English: Can I just take a brief moment to thank everybody on the committee, including my fellow committee members, as were, and members of the clerking team? I really enjoyed my time on CWLC, and, even though I'm delighted to be speaking on education now, I'm going to remember those two and a half years, not just with fondness but for the fact that I learned so much there that's going to be valuable in my new portfolio, and I'll come to that as I make my contribution today. This inquiry happened because the people of Wales asked us to do it, and I know it was of particular interest to the Chair, but I didn't realise there was such an appetite for shedding light on what turned out to be a Wales-wide situation until we made this appeal to the Welsh public. And I still think this very innovative way of deciding at least on part of what the committee's work was is very valuable and genuinely worth other policy committees considering. Just with this particular inquiry, the process helped us identify a need for some expert advice, for example, which perhaps you wouldn't have been aware of previously, and that helped us understand that we needed to take another round of evidence, which we did, after we found that matters of importance arose from the original round of evidence gathering. So, very much a moving feast, but a new way of doing things that I think left us all as committee members feeling properly informed before we signed off the recommendations of the report. I'm just going to focus on a few of the recommendations, beginning with the first two. Really, someone has got to take responsibility for the existence and the success of music services, and we think that it should be the Welsh Government, not least as a result of statutory well-being goals that now affect government as well as other public services. We were interested in a range of delivery models, which I'll come back to, but what we were clear on is that this cannot be left to cash-strapped councils trying to rescue these services themselves - the pressure on funding non-statutory activities in all councils is acute these days - and nor can it depend on the interest of key officials within councils, or indeed within school leadership, for these services to exist at all, it seems to me. It's just not a safe way of securing those services. We were also - I think you mentioned it, Bethan - pretty disappointed that no really significant headway had been made on pretty useful recommendations made by the Government's own task and finish group on music services a couple of years ago. Now, having said that, I firmly believe that the design of the delivery of music services is a co-productive activity. I don't think that should be down to Welsh Government. It's not for civil servants, and that's actually why I was very happy to support recommendation 1, because I think the Government's role is to set out strategic objectives for music services that, in my view, go beyond the core purpose of music services, which is growing our next generation of musicians. I think by looking at music participation as a tool in achieving a whole range of well-being and education objectives, even beyond the creative learning plan, if needs be - a tool in tackling poverty, for example. We've got the Kay Andrews report. I'm hoping there'll be some work done on that pretty soon to see how delivery's looking against that. But these are all ways of building a need for music services. So it's not just the core purpose. Music services can do so much more, and other people need to accept that there's a responsibility for ensuring that we maintain those services beyond the core purpose. It means more than one income stream, for a start, and I think there may be some purists out there who think maybe this is a slightly transactional way