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GCSE Music: Year Nine and Ten
Students’ Perceptions and
Enrolment Intentions in Relation
to Music Education Rationale and
Government Educational Policy
BY
MICHAEL JOHN NEWTON BMusEd (Hons)
This thesis is presented for the degree of Master of Music Education of The
University of Western Australia.
School of Music
The University of Western Australia
July 2007
i
ABSTRACT
The international drive among western countries to shift from industrial to knowledge
economies has focussed considerable attention on education. United Kingdom
government educational policy, influenced by the global knowledge economy, has
shifted responsibility for learning work skills from the workplace to schooling and postcompulsory education. Government policy emphasises the importance of education‟s
role in preparing students with the skills, knowledge and understanding required to
enhance the United Kingdom‟s competitiveness in the global market.
In contrast to the work-related emphasis of the wider educational context, music
education emphasises the enrichment of experience. The value of music education is
related to people‟s needs, and the functions it performs in their lives. Music education
should be transformative, creative, enriching and relevant. Participation in music
education is motivated by the intrinsic satisfaction of making music, rather than the
extrinsic need for work-related competencies and qualifications.
Music education competes for students with other subjects in the educational
marketplace when the music curriculum ceases to be compulsory at age fifteen.
Therefore, it is important to understand how students relate not only to music education,
but also to the wider work-related educational context in which their subject
participation choices are made.
Therefore, the purposes of this study are twofold: (1) to establish an overview of how
students perceive music education and the factors that influence their enrolment
intentions, and (2) to establish an overview of how students perceive music within the
wider context of education.
Statements were chosen that were considered representative of the rationales for
education presented by the government and the music education community.
Questionnaires and interviews were developed using the statements, and were
ii
administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE
Music) students
Music was not a relevant subject for most students. However, the perceptions of a small
percentage of students (mainly Music students) did find music education relevant in the
ways the literature suggested it should be. The most common influences on enrolment
were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on
work-related skills and qualifications in the wider educational context, students
generally agreed that Music was a subject better suited to enhancing life and lifestyle
than career options. However, reflecting the wider educational context, Music was
perceived as being more careers/future study orientated than transformative, creative,
enriching and relevant.
iii
ACKNOWLEDGEMENTS
I am indebted to the many people who have contributed to the preparation of this study.
I would like to acknowledge the willingness of the staff and students at the participating
schools to give up their time and become involved in the research.
Thanks are due to the supervisors who have assisted me in the development of the
study. In particular, I would like to thank Dr Nicholas Bannan, for his seemingly
endless support and assistance, and Andrea Stanberg for her assistance. Thanks are also
due to my family and friends (particularly Dad and Miranda) for their invaluable help,
encouragement and editing.
Lastly, my deepest gratitude is owed to Anita, for her infinite patience, understanding,
assistance, and encouragement.
iv
TABLE OF CONTENTS
ABSTRACT ....................................................................................................................... i
ACKNOWLEDGEMENTS ............................................................................................. iii
TABLE OF CONTENTS ................................................................................................. iv
Abbreviations ................................................................................................................... ix
Table of Figures ................................................................................................................ x
Index of Tables.................................................................................................................. x
CHAPTER ONE ............................................................................................................... 1
Introduction ............................................................................................................. 1
Background .................................................................................................... 1
Contextual Background .................................................................................. 2
The Global Context............................................................................... 2
Music Education and the Political and Economic Context .................. 3
Music Education in the United Kingdom ............................................. 4
Significance of this Study .............................................................................. 9
Purposes of the Study ................................................................................... 10
Limitations of the Study ............................................................................... 11
Organisation of Thesis ................................................................................. 12
CHAPTER TWO ............................................................................................................ 14
Literature Review .................................................................................................. 14
Globalisation ................................................................................................ 14
Overview............................................................................................. 14
Organisation for Economic Co-Operation and Development ............ 20
European Union (EU) ......................................................................... 22
Summary ............................................................................................. 24
United Kingdom ........................................................................................... 25
The Department for Education and Skills .......................................... 25
Key Agencies in UK Educational Policy............................................ 26
Government Policy Documents Leading to Legislation ..................... 27
Overview of the UK Education System.............................................. 28
UK and the Knowledge Economy ...................................................... 31
Government Aims and Policy for Education ...................................... 34
v
Summary ............................................................................................. 40
Music Education ........................................................................................... 40
Music .................................................................................................. 40
Musical Innateness, Developmental Theories of Music and Social
Psychological Perspectives ................................................................. 41
Perspectives of Music Education ........................................................ 44
Summary ............................................................................................. 57
Participation in Music Education........................................................ 58
Factors Influencing Subject Choices .................................................. 59
Music and the Wider Educational Context ......................................... 65
Consequences of Educational Policy for music education ................. 67
Discussion ........................................................................................... 68
CHAPTER THREE......................................................................................................... 70
Method ................................................................................................................... 70
Participants ................................................................................................... 70
School A ............................................................................................. 71
School B.............................................................................................. 72
School C.............................................................................................. 73
School D ............................................................................................. 74
Procedure ...................................................................................................... 75
Questionnaires .................................................................................... 75
Interviews ........................................................................................... 77
Treatment of Data......................................................................................... 77
Questionnaires .................................................................................... 77
Interviews ........................................................................................... 79
Ethical Considerations.................................................................................. 79
CHAPTER FOUR ........................................................................................................... 80
Results ................................................................................................................... 80
Influences on Enrolment Decisions.............................................................. 80
Participation in Music ......................................................................... 80
Reasons for Enrolling or Not Enrolling in GCSE Music ............................. 82
Enjoyment of Music at KS3 ............................................................... 82
Subject Selection ................................................................................ 85
Relevance of School Music ........................................................................ 104
School Provision of Musical Activities ............................................ 104
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The Significance of School Music, and Music in General, to
Students ...................................................................................................... 107
The Importance of School Music to Students‟ Overall Education
and Future Career/Study ............................................................................ 118
The Rationales for Education ..................................................................... 120
Music Education ............................................................................... 120
Government Policy ........................................................................... 132
The Intersection of music education, and Education as Preparation
for Work and Further Study.............................................................. 138
The Importance of Music to Students‟ Future Careers/Study .................... 145
Students‟ Perceptions of What Music is Best Suited to: Skills,
Qualifications and Preparation for Work or Enhancing Quality
of Life ......................................................................................................... 150
The Importance of Music to Students‟ Future Careers/Study .................... 151
CHAPTER FIVE........................................................................................................... 154
Discussions, Conclusions and Further Research ................................................. 154
Participation in Music ................................................................................ 154
Influences on Enrolment ............................................................................ 155
Enjoyment ......................................................................................... 155
Musical Ability ................................................................................. 156
Relationship of Music to Careers and Work..................................... 158
Other Influences................................................................................ 158
The Relevance of Music Education to Students ........................................ 159
The Rationales for Education ..................................................................... 164
