A New Landscape for Music Education

25 Sep 2015

Musical Routes, a report on the provision of musical education for school-aged children and young people in England, is now available.

Musical Routes: A Landscape for Music Education is an independently commissioned report by Sarah Derbyshire MBE in partnership with the Royal Philharmonic Society to investigate whether musical provision is failing to reach children from all social and ethnic backgrounds, and if 'postcode lottery’ results in inequity of opportunity. 

Speaking at the launch of the Musical Routes Report at Wigmore Hall (25 September), percussionist and RPS Honorary Member, Dame Evelyn Glennie commented:

“This report is to be welcomed by anyone who loves and cares about music. It offers practical suggestions that could help more children to enjoy music in its many different forms and it, quite rightly, demands equality of opportunity for all young people. It is important that the music profession takes careful note of areas of difficulty highlighted in the report, and comes together to find a way forward. We need to inspire, to create, to engage and to empower every child with an interest in music to fulfill his or her potential.”

The RPS is grateful to the J Paul Getty Jr Charitable Trust and to many other individuals whose concern for the future of music education prompted them to contribute to the funding of the report.

Read the full report
Download the Press Release
Read the Storify (digest of related press and social media activity)
► Find out more and contribute to The Music Commission


Feedback

We welcome any feedback relating to this report. Please send feedback to Sarah Derbyshire MBE via web@philharmonicsociety.uk Thank you.


25 September 2015

OUR MEMBERS

Tim Walker, CEO and Artistic Director of the London Philharmonic Orchestra: I value the RPS for supporting what we do and in particular for stimulating an interest in new music.

DID YOU KNOW?

An early Philharmonic superstar was the virtuoso double bassist Domenico Dragonetti. He brought his dog Carlo to performances, and commanded higher fees than almost any other player.