of looking at music services, but the way I'm looking at it is building on the committee's underlying conclusions that things will fail if we carry on as we are. So, if other policy sectors can start looking at how music can be of value to them - and you did mention some examples, I think, Bethan - then I think its existence becomes more of a political priority. The more people that have a vested interest in it, the better. I think a national body, albeit one that is very regional and local facing, is the best way to ensure that provision is equitable, that standards are maintained, that all parts of Wales are covered, and of course standards of pay for music service providers. I think a national body's got to be the best place for that, as well as to co-ordinate these alternative income streams. So, if that means beefing up the role of the National Youth Arts Wales, or something separate, I really don't mind, but I think we do need that. Then just briefly I'll come back to the question of recommendation 4. One size fits all - we don't need it, it's unwelcome. We had fantastic evidence from, I think it was, a co-operative group in Denbighshire. Why should we reinvent the wheel when the music providers themselves are quite capable of designing services that work well? Just finally I want to say, as an untalented person myself, I rely on others to make music to make me happy, but then so do the lonely, the isolated, those with additional learning needs, communication problems, dementia, those with mental health problems - they rely on music in some cases to help them participate in life, and all of us need it to participate in our national culture. Thank you.
Welsh: A gaf fi gymryd eiliad fer i ddiolch i bawb ar y pwyllgor, gan gynnwys y rhai a fu'n gyd-aelodau i mi o'r pwyllgor ac aelodau o'r tîm clercio? Mwynheais fy amser ar y Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu yn fawr, ac er fy mod yn falch iawn o siarad am addysg yn awr, rwy'n mynd i gofio'r ddwy flynedd a hanner hynny, nid yn unig gyda hoffter, ond oherwydd i mi ddysgu cymaint yno sy'n mynd i fod yn werthfawr yn fy mhortffolio newydd, ac fe ddof at hynny wrth imi wneud fy nghyfraniad heddiw. Digwyddodd yr ymchwiliad hwn am fod pobl Cymru wedi gofyn inni ei wneud, a gwn ei fod o ddiddordeb arbennig i'r Cadeirydd, ond ni sylweddolais fod cymaint o awydd i daflu goleuni ar yr hyn y gwelwyd ei bod yn sefyllfa sy'n codi ledled Cymru nes inni wneud yr apêl hon i'r cyhoedd yng Nghymru. Ac rwy'n dal i feddwl bod y ffordd arloesol hon o benderfynu ar ran o leiaf o'r hyn a fyddai'n waith i'r pwyllgor yn werthfawr iawn ac yn bendant yn werth i bwyllgorau polisi eraill ei hystyried. Gyda'r ymchwiliad penodol hwn yn unig, cynorthwyodd y broses i nodi'r angen am gyngor arbenigol, er enghraifft, na fyddech wedi bod yn ymwybodol ohono o'r blaen efallai, ac roedd hynny o gymorth inni ddeall bod angen inni gasglu rownd arall o dystiolaeth, a gwnaethom hynny, ar ôl canfod fod materion o bwys yn deillio o'r cylch casglu tystiolaeth gwreiddiol. Felly, gwledd symudol yn bendant, ond ffordd newydd o wneud pethau y credaf ei bod wedi sicrhau ein bod oll fel aelodau pwyllgor yn teimlo inni gael ein haddysgu'n briodol cyn i ni lofnodi argymhellion yr adroddiad. Rwy'n mynd i ganolbwyntio ar rai o'r argymhellion yn unig, gan ddechrau gyda'r ddau gyntaf. Mae gwir angen i rywun gymryd cyfrifoldeb dros fodolaeth a llwyddiant gwasanaethau cerddoriaeth, ac rydym yn credu mai Llywodraeth Cymru a ddylai wneud hynny, yn bennaf o ganlyniad i'r nodau llesiant statudol sy'n effeithio ar lywodraeth bellach yn ogystal â gwasanaethau cyhoeddus eraill. Roedd gennym ddiddordeb mewn amrywiaeth o fodelau cyflawni, a byddaf yn dychwelyd atynt, ond roeddem yn glir na ellir gadael hyn i gynghorau heb fawr o arian geisio achub y gwasanaethau