Music Education ............................................................................... 165
Government Rationales and Policy .................................................. 172
Intersection of Music Education and Government Rationales ......... 174
Summary .................................................................................................... 178
Further Research ........................................................................................ 182
References ..................................................................................................................... 184
Appendix A ................................................................................................................... 207
Letter to Headteachers ......................................................................................... 207
Appendix B ................................................................................................................... 209
Initial Letter to Heads of Department .................................................................. 209
Appendix C ................................................................................................................... 211
vii
Second Letter to Heads of Department ................................................................ 211
Appendix D ................................................................................................................... 213
Parent/Guardian Letter......................................................................................... 213
Appendix E ................................................................................................................... 214
Questionnaire Statements and Their Sources ...................................................... 214
Appendix F .................................................................................................................... 216
Year 10 GCSE Music Questionnaire ................................................................... 216
Appendix G ................................................................................................................... 225
Year 10 Non-GCSE Questionnaire...................................................................... 225
Appendix H ................................................................................................................... 234
Year 9 Questionnaire ........................................................................................... 234
Appendix I..................................................................................................................... 243
School A – Year 9 Interview 1 ............................................................................ 243
Appendix J .................................................................................................................... 249
School A – Year 9 Interview 2 ............................................................................ 249
Appendix K .................................................................................................................. 251
School A – GCSE Music Interview 1 .................................................................. 251
Appendix L ................................................................................................................... 256
School A – GCSE Interview 2 ............................................................................. 256
Appendix M .................................................................................................................. 262
School A – Non-GCSE Music Interview 1.......................................................... 262
Appendix N ................................................................................................................... 266
School B – Year 9 Interview 1 ............................................................................ 266
Appendix O ................................................................................................................... 270
School B – Year 9 Interview 2 ............................................................................ 270
Appendix P .................................................................................................................... 276
School B – GCSE Music Interview 3 .................................................................. 276
Appendix Q ................................................................................................................... 281
Appendix R ................................................................................................................... 284
Appendix S .................................................................................................................... 288
Appendix T ................................................................................................................... 292
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Appendix U ................................................................................................................... 296
School B – Non-GCSE Music Interview 1 .......................................................... 296
Appendix V ................................................................................................................... 299
School B – Non-GCSE Music Interview 2 .......................................................... 299
Appendix W .................................................................................................................. 304
School C – Year 9 Interview 1 ............................................................................ 304
Appendix X ................................................................................................................... 307
School C – Year 9 Interview 2 ............................................................................ 307
Appendix Y ................................................................................................................... 310
School C – GCSE Music Interview 1 .................................................................. 310
Appendix Z ................................................................................................................... 314
School C – GCSE Music Interview 2 .................................................................. 314
Appendix AA ................................................................................................................ 317
School D – Year 9 Interview 1 ............................................................................ 317
Appendix BB................................................................................................................. 321
School D – Year 9 Interview 2 ............................................................................ 321
Appendix CC................................................................................................................. 324
School D – GCSE Music Interview 1 .................................................................. 324
Appendix DD ................................................................................................................ 326
Appendix EE ................................................................................................................. 329
Appendix FF ................................................................................................................. 333
Appendix GG ................................................................................................................ 337
School D – Non-GCSE Music Interview 1 ......................................................... 337
ix
Abbreviations
A Level
Advanced Level
AS Level
Advanced Supplementary Level
DCSF
Department for Children, Schools and Families
DfEE
Department for Education and Employment (now the DCFS)
DfES
Department for Education and Skills (now the DCFS
DTI
Department of Trade and Industry
DWP
Department for Work and Pensions
EC
European Commission
EU
European Union
GCSE
General Certificate of Secondary Education
HM Treasury
Her Majesty‟s Treasury
KS2
Key Stage Two
KS3
Key Stage Three
KS4
Key Stage Four
LEA
Local Education Authority
LSC
Learning and Skills Council
OECD
Organisation for Economic Co-Operation and Development
Ofsted
Office for Standards in Education
QCA
Qualifications and Curriculum Authority
SEN
Special Educational Needs
UK
United Kingdom
x
Table of Figures
Figure 1. Number of fifteen years old students enrolled in GCSE Arts subjects (DCSF,
2008 ). ............................................................................................................................... 6
Figure 2. Percentage of fifteen years old students enrolled in GCSE Arts subjects
(DCSF, 2008). ................................................................................................................... 6
Figure 3. Overall GCSE enrolment at age fifteen (DCSF, 2008). .................................... 7
Figure 4. Economic pressure in globalisation ................................................................. 16
Figure 5. The low skills equilibrium economy. .............................................................. 32
Figure 6. Overview of the new 14-19 curriculum (DfES, 2005c). ................................. 38
Figure 7. Potential Outcomes of music education (Hargreaves et al. 2003). .................. 52
Figure 8. Reported enjoyment of class music lessons (Lamont et al., 2003).................. 62
Index of Tables
Table 1. Enjoyment of GCSE arts lessons (Harland et al., 2000a, p525) ......................... 7
Table 2. Comparison of UK 3conomy against the G7 and OECD Countries (OECD,
2005b). ............................................................................................................................ 31
Table 3. Categories of music participant based on the role of music in their lives (Gates,
1991). .............................................................................................................................. 59
Table 4. Percentages of student reasons for enrolling in GCSE Music compared to other
GCSE arts subjects (Harland et al., 2000a, p520). .......................................................... 60
Table 5. Percentages of student reasons for not enrolling in GCSE Music compared to
other GCSE Arts subjects (Harland et al., 2000a, p522). ............................................... 61
Table 6. GCSE participation by gender (Harland et al., 2000a, p514). .......................... 62
Table 7. The number of participants in each cohort in each school. Total = 346 Students
......................................................................................................................................... 76
Table 8. Qu.3 „How easy is it to find musical activities outside school that you want to
participate in?‟ prior to recoding ..................................................................................... 78
participate in?‟ after recoding ......................................................................................... 78
Table 10. Students rating of their current participation levels (percentages) ................. 80
Table 11. Cross-tabulation of male students‟ current and future participation levels
(figures are a percentage of each cohort). ....................................................................... 81
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Table 12. Cross-tabulation of female students‟ current and future participation levels
(figures are a percentage of each cohort). ....................................................................... 81
Table 13. Average age at which students first started to learn music. ............................ 82
Table 14. The influence of enjoyment on enrolment intentions. .................................... 83
Table 15. Explanations of the non-Music students who thought their enjoyment of KS3
music did not influence their enrolment decisions. ......................................................... 84
Table 16. Explanations of the Music students who thought their enjoyment of KS3
music did influence their enrolment decisions. ............................................................... 85
Table 17. Reasons why students believe others enrol in GCSE Music (% of students). 90
Table 18. Reasons why students believe others do not enrol in GCSE Music (% of
students) .......................................................................................................................... 91
Table 19. Reasons why Year Ten non-GCSE Music students thought music was not a
good course to enrol in (% of students). ......................................................................... 92
Table 20. The main factors influencing Year Nine students not to enrol in GCSE Music.
