Singing in Class Mustn’t Simply Be for Christmas, Academics Say

Introduction

For many children, the sound of the holiday season is synonymous with school assemblies filled with carols and nativity plays. However, educators and music associations are raising an alarm: singing in school should not be a seasonal activity reserved solely for December. New data suggests a significant decline in musical participation, particularly among secondary school students, prompting a call to action for schools to reinstate singing as a core part of the daily curriculum. This article explores the current state of school music, the factors driving the decline, and why experts believe singing is essential for student well-being and academic success.

Key Points

Background

The tradition of school choirs and collective singing has long been a staple of the British education system. Historically, school assemblies were defined by the sound of a unified student body. However, the educational landscape has shifted dramatically in recent years. According to a recent survey conducted by Teacher Tapp, which polled nearly 10,000 teachers in England, the daily reality of school life rarely involves singing once the holiday season ends.

The survey revealed stark statistics regarding school assemblies. Over half of state secondary school teachers (57%) reported that their pupils never sing together in assembly. In contrast, only 13% of private secondary school teachers and a mere 4% of primary school teachers reported the same. This data highlights a widening gap in cultural provision between state and private sectors, particularly as students transition from the communal singing culture of primary school to the optional nature of secondary education.

Analysis

The Impact of the English Baccalaureate (EBacc)

A major factor contributing to the decline in music education is the introduction of the English Baccalaureate (EBacc) in 2010. The EBacc is a performance measure that assesses schools based on the percentage of pupils who achieve grades 9 to 5 in five core academic subjects: English, maths, sciences, geography or history, and a language. Notably, creative subjects like music were excluded from this core bucket. As schools focused resources and student timetables on achieving the EBacc, music slots were often reduced or removed, leading to a 25% drop in GCSE music entries.

The “Uncool” Factor and Secondary Transition

Beyond structural curriculum changes, there is a social barrier to singing in secondary schools. Jackie Bowen, head teacher at The East Manchester Academy, notes that as pupils move into secondary education, they often feel “embarrassed—or that perhaps it isn’t cool to sing.”

This sentiment is echoed by students themselves. Mercy, a Year 11 student, explains the shift: “In primary, they say you must sing, but when you come to secondary, it is a choice, so the majority don’t do it.” This voluntary opt-out culture means that unless schools actively encourage participation, the benefits of choral singing are lost to a large segment of the student population.

The Equity Gap

The data regarding choirs underscores an equity issue. The Teacher Tapp survey found that three-quarters (77%) of private secondary teachers said their school had multiple choirs, compared to just 27% of state secondary teachers. Furthermore, 36% of state secondary teachers reported having no choir at all, a figure that rises to 36% specifically for state secondaries. This disparity suggests that students in state schools are missing out on the communal and developmental benefits of organized singing.

Practical Advice

James Manwaring, president of the Music Teachers Association and Director of Music at Windsor Learning Partnership, advocates for a return to basics to reverse this trend. He argues that every school should have a choir, regardless of budget constraints. “All you need is a room, and you need someone to lead it, and you need students,” Manwaring says.

Schools looking to integrate singing more effectively into their daily routine can consider the following strategies used by successful institutions:

• Music Hubs: Partnering with external organizations, such as the Royal Northern College of Music, to provide specialist instruction and resources. The East Manchester Academy, for example, offers a weekly music hub.
• Environmental Integration: Replacing standard bells with classical music or student-led playlists during lesson changeovers to normalize music in the school environment.
• Diverse Offerings: Establishing specific choirs, such as gospel choirs, to appeal to different cultural backgrounds and musical tastes, making singing feel more relevant to students’ identities.
• Promoting Inclusivity: shifting the focus from technical perfection to participation. As student Mercy advises, “Whether you’re good or not, sing.”

FAQ

Conclusion

The evidence is clear: the decline of singing in schools is a multifaceted issue involving curriculum priorities, social stigma, and funding disparities. However, the consensus among academics and music teachers is that the loss is profound. By treating music as a daily necessity rather than a seasonal luxury, schools can unlock significant benefits for student mental health and academic engagement. Whether through government curriculum changes or grassroots initiatives like school choirs, the goal remains the same: to ensure every child has the opportunity to release their voice to the world.

Sources

• Teacher Tapp: Survey data regarding singing in assemblies and choir availability in state vs. private schools (2024/2025 data).
• Department for Education (DfE): Statements regarding the EBacc, curriculum renewal, and investment in Music Hubs.
• Music Teachers Association: Position statements from President James Manwaring on the necessity of school choirs.
• GCSE Statistics: Historical data regarding the 25% decline in GCSE Music entries over the last 15 years.
• Case Studies: Interviews and reports from The East Manchester Academy (Jackie Bowen, Mercy, Rob Hatton).