hyn eu hunain - mae'r pwysau o ran ariannu gweithgareddau nad ydynt yn statudol ym mhob cyngor yn ddifrifol y dyddiau hyn - ac ni all ddibynnu ar ddiddordeb swyddogion allweddol mewn cynghorau, nac yn wir o fewn arweinyddiaeth ysgolion, er mwyn i'r gwasanaethau hyn fodoli o gwbl, mae'n ymddangos i mi. Nid yw'n ffordd ddiogel o sicrhau'r gwasanaethau hynny. Hefyd, cawsom siom braidd - credaf ichi sôn am hyn, Bethan - na wnaed unrhyw gynnydd sylweddol iawn ar argymhellion go ddefnyddiol a wnaed gan grŵp gorchwyl a gorffen y Llywodraeth ei hun ar wasanaethau cerddoriaeth flwyddyn neu ddwy yn ôl. Nawr, wedi dweud hynny, credaf yn gryf fod cynllunio gwasanaethau cerddoriaeth yn weithgaredd cydgynhyrchiol. Nid wyf yn meddwl y dylai hynny fod yn fater i Lywodraeth Cymru. Nid mater i weision sifil ydyw, a dyna pam yr oeddwn yn hapus iawn i gefnogi argymhelliad 1, oherwydd credaf mai rôl y Llywodraeth yw pennu amcanion strategol ar gyfer gwasanaethau cerddoriaeth sydd, yn fy marn i, yn mynd y tu hwnt i ddiben craidd gwasanaethau cerddoriaeth, sef tyfu ein cenhedlaeth nesaf o gerddorion. Drwy edrych ar gyfranogiad mewn cerddoriaeth fel arf i gyflawni ystod gyfan o amcanion lles ac addysg, hyd yn oed y tu hwnt i'r cynllun dysgu creadigol, os oes angen - arf ar gyfer mynd i'r afael â thlodi, er enghraifft. Mae gennym adroddiad Kay Andrews. Rwy'n gobeithio y bydd rhywfaint o waith wedi'i wneud ar hwnnw'n eithaf buan i weld sut y mae'r ddarpariaeth i'w gweld yn erbyn hwnnw. Ond mae'r rhain oll yn ffyrdd o adeiladu angen am wasanaethau cerddoriaeth. Felly nid yw'n fater o'r diben craidd yn unig. Gall gwasanaethau cerddoriaeth wneud cymaint yn fwy, ac mae angen i bobl eraill dderbyn bod yna gyfrifoldeb i sicrhau ein bod yn cynnal y gwasanaethau hynny y tu hwnt i'r diben craidd. Mae'n golygu mwy nag un ffrwd incwm i ddechrau, ac rwy'n credu efallai y bydd rhai puryddion allan yno sy'n credu efallai ei bod yn ffordd braidd yn weithrediadol o edrych ar wasanaethau cerddoriaeth, ond mae'r ffordd rwy'n edrych arno'n adeiladu ar gasgliadau sylfaenol y pwyllgor y bydd pethau'n methu os ydym yn parhau fel y gwnawn. Felly, os gall sectorau polisi eraill ddechrau edrych ar sut y gall cerddoriaeth fod o werth iddynt hwy - ac fe sonioch am rai enghreifftiau, rwy'n meddwl, Bethan - yna credaf fod ei fodolaeth yn dod yn fwy o flaenoriaeth wleidyddol. Gorau po fwyaf o bobl sydd â budd ynddo. Rwy'n credu mai corff cenedlaethol, sydd er hynny'n gweithredu'n helaeth ar lefel ranbarthol a lleol, yw'r ffordd orau o sicrhau bod y ddarpariaeth yn deg, fod safonau'n cael eu cynnal, fod pob rhan o Gymru'n cael ei chynnwys, ac wrth gwrs fod yna safonau ar gyfer talu am ddarparwyr gwasanaethau cerddoriaeth. Credaf ei bod hi'n rhaid mai corff cenedlaethol yw'r dull gorau o wneud hynny, yn ogystal â chyd-drefnu'r ffrydiau incwm amgen hyn. Felly, os yw hynny'n golygu gwella rôl Celfyddydau Cenedlaethol Ieuenctid Cymru, neu rywbeth ar wahân, nid oes ots gennyf mewn gwirionedd, ond rwy'n credu bod angen inni wneud hynny. Yna'n fyr fe ddychwelaf at y cwestiwn sy'n codi ynghylch argymhelliad 4. Un ateb sy'n gweddu i bawb - nid ydym ei angen, nid yw'n ddymunol. Cawsom dystiolaeth ardderchog gan grŵp cydweithredol yn sir Ddinbych, rwy'n credu. Pam y dylem ailddyfeisio'r olwyn pan fo'r darparwyr cerddoriaeth eu hunain yn gallu cynllunio gwasanaethau sy'n gweithio'n dda? Yn olaf hoffwn ddweud, fel unigolyn di-dalent fy hun, fy mod yn dibynnu ar eraill i wneud cerddoriaeth i fy ngwneud i'n hapus, ond mae hynny'n wir hefyd am y bobl unig, ynysig, y rhai ag anghenion dysgu ychwanegol, problemau cyfathrebu, dementia, pobl â phroblemau iechyd meddwl - maent yn dibynnu ar gerddoriaeth mewn rhai achosion i'w helpu i fyw eu bywydau, ac mae pawb ohonom ei hangen er mwyn cymryd rhan yn ein diwylliant cenedlaethol. Diolch.