......................................................................................................................................... 93
Table 21. The main factors that might influence Year Nine students not intending to
enrol in GCSE Music to reconsider. ............................................................................... 94
Table 22. Reasons why GCSE Music students thought music was a good course to enrol
in...................................................................................................................................... 95
Table 23. What Year Nine students hoped to gain from enrolling in GCSE Music. ...... 96
Table 24. The main factors that might cause Year Nine students intending to enrol in
GCSE Music to reconsider. ............................................................................................. 97
Table 25. The strongest influences to enrol in GCSE Music (% of students). ............... 98
Table 26. The people with the biggest influence on GCSE Music enrolment intentions.
......................................................................................................................................... 98
Table 27. The importance of instrumental ability when deciding to or not to enrol in
GCSE Music. ................................................................................................................ 102
Table 28. Students‟ perception of the effect of beginning to learn an instrument at an
earlier age on Year Nine enrolment intentions. ............................................................ 103
Table 29. The effect of learning an instrument on Year Nine enrolment intentions. ... 103
Table 30. The frequency with which schools provide musical activities students want to
participate in. ................................................................................................................. 104
Table 31. Musical activities provided by schools that students want to participate in. 105
Table 32. Activities not provided by school that students would like to participate in.106
Table 33. Students‟ preference for school music compared to out-of-school music. ... 107
xii
Table 34. The importance of music and school music in students lives. ...................... 107
Table 35. The ways in which school music is important in students‟ lives. ................. 109
Table 36. The main ways in which school music enhances students‟ lives.................. 110
Table 37. Students‟ perceptions of school music making and real-life music making. 116
Table 38. Reasons for studying music. ......................................................................... 117
Table 39. Music as a serious subject in its own right. .................................................. 118
Table 40. Perceptions of the importance of music education to their overall education.
....................................................................................................................................... 119
Table 41. Perceptions of the importance of music to their future career or study. ....... 120
Table 42. Students‟ responses to the statement „Music education helps to develop selfgrowth, self-esteem, and self-knowledge‟. ................................................................... 121
Table 43. Students‟ responses to the statement „Musical experiences are unique‟. ..... 121
Table 44. Students‟ responses to the statement „Music helps shape your understanding
of the world around you‟. .............................................................................................. 122
Table 45. Students‟ responses to the statement „Music helps form your identity and
character‟. ...................................................................................................................... 122
Table 46. Students‟ responses to the statement „Music enriches what you study in other
subjects‟. ....................................................................................................................... 123
Table 47. Students‟ responses to the statement „Music makes a unique contribution to
human existence‟........................................................................................................... 123
Table 48. Students‟ responses to the statement „Performing music is a unique way of
knowing, bring and doing‟. ........................................................................................... 124
Table 49. Students‟ responses to the statement „I am motivated by the intrinsic
satisfaction of making music‟. ...................................................................................... 124
Table 50. Students‟ responses to the statement „I am motivated by being part of a
musical community‟ ...................................................................................................... 125
Table 51. Students‟ responses to the statement „Music as a practical activity (making
music) should be central to music education‟. .............................................................. 125
Table 52. Student Perceptions of what music is „good for‟. ......................................... 127
Table 53. Students‟ responses to the statement „Education Equips Your for Work and
Prepares You to Succeed in the Economy and in Society‟ ........................................... 132
Table 54. Students‟ responses to the statement „In the Twenty-First Century, it will be
Important to Develop the Ability to Learn Throughout Life‟. ...................................... 133
Table 55. Students‟ responses to the statement „Strong Links Between Schools and
Employers are Necessary to Prepare for Adult and Working Life‟. ............................. 133
xiii
Table 56. Students‟ responses to the statement „Education Helps to Improve Your
Chances of Getting a Job and Increases your Potential to Learn‟................................. 134
Table 57. Students‟ responses to the statement „The Ability to Cope With Change will
be Essential to Succeed in the Twenty-First Century‟. ................................................. 134
Table 58. Students‟ responses to the statement „I am Motivated by the Need to Gain
Skills and a Qualification‟. ............................................................................................ 135
Table 59. Students‟ responses to the statement „The Ability to Learn Throughout Life is
Essential for a Successful Future‟. ................................................................................ 135
Table 60. Students‟ responses to the statement „Writing, Maths, Communication and
Information Technology Skills are Important for Success After you Leave School‟. .. 136
Table 61. Students‟ responses to the statement „I am More Motivated by the Satisfaction
Gained from Taking Part in Education Than the Need for Skills and Qualifications‟. 136
Table 62. Cross-tabulation of responses to the statement that „Education/music
education Equips You for Work and Prepares You for Success in the Wider Economy
and Society‟. .................................................................................................................. 138
Table 63. Cross-tabulation of responses to the statement that „Strong Links Between
Schools/School Music Departments and Employers are Necessary to Prepare for Adult
and Working Life‟. ........................................................................................................ 139
education Helps to Improve Your Chances of Getting a Job and Increases Your
Potential To Learn‟. ...................................................................................................... 140
Table 65. Cross-tabulation of responses to the statement that „The Ability to Cope With
Change will be Essential to Succeed in the Twenty-First Century/Learning Music Helps
You to Develop the Capacity to Cope With Change‟ ................................................... 141
Table 66. Cross-tabulation of responses to the statements that „I am Motivated by the
Need to Gain Skills and a Qualification‟ and „Music Should be Studied to Gain a
Qualification‟. ............................................................................................................... 142
Table 67. Cross-tabulation of responses to the statements that „Education Should Help
Develop Self-Growth, Self-Knowledge, and Self-Esteem‟ and „music education Helps
to Develop Self-Growth, Self-Knowledge and Self-Esteem‟. ...................................... 143
Table 68. Cross-tabulation of responses to the statement that „The Ability to Learn
Throughout Life is Essential for Successful Future‟ and „music education Develops
Your Ability to go on Learning Throughout Life‟. ....................................................... 144
Table 69. Cross-tabulation of responses to the statement that „Writing, Math‟s,
Communication and Information Technology Skills are Important for Success After
xiv
You Leave School‟ and „Music Helps You to Develop Critical Thinking, Reading,
Writing, Math‟s and Communication and Information Technology Skills‟. ................ 145
Table 70. The importance of music to students‟ future career or study........................ 146
Table 71. Students‟ perceptions of whether music is better suited to career or lifestyle.
....................................................................................................................................... 150
Table 72. Students‟ perceptions of whether school music is better suited to career or
lifestyle. ......................................................................................................................... 151
Table 73. The importance of music to students‟ future career or study........................ 153
1
CHAPTER ONE
Introduction
Background
In government reviews and plans throughout the world there are similar themes
emerging as a result of global market pressures: competitiveness, competencies,
increasing participation in education, and the need for workers to continue learning
throughout life in order to contribute to the economy (life-long learning) (Jarvis, 2000).
The global economic imperative has a large influence on national education policies.
Until relatively recently the workplace was the site of learning for work. However, over
the last two decades, responsibility for learning work skills has shifted to schooling and
post-compulsory education (Spierings, 2002). Whereas previously the objectives of
education were based around knowledge and general culture, they are now centred on
work influenced skills and concepts such as life-long learning, competencies, flexibility,
and transferable skills (Hirtt, 2005). The market and employers have largely externally
prescribed the definition of legitimate knowledge to be taught in schools (Dale, 2000).
