It is a pleasure to serve under your chairmanship, Sir George, in particular because you are someone who has campaigned hard for the arts in your constituency. I hope that your Shakespeare North theatre is coming along well.
As I look around at the small but high-quality attendance at the debate, I see before me a fellow member and an officer of the all-party group on arts, health and wellbeing, the hon. Member for Vale of Clwyd (Chris Ruane); an excellent Labour spokesman, the hon. Member for Cardiff West (Kevin Brennan), who is also a fantastic asset of that group; and the shadow Arts Minister for the Labour party, the hon. Member for Batley and Spen (Tracy Brabin). That is not to mention those sitting on our Benches: my hon. Friend the Member for Somerton and Frome (David Warburton), a member of the National Youth Music Theatre and of the National Youth Orchestra; the media star, my hon. Friend the Member for Henley (John Howell); and of course my hon. Friend the Member for Cheltenham (Alex Chalk), who represents such a centre of artistic excellence. I will come to the Minister at the end.
I have been a passionate supporter of music education throughout my time in Parliament. Having checked the records, I am pleased that I can still say, hand on heart, that I did not come to the subject late in the day. Shortly after being appointed as Arts Minister in May 2010, I commissioned Darren Henley, who was then the chief executive of Classic FM, to do a report on music education which he duly delivered in February 2011. It might astound and shock the Chamber to learn that the report was commissioned jointly with my right hon. Friend the Member for Surrey Heath (Michael Gove), who was then the Secretary of State for Education, showing his commitment to music education.
The biggest thing to come out of the report was the creation of music hubs, which I felt strongly we should have for a number of reasons. Despite the fact that I only look 21, I am old enough to remember when we introduced local management of schools in the 1980s,
and the first thing that went out of the window was funding for music education. When schools took control of their own budgets, perhaps understandably they chose to spend on repairing the roof or other initiatives that the headteacher wanted to follow, and music education suffered. I did not want that to happen again with the introduction of free schools and academies; I wanted to ensure ring-fenced funding for music education. We did secure it: there were some bumps in the road and some anomalies to be ironed out—obviously most of us in the Chamber would want the funding to be doubled, tripled, quadrupled or even more, to make a real difference—but the fact is that the money was saved and ring-fenced.
Music hubs were meant to be innovative organisations; not just money spent by local authorities, but money spent together with local music organisations. It seems ridiculous not to take advantage of the expertise not just of a local orchestra but of innumerable music organisations that might exist in a local area, including perhaps the local music venue, as the hon. Member for Bury North (James Frith) described so well—it was remiss of me not to have congratulated him in my opening remarks on securing this important and welcome debate.