goodall, offer a broad advocacy for music making, highlighting how it enhances overall development. Others, like the 2011 report prepared by Darren Henley, the then-managing director of Classic FM, consider how music fits into the range of cultural experiences offered through the education system, and how to ensure best use of public funds. (The latter was used as part of the rationale for Michael Gove's creation of music education hubs to take forward the work of local authority music services in 2012.)
These influential documents have well-established roots. In 1978, the Gulbenkian Report was commissioned to review the state of specialist music education. It was largely due to its recommendations that the Music and Ballet Schools Scheme was established in 1981. This allocated government-aided places to select pupils at five specialist schools: Chetham's School of Music, Wells Cathedral School, Purcell School, Yehudi Menuhin School and St Mary's Music School. The scheme gradually expanded and was given its current name, the Music and Dance Scheme (MDS), in 2002.
TRAINING LOCALLY
Two years later – in the heady days before the financial crisis – the scheme was broadened further, this time to include a number of newly designated Centres for Advanced Training (CATs). The CATs are organisations across the country that provide elite but – crucially – local training, often working closely with respected partners within the creative industries.
Readers of a sensitive disposition, fear not: this is not another funding cuts story. In fact, the Department for Education (DfE) appears to have ring-fenced the coffers for the MDS. ‘I haven't noticed any major changes to the funding over the last few years,’ says Mark Stringer, director of music at Somerset-based Wells Cathedral School, an institution that was originally set up to educate boy choristers who sang in the cathedral.
Now, ‘quite rightly, we have girl choristers as well’, says Stringer; both groups sing in the services. Wells is a prestigious place – not many schools have a bishop's palace with a moat in the grounds – and was recently listed as one of most beautiful schools in the country by the Telegraph. But Stringer, who is speaking to me from one of the youngest parts of the grounds (just 500 years old), is well aware of how important access is: ‘We're heavily dependent on government funding – it wouldn't be possible to run the specialist music scheme that we operate here without it. We have around 80 students who are in receipt of funding. We also offer school scholarships and bursaries in addition to that. There are 175 students at the school who are music specialists – the MDS looks after around half of those musicians.’
Aldeburgh Young Musicians has a ‘forward-thinking’ approach to recruiting musicians © Matt Wigley
One of those students is oboist Ella York, 17, who moved to Wells from a state school for her sixth-form studies. Having shown an aptitude for music, York was travelling over an hour each week for her lesson at Cardiff's Royal Welsh College of Music & Drama, before deciding to apply for funding to receive the specialist training at Wells. ‘I don't know what I'd be doing if it wasn't for this opportunity. It's had a big impact on my life,’ says York. ‘There are lots of soloist opportunities, such as lunchtime concerts, but there are also ensemble opportunities as well: I'm currently working with fellow oboists, I'm part of a wind dectet and wind quintet, and I'm in the symphony orchestra. I'm also studying cor anglais, and I'm able to borrow the instrument from school.’
The funding also allows York to board full-time, which she loves – although she admits some of her friends were surprised at her decision to do so. ‘There's a big pastoral focus. My friends from my last school weren't surprised that I chose to come to a specialist music school but they were shocked I chose to board. But boarding's so helpful – it's easy to get to rehearsals and you don't have to worry about lifts.’
Students like York access grants by applying to their school of choice directly. They must then pass the requirements of the institution – usually an audition and interview – and the financial administration is undertaken by the school.
Although York is happy to board, this isn't an option for all students. One aspect of the CATs strand of the MDS is that students should be able to access specialist provision without necessarily attending a boarding school. There are currently 12 registered music CATs spread across the country, and these allow pupils to access elite teaching in their local areas.
FORWARD-THINKING APPROACH
It's important to note that students don't necessarily have to be prodigies to qualify for the state-funded lessons. Aldeburgh Young Musicians (AYM) in Suffolk has a forward-thinking approach to recruitment: ‘AYM don't look for diploma-standard virtuosos – they pick people who have potential,’ says percussionist Acer Smith, 14, who was accepted on to the AYM's apprentice programme six years ago. ‘I wasn't the greatest musician in the world – there were probably a million other people better than me,’ he says, modestly.
Jack McNeill, who directs the chamber music strand for AYM, explains how the process works: ‘Not all the students are as technically brilliant as others but they are all open-minded with a unique talent. If you are a good musician, if you are keen, flexible and interesting, then you will be welcomed.’ This can make things tricky when it comes to orchestration, but the tutors are expected to work creatively. ‘AYM offers an alternative to a traditional junior conservatoire. We're teaching students how to be collaborative, not just how to be instrumentalists.’
Smith, who benefits from support with fees for lessons, says the experience at AYM has had a huge impact on his life. ‘It's helped me be more confident, not just in music, but in other areas, too.’ Smith has had the opportunity to learn tabla with Sanju Sahai on the AYM India course and has begun to arrange pieces for jazz orchestra.
‘It's very easy when you're at the Maltings to take the wonderful space for granted,’ reflects McNeill. ‘But it's very clear that the activities couldn't take place without the tremendous support. The funding has allowed AYM to become a force within Aldeburgh Music that's recognised on the same level as the other programmes.’
In these straitened times, it's heartening to hear these success stories about state-funded opportunities.
York has just been accepted by a music college and hopes to become a professional musician – she's certain her accelerated progress wouldn't have happened without the funding that's enabled her to access the world-class opportunities available at Wells. Through AYM, Smith is studying percussion with none other than British percussionist Joby Burgess. Both students – and countless others – have brighter futures thanks to the MDS. Long may it continue.
The Music and Dance Scheme lists the following CATs:
MUSIC BOARDING SCHOOLS
- Chetham's School, Manchester
- Purcell School, Hertfordshire
- Wells Cathedral School, Somerset
- Yehudi Menuhin School, Surrey
MUSIC AND DANCE CENTRES FOR ADVANCED TRAINING
- Birmingham Conservatoires
- Royal Northern College of Music
- Royal Academy of Music
- Guildhall School of Music & Drama
- Royal College of Music
- Trinity Laban Conservatoire of Music and Dance
- The Sage Gateshead
- Sheffield Music Academy
- Yorkshire Young Musicians
- Centre for Young Musicians
- Aldeburgh Young Musicians
- South West Music School
