Lynne Phillips, piano tutor

We need to get rid of the idea that music education is elitist: There are, I'm sure, many kids who gain something out of music (or art, or sport) who don't manage as well in traditionally academic subjects. Arts, and sports, are a vital part of life, not just as an extra for 'nice middle class children' but as something that some children almost solely rely on for self-esteem, enjoyment, and a sense of progression.

Let's communicate the positive outcomes of music education, all of them: I can't speak for schools here, but believe I can speak for students and parents on this issue. It's often very difficult for young musicians to see music education as something positive unless they are "good at it" (and in many eyes but most definitely not mine, this means being ridiculously talented).

But the positive outcomes of music are so much more than just advancement through grades or competitions: confidence, self expression, self determination, autonomy, creativity, enjoyment etc. This should never be forgotten in the rush to be 'better' or 'more advanced'.

Laura Callaghan, director, Hand on Heart Arts

One size does not necessarily fit all: My feeling is that 'music educators' can sometimes invent structures, theories and progression routes that best fit the types of young people that they work with, but will ultimately not work for all young people. Until we see each young person as a musician in their own right, and until we recognise individual journeys, we will struggle to be flexible enough to fit all young people into our provision and delivery.

Karen Dickinson, director, Music for Little People

We must address issues of quality: There is an awful lot of really rubbish stuff out there heavily marketed and packaged for early years. When I've seen these classes in action, they seem to just put a CD on and madly shake maracas to it. There seems to be little educational content if any, although the marketing claims there are educational advisers for the content.

Sarah Derbyshire, managing director,

National Children's Orchestras of Great Britain

Getting parents and carers involved: It's really vital that we get parents and carers involved in a child's musical education where possible, even if just from a support and encouragement angle. Parents often tell us how much a child has developed since their time with us in the NCO, both musically and socially (how much their time has improved their confidence, they've met new friends with similar interests etc). It's really important that parents appreciate the positive impacts from music.

Christopher Monks, founder and artistic director, AC Academy

Nurturing the leaders of tomorrow: Finding high quality leaders, and sourcing investment to train them is the hardest thing for any organisation. There are plenty of musicians with potential, but little money to support their growth – but this should be priority number one, as everything flows from this. It is the top of the pyramid.

In terms of having the right skills: self confidence (oodles of); wit; the ability to prepare incredibly thoroughly without letting anyone know that you have; and an instinct for the sort of music that will inspire young people at each stage (there is a great deal off naff music out there, this will only put children off). Most importantly, in my view there must be an extraordinary drive that flows from the passion of what you do in addition to being a natural leader.

Arts organisations must get involved: I think all professional arts organisations should undertake and fully embrace the innovative and high-quality delivery of music education across the UK. Funding is another question, but it is out there. I think there are three levels.

Firstly, regular weekly projects should be created and run in schools both for groups of children, and for teachers who will be trained to continue some of the work when the project is complete. Out of school these activities must also engage parents in a positive and proactive way.

Secondly, if appropriate, to create large scale inspired musical projects which culminate in an event or celebration, bringing schools and children together, giving a focus for the activity of number one above. And finally, for these organisations to create an accessible teaching network of the musicians it employs, and to work with hubs, local trusts, schools and parents to ensure those children who seek it, find it.

Christopher Walters, head of teacher development (music),

Trinity College London

Giving educators the right tools: I agree that skills as a musician and skills as an educator are both required to teach music. Historically, however, we haven't always been good at helping music educators get tooled up with both. Many music educators outside of the classroom have trained only as musicians, and even musicians with a flair for communicating often lack the necessary knowledge of safeguarding and inclusion, for example.

Lincoln Abbotts, director of strategic development, ABRSM

Joining up our offer: I think it's really important that as many young people as possible have access to high quality, meaningful musical experiences. In many ways this is about us acknowledging the need for high quality and up to date training opportunities for classroom teachers to have the confidence and skills to deliver this. But it's also about visiting instrumental and vocal teachers working together with these classroom teachers, to achieve a joined up offer.

Henry Vann, public affairs and policy officer,

Incorporated Society of Musicians

GCSE music is in need of reform: I think GCSE should be available (as an option) to all, as the academic, vocational, technical all-round music subject that it is. And we shouldn't be worried about it being a 'formal' qualification either – if we get it right, it could be a really challenging, flexible and accessible option in schools.

Philip Flood, director, Sound Connections

Future leaders need our support: And to get them we need to heavily invest in young music leaders. Help them become peer mentors, working alongside more experienced teachers/musicians, giving them the confidence to develop their leadership skills. I think this carries right through to newly qualified teachers and the middle management in schools and arts organisations. It's complex but vital.

Jonathan Savage, managing director, UCan Play

Let's remember what it is we've got: All I know, from discussion with numerous teachers and music education researchers from across the world over the last 10 years, is that our National Curriculum model of an integrated approach to performance, composition, listening and critical review/evaluation is admired by all. And this is what we are in the process of losing.

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