In the United Kingdom (UK) future prosperity is seen as depending on the country‟s
response to globalisation. The challenge faced by the government is to equip the UK for
the „knowledge economy‟ (DfEE, 1998). To this end the government is “committed to
securing a well educated, highly skilled workforce in a knowledge driven economy”
(DfES, 2003a, p21).
The forces that shape education in general influence music education. Music education
competes with other subjects (within the work-related context) for students when the
music curriculum ceases to be compulsory at age fifteen. An understanding of students‟
perceptions of music within a standardised and commodified educational context should
illuminate the extent to which they value, and how they value, music education.
Therefore, it is important to determine how students perceive music education in
relation to the wider educational context. This study originated from an interest in the
2
politics underpinning current educational policy and how music education is positioned
within that context.
Contextual Background
The Global Context
Contemporary schooling is being restructured in the image of the post-modern
marketplace. Personal choice and self-reliance are celebrated freedoms, and schools are
splintering into market niches (becoming increasingly specialised) (Allsup, 2004 p179).
Mansfield (2004) describes the current context of music education as being enframed
within a “political, economic and social milieu, one in which governments in nation
states buckle as they are held to ransom by the avarice and wealth of trans-national
corporations” (p42). The new power bloc has increasing influence in educational and
social policy and is “committed to neo-liberal marketised solutions to educational
problems” (Apple, 2003, p4). In general, the aims of neo-liberal policy are “to provide
the educational conditions believed necessary for… increasing international
competition, profit and discipline” (Apple, 2003, p4).
The objectives of education are similar to those guiding (globally influenced) economic
and social welfare goals, including the dramatic expansion of the free market, the
reduction of government responsibility for social needs, the reinforcement of intensely
competitive structures of mobility inside and outside school and decreasing people‟s
expectations of economic security (Apple, 2003). The economic and cultural
consequences are of concern for music education as “we work within a context
enframed, imaged, controlled and selected by the global cultural conglomerate”
(Mansfield, 2004, p45).
As an analyst of music education, Elliott (1995) outlines the role of teaching as
delivering the product (curriculum) to consumers (students) as efficiently as possible.
Teachers are „edu-retailers‟ who „sell‟ the received wisdom of subject matter. He
describes the goal as not knowledge, growth or enjoyment, but as achieving reductional
objectives. Music cannot be broken down into objectives (in terms of verbal concepts)
3
as musical practices depend on knowledge (musicianship) that is procedural in essence
(Elliott, 1995).
Despite this, the accountability required by policies of growth and development locks
music education into attempting to describe how music knowledge fits into a
„knowledge economy‟ (Mansfield, 2005). The question remains as to how (or if) music
knowledge can be conceived theoretically and procedurally in economic terms
(Mansfield, 2005).
Music Education and the Political and Economic Context
Decline in standards and achievement, and pleas from industry for better-educated
workers, has encouraged politicians to respond with a call for a return to basics; an
emphasis on core curriculum and strengthened connections between education and the
workforce (Johnson, 1991). Apple (2003) describes a growing mistrust of public
schooling, in which we are told educational systems must be more competitive and
efficient, leading to a call for the return of „basics‟. The primary responsibility of the
school system has “shifted to a societal philosophy that has as its goal the education of
individuals and groups to successfully compete in a society dominated by principle of
the national and world marketplace” (Colwell, 2000). The social system is organised to
ensure optimum efficiency and productivity. Productivity is defined as the maximum
output from the minimum input (Koopman, 2005). Whilst this might appear to be a
positive force it is more totalitarian in the way it takes possession of all kinds of practice
(Koopman, 2005).
Plummeridge (2001) describes current government thinking and policy on education as
a curious mixture of reconstructionalist and traditional ideals. Although music and arts
education are recognised as being of value, their position remains peripheral. Music is
seen as recreational or at best as enrichment (Ball, 1992). Artistic action is positioned as
an “extravagant mode of behaviour, particularly if efficiency is measured in terms of
money” (Koopman, 2005, p121). Apple (2000) also describes the knowledge
represented by the arts as too expensive, when educational output must be connected to
programmes of economic improvement. In the ideological struggle for control of
modern education, its curriculum and pedagogies, music has been caught up in the
“state sponsored emphasis on economic instrumentalism and the performative
4
calculation of educational value” (Davis, 2005, p47). This marginalises the arts,
presenting them at odds with the serious commerce of life (Koopman, 2005).
The current educational context is philosophically concerned (almost exclusively) with
economics. Subjects are judged by utility (Ball, 1992). The priority of music education
has declined in this context (Johnson, 1991; Colwell, 2000; Apple, 2000). Music has
little importance in the economic balancing act of educational policy (Pitts, 1998). For
most people music has little or nothing to do with earning a living and is therefore not
basic to education. Whilst the benefits of the arts within an economic context can be
advocated, Ball (1992) and Johnson (1991) argue that it is better to broaden or challenge
the initial premise of music education.
Music Education in the United Kingdom
As a part of the United Kingdom (UK) National Curriculum, music is compulsory for
all students up to age fourteen. After fourteen years of age, students have the choice of
continuing with music or opting for other subjects (Key Stage Four). In addition to class
music many schools offer extra-curricular activities such as instrumental lessons, bands,
orchestras, choirs, concerts and staged shows (National Music Council, 2002). The
National Curriculum aims to engage pupils in making and responding to music, offering
opportunities for them to (DfES, n.d.):
 Develop their understanding and appreciation of a wide range of
music, extend their own interests and increase their ability to make
judgments about music quality;
 Acquire the knowledge, skills and understanding needed to make
music, e.g. in community music making, and, where appropriate, to
follow a music-related career;
 Develop the skills, attitudes and attributes that can support learning in
other subject areas and are needed for employment and life, e.g.
listening
skills,
concentration,
creativity,
intuition,
aesthetic
sensitivity, perseverance, self-confidence and sensitivity towards
others.
5
Local Education Authorities (LEA) provide instrumental tuition through their Music
Services. A recent government survey of instrumental tuition provision (Hallam &
Rogers, 2003) found that:
 Music Services were an integral part of eighty-three percent of LEAs;
 Music Services offered a wide range of services to individual pupils
and schools across a broad range of genres;
 Eight percent of the school population (in 2003) received tuition,
likely to increase as seven percent of KS2 students began tuition in the
year preceding the study;
 Tuition and workshops were offered outside compulsory schooling by
most music services.
All schools are required to make at least one arts course leading to an approved
qualification available to students at Key Stage Four (KS4). The arts entitlement area
(Qualifications and Curriculum Authority, n.d.a):
 Involves students in making, sharing and responding to works of art as
a dynamic part of culture past and present. This includes all art forms,
for example paintings, sculpture, theatre, films and musicals;
 Is met by the existing arts curriculum disciplines of art and design,
music, dance, drama and media arts. It does not include literature, as
opportunities already exist for this area within English.
