It's a tempting epigram: ‘The more things change, the more things stay the same.’ French writer Jean-Baptiste Alphonse Karr may have hit upon a certain truth, and just as new systems have had an impact on music education – for example, the introduction of music education hubs – there are certain fundamental principles that, whatever the delivery model, are prerequisites for good music teaching.
Teachers need to be skilled to do a good job; they need time to do their work; and they need appropriate conditions and resources. Their pupils then need a space to truly develop: support in their musical journey, but also a cultural context in which to place their efforts; a sense of why the music they are working is important, both to themselves and society.
The modern world, however, is changing around us. Social media is transforming how our pupils see themselves, as technology materially alters global politics, economics and culture. We might find Karr's statement attractive in its simplicity, but the truth is that nothing is the same.
For music education, technology has had a clear impact, as this month's technology focus demonstrates. Entire new genres of music have been created, and music teachers have a role in guiding pupils in creative journeys that match their cultural interests. Computer-based composition will more and more be the way our pupils express themselves creatively, and it perhaps makes most sense to see digital audio workstations as no different from any other instrument. This is the approach of M:Tech (page 36), which is finding success teaching fundamentals of music literacy using technology, through a peripatetic delivery model.
But we have undoubtedly made progress elsewhere. Several years into their delivery, hubs are beginning to have the intended effect – encouraging innovation, partnerships, and opportunities. This is clear from how Birmingham Music Education Partnership, winners of this year's Music Education Council award (page 42), works with a range of partners to provide the best possible musical environment for its children, but also from several anecdotal examples featured in this issue, where teachers and organisations have found a local music hub to be the best way to open up new relationships – see head of music Scott Price's article on musical partnerships for more on this (page 45).
We are making progress, even if it's sometimes two steps forward, and one step back.
