My reaction to the new Curriculum Review: Thoughts on the music curriculum

As someone currently completing a PhD in Music and Education, I thought it’s only fair to also share my opinion on the new Curriculum Review.

Over the past few days, I’ve read a range of reactions, from opinion columns to official statements, but I’ve noticed that few have really touched on one key aspect of the report’s music section. On page 98, the review states:

“Some of the terminology is cited as lending itself to a narrow interpretation of genres and repertoires.”

This comment references the idea of the musical canon, and what, or rather who, is included within it. I find this encouraging, as it signals a long-overdue recognition that our national curriculum has historically centred a narrow, Eurocentric view of music. My interpretation of this statement is that the Government is finally acknowledging the clear whiteness embedded in our current curriculum, and that we may soon see more Black British composers and musicians, such as Samuel Coleridge-Taylor, Amanda Aldridge, Joseph Emidy and George Bridgetower (to name few) included within the national narrative.

Importantly, the review also recommends that programmes of study should be diversified, which for music would mean a broadening of what is taught and a greater awareness of different genres and traditions (Musicians Union, 2025). This is a welcome step in the right direction. However, I remain wary of how far this diversification will extend, and whether it will move beyond tokenistic gestures towards genuine systemic change. Diversification can’t just mean adding a few new names to an old framework, it requires rethinking what, and who, we value in music education.

The Musicians'​ Union's response echoes some of this optimism and caution. They welcome the removal of the EBacc and the emphasis on enrichment, but also highlight ongoing issues around funding, workforce support and access to instrumental learning. As the MU points out, music education remains “under-supported,” and even well-intentioned recommendations will falter without sustained investment and a clear strategy for implementation.

Overall, this review offers real promise, but its impact will truly depend on how seriously the call to diversification is enacted. To me, genuine progress means more than inclusion: it means transformation. A curriculum that truly reflects the full spectrum of Britain’s musical heritage, one that centres the voices and legacies too long excluded from the score.

You can find the full report here