KS4 Music students progress from General Certificate of Secondary Education (GCSE)
Music in Years Ten and Eleven (fifteen to sixteen years old), to Advanced
Supplementary and Advanced Level Music in Years Twelve and Thirteen (seventeen to
eighteen years old). The GCSE courses on offer are designed to encourage students of
all abilities to study music.
There is a widespread perception that music participation at the secondary level in the
UK is declining (Lamont, Hargreaves, Marshall & Tarrant, 2003). Since 1997,
enrolment has increased slightly in numbers (see Figure 1). However, music enrolment
as a percentage of the number of students enrolling in GCSE at age fifteen has
remained, like Drama, fairly static (see Figure 2). In comparison, overall GCSE
6
enrolments have increased markedly until recently (see Figure 3). The Qualifications
and Curriculum Authority (QCA) report on music education in the UK identified the
low participation rates as a key issue (QCA, 2004).
Despite improvements in the provision of music education, curricular music is seen by
students as detached and irrelevant compared with their experience of music beyond the
classroom (Ofsted, 2005). Student enjoyment, perceptions of relevance, skill
development, creativity and expressive dimensions were also often absent (see Table 1).
Overall, music was the most problematic and vulnerable of the art forms (Harland,
Kinder, Lord, Stott, Schagen & Haynes et al., 2000a).
Number of Fifteen Year Old Students Enrolling in GCSE Arts
Subj ects.
250
200
Number
(Thousands)
150
Art & Design
Drama
Music
100
50
06
20
04
05
20
03
20
20
02
20
01
99
00
20
20
19
98
19
97
19
19
96
0
Year
Figure 1. Number of fifteen years old students enrolled in GCSE Arts subjects (DCSF,
2008 ).
Percentage of Fifteen Year Old Students Enrolled in GCSE Arts
Subj ects.
40
35
Percent
30
25
Art & Design
Drama
Music
20
15
10
5
0
1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006
Year
Figure 2. Percentage of fifteen years old students enrolled in GCSE Arts subjects
(DCSF, 2008).
7
Ov erall GCSE Enrollment at Fifteen Years of Age.
640
620
600
Number of 580
Students
(Thousands) 560
540
520
500
1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006
Year
Figure 3. Overall GCSE enrolment at age fifteen (DCSF, 2008).
Always/most of the time
Sometimes
Hardly ever/never
No Response
Music
%
65
21
9
5
Drama
%
84
10
2
4
Dance
%
73
12
0
15
Art
%
76
16
2
6
Table 1. Enjoyment of GCSE arts lessons (Harland et al., 2000a, p525)
Key Stage Four
Option choices at KS4 generally operate within some kind of market economy. There is
no evidence that there are more students wanting to enrol in Music than can be
accommodated by school option systems. In comparison, demand for Art means it often
features in more than one option column (Bray, 2000). Music is a subject most students
want to give up at the point where it becomes optional (KS4). Bray (2000) concludes
that this is because Music is not catering to their needs.
The number of students enrolling in GCSE Music constitutes a valid indicator of its
recognition as a relevant and attractive subject (Harland et. al, 2000a). In the UK, where
subject funding is often linked to enrolment, participation rates are also important in
8
establishing the importance of subjects in relation to each other. Compared to Art and
Drama, Music attracts a significantly lower number of students (Bray, 2000).
Swanwick and Lawson (1999) speculate that a lack of „authenticity‟ accounts in part for
the tendency of secondary students to become progressively disenchanted with schoolbased music. Despite this, Lamont, Hargreaves, Marshall and Tarrant (2003) reported
that few students wanted Music dropped from the curriculum as it provided a welcome
diversion from more academic subjects. However, very few students expressed interest
in GCSE Music, which was seen as a highly specialised subject not relevant or
necessary for careers (Lamont, Hargreaves, Marshall, & Tarrant, 2003). They concluded
that students appeared to make informed choices about their participation in music
beyond the statutory curriculum. Only a small proportion of students were interested in
pursuing the developmental pathway of a career in music by enrolling in GCSE Music
(Lamont, Hargreaves, Marshall & Tarrant, 2003).
Wright (2002) found that the majority of students who enrolled in GCSE Music did so
because they enjoyed music, followed by the desire to continue and develop
instrumental learning. A “sizable proportion” enrolled in Music because it was part of
their career plan, suggesting that the career outcomes of study were in the forefront of
students‟ minds when making subject choices (Wright, 2002, p233-234). Music at KS4
remains the preserve of students with a particular interest in music.
When students have the choice of enrolling in music education‟s post-compulsory
curriculum, most choose not to. Participation in music has been found to be
problematic, with low enrolment rates and low perceptions of impact. Compared with
their out-of-school musical lives, students attach little importance to school music,
suggesting a perceived lack of relevance or legitimacy.
The challenge, then, is to discover why students continue (or do not continue) with
school music. This question needs to be placed within the wider secondary educational
context, which places pressure on education to meet largely economic and instrumental
educational ends.
9
Significance of this Study
Apple (2003) suggests “no analysis of education can be fully serious without placing at
its very core a sensibility to the ongoing struggles that constantly shape the terrain on
which the curriculum operates” (p4). Given that education initiates students into the
knowledge, skills, and values common to adult society it is essential to reflect on whose
values music education advocates (Bresler, 1998b). Harris (1996) identifies a conflict of
values between those who promote education for the personal growth of students and
those who see it as preparation for the workforce. The general direction of debate in
music education is described as tending to “focus on the detail of the syllabus, rather
than the broader means for its existence” (Pitts, 2000, p39).
Lamont, Hargreaves, Marshall and Tarrant (2003) found that the most frequently
researched subjects were (not in order of frequency); Science, Mathematics, Physical
Education, Design Technology, and Information Communication Technologies. A
paucity of research in Modern Foreign Languages, Geography, History, Art, Drama, and
Music was identified. The students‟ experience of the curriculum has been identified as
a neglected area of research. This was seen as corresponding to the politics of power, in
which students lack authority and are marginalised in policy discussions (Bresler,
1998b). The QCA (2004) identified the need for more research into the reasons for the
discrepancy between interest and involvement in (GCSE) qualifications.
Bowman (1998) proposes that the commodification of musical action distances or
alienates that action from its roots in human agency. The resulting social situation based
around standardisation and technocratic power is devoid of human meaning and
significance, and is increasingly vulnerable to manipulation. As a multi-generational
process, each generation needs to revisit educational objectives and reframe them in the
light of the current place and time. This is particularly important during the cultural,
technical, social, political, spiritual and economic revolution of our time (Jorgensen,
2003b). Within a commodified and standardised educational context (based around
qualifications and work-based skills), students‟ perceptions of music as a subject should
illuminate the extent to which (if at all) school musical experience is valued.
10
Education is uniquely susceptible to change resulting from political, social, economic
and technological developments. The arts in education will be shaped to a large extent
by the forces that shape education in general. It is hoped this study will help inform, and
provide insight into, the intersection of the rationales and values underpinning music
education with those of the current wider political and economic educational context.
Whilst there is a wealth of literature relating to the advocacy of music education, few
studies were found relating to rationales for its inclusion in the curriculum.
Additionally, few studies were found regarding students‟ motivations for participating
in music education after compulsory provision (end of Key Stage Three). No studies
were found relating to student perceptions or judgments of the conflicting rationales for
education outlined in government policy and music education literature.
Several studies relate to this research. The Musical Futures project aimed to understand
students‟ commitment to, and sustained engagement in, musical participation (Price,
2005). Pieridou-Skoutella (2007) and Ho and Law (2006) investigated the construction
of national music identities in relation to globalisation (in Cyprus and Hong Kong,
Shanghai and Taipei respectively). Stavrou (2006) investigated students‟ perceptions of
the received curriculum in Cyprus primary schools, whilst Forari (2007) investigated the
formation, implementation and reception of music education policy in Cyprus.
However, this study is not concerned with the construction of national identities. Rather,
it concentrates on students‟ perceptions of music education within a wider educational
context framed by global economic pressures. To the researchers knowledge this is the
first study investigating students‟ perceptions and judgements of the stated rationales for
(music) education, compared to, and in the context of, those set out by the UK
government.
Purposes of the Study
Given the limited research found, the overarching purpose of this study is to establish an
overview of students‟ post-compulsory Music enrolment decisions. More specifically,
the purpose is twofold:
11
1. To establish an overview of how students perceive music education and the
factors that influence their enrolment intentions
2. To establish an overview of how students perceive music within the wider
context of education. Having established an overview, more focussed avenues of
research could then be identified.
Therefore, the research questions for this study are:
1. What factors contribute to, or influence students in their decisions to continue
music education after the compulsory years of schooling?
 Is there any relationship between students‟ perceived current and
future participation levels and GCSE Music enrolment?
 In what ways is school music relevant to students?
 What are the main reasons identified by students for enrolling or not
enrolling in GCSE Music?
 To what extent do external factors (such as parent, friends, teachers)
influence students' GCSE Music enrolment decisions?
2. To what degree do students relate to the rationales for education as set out by the
government and the music education community?
 To what extent do students identify with the rationales underpinning
music education?
 To what extent do students identify with the rationales for education
set out in government policy?
 To what extent are students‟ perceptions of music congruent with the
government emphasis on future work and/or study?
Limitations of the Study
Due to the pressure on staff and schools in terms of time and the need to produce
examination results, music departments were unwilling to commit to a larger scale
study. Therefore, this study was scaled down from the original intention of
12
encompassing Years Nine to Twelve to focus only on Years Nine and Ten. Four schools
agreed to commit, with all but one from the same LEA, providing further limitations.
It was not possible to run a longitudinal study to determine, for example, any change in
students‟ perceptions from Year Nine to Year Ten. Other restrictions were placed on the
gathering of data by the non-attendance of students for the questionnaires and/or
interviews. This was largely due to absence from school or forgetfulness. One school
refused access to the Year Ten non-GCSE Music students for interview purposes during
class time, citing academic pressures. It was concluded, in consultation with the school
staff, that rescheduling the interviews for lunchtime or after school would not be
effective as the majority of students would not be likely to attend. In this instance, the
interviews were cancelled.
Organisation of Thesis
The thesis is organised into six main sections. The Introduction provides an overview
covering the background, contextual background, significance, purposes, and
limitations. The Literature Review forms the second chapter and encompasses five main
sections. The first four sections move from a broad global perspective to a national
perspective. Globalisation deals with the overarching issues influencing national
educational policies, including the Organisation for Economic Cooperation and
Development and the European Union viewpoints and their roles in shaping education.
The United Kingdom section provides an overview of the national educational policies,
aims and objectives, based on policy documents and discussion papers published by
government and interest groups. The final section is comprised of the music education
literature review.
The Method outlines the participants and their background, the administration of the
questionnaires and conducting of the interviews, the treatment of the data, and relevant
ethical considerations.
The Results chapter combines the results of the questionnaires and interviews following
the format of the research questions. In the final chapter (Discussion, Conclusions and
13
Further Research) the results are discussed, conclusions drawn, and recommendations
for further research given.
14
CHAPTER TWO
Literature Review
In order to understand the students‟ individual motivations for enrolling in music
education, the decision-making pressures and influences of the wider context must be
understood. Students‟ choices are influenced and guided in part by government policy
(which sets the wider educational agenda). Government policy is, in turn, influenced
and guided by global trends and issues. The Literature Review examines these global
trends and issues, and the resultant UK educational policy. This is contrasted with the
rationales underpinning music education. Although the rationale underpinning music
education is not economic in its basis, the wider context in which music education in
schools exists is. The tension between the differing government policy and music
education rationales, and their influences on student enrolment decisions, forms the
context in which the study is set. The Literature Review explores these two strands.
Globalisation
Overview
Globalisation is a contested term that refers to diverse political, social, technological,
economic and cultural changes. Whilst the term is commonly applied to recent
developments, globalisation is not a new phenomenon. Fitzsimons (2000) suggests that
for the last three hundred years the western economic (capitalist) system has been
outgrowing the nation state. The current wave of globalisation (post-communism) is
characterised by the expansion of the global community, global civil rights issues, an
increase in global institutions and movements, increased trans-national movement of
people, and the consolidation of multi-national corporate power.
Globalisation is commonly conceived of as a compression of space and time, in which
distance is covered more quickly, and people, goods, images, and information are
available almost instantly (Singh, 2004; Papastephanou, 2005; Edwards & Usher, 1997;
Porter, 1999). Papastephanou (2005) sums up the economic, political and cultural
effects of globalisation as
15
an empirical phenomenon that has primarily been felt as a structural
transformation of the world economic system operating in a complex
dialectics with time and space compression effected by advances in
technology and communication. Politically, globalisation is playing a
major role in issues of state sovereignty, world order, extra-state
policies and administration practices. Culturally it is intervening
dramatically in the (re)shaping of identities and self-conceptions, the
premises of human encounter and exchange of world interpretations
and the frame of diverse sensitivities, creativities, and responses to
aesthetic experience (p534).
During the nineteenth century, trade was in durable goods and natural resources.
Nations drew their economic power from „hard‟ capital such as manufacturing and
industry (Barber, 2000). The workforce was comprised of largely unskilled or barelyskilled labour (Glazer, 1993). Trade in western countries has shifted to knowledge,
information, and ideas. The world economy has become an engine of transformation
and globalisation. It has separated from, and sometimes moves against rather than with,
national systems of political organisation (Clayton, 2004).
Central to globalisation are new forms of economic organisation and the spread of
worldwide cultural messages through new communication technologies. The new forms
of economic organisation are based around trading information and knowledge,
variously known as (amongst others) the „new economy‟, „knowledge economy‟,
„knowledge society‟, „information age‟, „innovation economy‟, „post-fordist‟, „postindustrial‟, and „information economy‟.
The trans-national growth of corporations has moved the global economy beyond the
ability of national governments to control it, accompanied by the creation of new
supranational governance bodies (e.g. World Bank, Organisation for Economic Cooperation and Development, European Union) that carry unprecedented influence (and
often act as constraints) in national policy making. Both international economic
competition and global institutions act on the nation state, exerting increased influence
on the domestic agenda.
16
Effects on the State
Globalisation is redefining the role of the nation state as an effective manager of the
national economy (Rizvi & Lingard, 2000). Financial markets influence decisions over
which policies are right and which are not (Rizvi & Lingard, 2000). This influence
frames the agenda of states and their component parts (including education) in capitalist
theory (Dale, 2000). Markets now define the parameters of politics as governments
(influenced by neo-liberal economics) devise policies that seek to maximise their
national competitiveness and their share of the global export market (Rizvi & Lingard,
2000) (see Figure 4). The state is now merely one level in a complex system of
overlapping, and often competing, agencies of governance (Taylor & Henry, 2000).
Exacerbation of Economic Competition
New Forms of Labour Organisation
Fast Development of Technology
Figure 4. Economic pressure in globalisation
The Importance of Labour and Human and Intellectual Capital to Globalisation
At the core of globalisation is the value form of labour: the creation through labour of
surplus value so that profit can be drawn (Rikowski, 2002). In the new knowledgebased economy, information costs less than manufacturing, representing greater surplus
value. Intellectual and human capital are essential resources for the creation of surplus
value. Intellectual capital is the resource derived from the relationship between
stakeholders and partners and provides a language for conceptualising and acting on an
organisation‟s potential for adding value (Kelly, 2004). Its role in creating value has
increased in recent years (particularly in western countries), due in part to the
replacement of manufacturing with services as the primary source of wealth in the
global economy.
17
Globalisation and Education
Given the new links between education and economic development, the economic form
of globalisation (e.g., trade blocs and international agreements) has the capacity to exert
influence on national economic policy and therefore, education. An example is the
influence to restructure education as a commodity in the General Agreement on Trade in
Services (GATS) (Clayton, 2004).
Many international organisations concern themselves directly with education: World
Bank, Organisation for Economic Co-Operation and Development (OECD), European
Union (EU), World Trade Organisation, and the International Monetary Fund.
Discussions of education in these international organisations (despite varying agendas)
are “almost inevitably intertwined with „new economy‟ narratives and variants such as
the knowledge (-based, -driven) economy.” (Kenway, Bullen & Rob, 2003, p6).
The market is viewed as the best method of distributing all goods, public or private.
Improving consumer choice is seen as a better mechanism for improving quality and
equitable distribution than the state on the basis that individuals who are responsible for
their own fate will act more efficiently and effectively (Olsen, 2000). Both right and left
wing governments, independent of political ideology, are implementing reforms based
around these principles. Throughout the world, in government reviews and plans,
similar themes are emerging as a result of global market pressures: competitiveness,
competencies, increasing participation in education, and the need for workers to
continue learning throughout life in order to contribute to the economy (life-long
learning) (Jarvis, 2000).
Reconfigured as an economic commodity rather than a social good, the value of
knowledge is determined in its capacity for making profit (Hillier, 1994). This has the
potential of devaluing and narrowing education for business interests. The emphasis on
education transmitting a national culture is displaced by the new emphasis on
education‟s role in servicing the global economy, which embraces each nation in the
logic of competition. In this cycle, education is both at the service of, and a contributor
to, globalisation (Edwards & Usher, 1997). Schools must prepare a workforce for the
new economy, but in doing so create artificial demand for one.
18
Effects of Markets in Education
Educational institutions are not merely affected by markets, they are shaped by them
(Cowen, 1996). The creation of markets in schooling involves the substitution of
pedagogical categories of thought for economic ones (Ahonen, 2000). This new
rationale encourages competition for education and provides justification in terms of its
capacity for potential individual benefit. Education becomes a positional good that
provides “relative advantage in the competition for jobs, income, social standing and
prestige” (Marginson, 1997, p38). The advantages sought by education consumers (i.e.
students and parents) leaves them with no option but to compete, or risk a positional
disadvantage in the market. Investing in some subjects may provide an advantage in the
job market that others do not, putting pressure on consumers to invest in those subjects
or risk a subsequent competitive disadvantage.
Similarly, educational institutions and teachers are being forced to adopt the new value
set. The market can affect curriculum in two ways; narrowing of the curriculum due to
diminishing resources, and crowding by programmes designed to address competitive
situations.
Factors such as the number of students on the roll are often the most significant
determinants of school income (for the whole school, and individual subjects alike). As
the largest outgoing component of a school‟s budget is teachers‟ salaries, it makes more
economic sense for school management to assign teachers to classes that are full (e.g.
Years Seven, Eight, or Nine which in the UK consist of compulsory subjects) than to
provide a teacher for a small optional specialist class (e.g. Year Eleven Music). Classes
that are full generate more income than the cost of running them. The small specialist
class is more likely to run at a loss. Consequently, the individual authority of educators
has been curtailed. Teachers now act (in and out of the classroom) as brokers for
commodities (subjects) that may or may not be selected by students and parents.
Equally, the curriculum is affected by the market dominance of value for money,
competency measurements, and transferable skills that may lead to skills-based subjects
in preference to more ethereal subjects.
19
Music in Relation to Globalisation
Music plays an active role in “creating and shaping global spaces that otherwise would
not have „happened‟”, particularly evident in the genre of „world music‟ (Stokes, 2004,
p67). Globalisation offers music a blurring of boundaries, challenges old assumptions,
extends our horizons, and provides new opportunities for innovation, ingenuity and
creativity through flexible collaborative networks (Renshaw, n.d.). The impact of
technology on music has required a redefinition of the creation and perception of music
(Hargreaves & North, 1999).
Advances in technology related to the globalisation off music and music education
provide “greater access to all types of music, to immediate, electronic access to
musicians, and to an increasingly connected research fraternity” (Dunbar-Hall, 2002,
p45). Technological development and increasing media impact mean listening to and
creating music constitutes a major and integrated part of many young people‟s lives
(Folkestad, 2007). Globalisation offers a wide range of content for teaching, access to
different types of pedagogies, and increased cultural awareness (Dunbar-Hall, 2002).
However, Dunbar-Hall (2002) also identifies several drawbacks associated with
globalisation including: commodification of music and musicians; loss of cultural
sensitivity; cultural imperialism, and the blurring of distinctions between different types
of music.
The globalisation of music has cemented the hegemony of significant racial and
gendered hierarchies in many parts of the world (Stokes, 2004). In particular, whilst
European and North American superstars (the majority of which are white North
American males) are prominent across much of the third world, the reverse is not true
(Stokes, 2004). For many struggling local musicians, the global stage is a fantasy, easily
manipulated by large recording companies and studio managers (Stokes, 2004).
However, the major industry players have “no control over the meanings, practices and
pleasures of listening, dancing, and partying at the site of consumption” (Stokes, 2004,
p55).
Stokes (2004) also suggests that hybridity is a strength of globalisation in music. All
music, by its nature, is hybrid, reflecting the diffusion of cultural and political strategies
of migrants, refugees, and scattered populations detached from nation states and situated
20
in global flow (Stokes, 2004). The building blocks of every musical style are themselves
hybrid. Stokes (2004) maintains that “if anything is authentic now, it is hybrid genres,
organically connected to the social life and cultural aspirations of particular localities”
(p60).
Global musical spaces are increasingly coming under the control and influence of large
multinational corporations, often working together, to create complex branded spaces.
The power of trans-national corporations is increasingly greater than that of political
bodies, creating difficulties for arts and cultural institutions trying to make their voices
heard (Renshaw, n.d). The branding undertaken by large corporations (such as CocaCola) is a form of cultural expansionism; colonisation of mental rather than physical
space.
The danger of social and psychological disconnectedness arising from globalisation
creates a challenge for the music community to ensure that “participatory music making
and live music in all its forms remain at the heart of any cultural life” (Renshaw, n.d.,
n.p.). The role of the arts in helping us find our unique voice, or finding our local
identity within the global, is a fundamental issue of globalisation (Renshaw, n.d). It is
important to remember that artistic processes can be transformative, open new doors,
and provide opportunities to redefine who we are in our current fractured world. These
three issues (participatory music making, identity formation, and the transformative role
of music) are themes that will re-emerge in the literature on music education.
Organisation for Economic Co-Operation and Development
Overview
A product of, and contributor to, globalisation, membership of the OECD is limited
only by a commitment to the market economy and pluralistic democracy. Due to
successive enlargements of the OECD, the organization now has a global reach
spanning Europe, Asia, Oceania, and America. Due in part to its global reach, it has
considerable influence as a body of supra-national governance.
21
The Directorate for Education
The OECD views education as crucial to economic growth and social cohesion. The
Directorate performs a variety of roles, including producing peer reviews of education
systems and helping member countries achieve a higher quality education system. The
OECD seeks to develop and review policies with the aim of enhancing the efficiency
and efficacy of education provision. The guiding framework is life-long learning,
regarded as vital to sustained economic growth and social cohesion in the „new
economy‟.
The Directorate for Education has six strategic objectives (OECD, 2005a, p10-20):
Objective 1. Promoting life-long learning and improving its linkages
with other socio-economic policies.
Objective 2. Evaluating and improving the outcomes of education.
Objective 3. Promoting quality teaching.
Objective 4. Rethinking tertiary education in a global economy.
Objective 5. Building social cohesion through education.
Objective 6. Building new futures for education.
Benefits of Education
Both individuals and countries benefit from education. For individuals, education offers
the potential of a higher quality of life and sustained and satisfying employment. For
countries, education is seen as promoting economic growth, and the development of
shared values that underpin social cohesion (OECD, n.d.a).
OECD research has shown that initial education yields significant returns. Continuing
education and training are important additional inputs into the creation of human capital
(OECD, n.d.b). Human capital is an important determinant of an individual‟s earning
capacity and employment prospects (Blöndal, Field & Girouard, 2002).
Investing in human capital is important as it enables individuals, businesses and nations
to become more economically efficient and competitive. Education is an investment in
22
human skills that can help to foster economic growth, contribute to personal and social
development and reduce social inequality.
The OECD has identified several labour market advantages for individuals associated
with possessing additional education (OECD, n.d.b):
 Increased productivity and hence earnings, in addition to an initial
wage advantage, education is linked to increased earnings later in life;
 Education provides a stronger foothold in the labour market, guarding
against unemployment;
 An increase in the likelihood and length of participation in the labour
market.
Relation to the Global Perspective
Education is emphasised as a competitive tool in the global marketplace. In accordance
with the global perspective, investment in education is seen as enhancing national
productivity and therefore, competitiveness. The OECD contributes to, and reinforces,
the global context by offering policy reviews and directions, comparative analyses of
national progress, international benchmarks, and soliciting government commitments
across the OECD on progress towards agreed standards and targets.
The OECD and Music
The OECD, in keeping with the OECD Convention, focuses mainly on the economic
impact of music. It highlights the impact of technology and the digitisation of music
(including portability, diversity of delivery and the possibilities to share music) that has
increased the total hours spent listening to music (Wunsch-Vincent & Vickery, 2005).
The Internet is identified as a resource that most musicians embrace as a creative
workspace for collaboration and promotion (Wunsch-Vincent & Vickery, 2005).
European Union (EU)
Overview
Like the OECD, the EU is both an expression of, and reaction to, globalisation. Until
23
the 1980s the EU‟s role in policy was minimal. Since then its policies and decisionmaking powers have expanded rapidly (Field, 1998). With the creation of the single
European market, education was formally recognized under the Maastrict Treaty (Treaty
on the European Union) as a legitimate area of European Union responsibility in its own
right (Education and Culture Directorate, 2002).
Articles 149 and 150 of the Maastrict Treaty set out the EU‟s involvement in education.
Each member state retains full responsibility for the content and organisation of their
educational systems. The EU assists member states in developing quality in education
by encouraging cooperation, and supporting and supplementing any actions taken (EC,
2006). The Lisbon Strategy (released in 2000) aims to develop the European knowledge
driven economy.
Education and Culture Directorate-General
There are three main aspects to the mission of the Education and Culture Directorate,
(Education and Culture Directorate, 2006):
Building a Europe of knowledge
This involves developing a European area of life-long learning so that
the European Union becomes the most competitive and dynamic
knowledge economy in the world.
Developing the European cultural area
The directorate aims to preserve and enhance Europe‟s cultural
diversity. In particular, this is achieved through measures to support
the competitiveness of the European audiovisual industry.
Involving citizens in European integration
The aim is to promote forms of active participation for citizens
(particularly young people) in the European adventure.
Educational Trends Within the EU
The EU is both a consequence of, and contributor to, the global context. Investment in
education is emphasised, offering the highest economic returns by strengthening the
24
nation-states, and therefore the EU‟s collective competitiveness in the knowledge
economy.
All European countries are making efforts to adapt their education and training systems
to the knowledge society economy (EC, 2003). The main task of schooling is to enhance
students‟ capacity to learn in order to “build an effective platform for further learning on
the job” (Eliasson, 1998, p28). It is considered necessary that all students acquire a
minimum set of competencies and basic skills in order to be able to operate effectively
in a knowledge driven society (EC, 2003). These include: reading, writing, maths,
learning to learn, information technology skills, foreign languages, technological
culture, entrepreneurship, and social skills (EC, 2001b). In addition, there is now a
widely acknowledged need for schools to relate to the world of business and work (EC,
2001a).
The EU influences national policy on education through the setting of guidelines,
specific goals, benchmarks, and through monitoring and evaluating progress against the
overarching collective policy directions and aims. Each member nation state runs its
own educational systems. However, their overall direction and policy is influenced (and
reinforced through funding) by the larger overarching policy direction of the EU.
The EU and Music
The EU identifies music as a constant accompaniment to the lives of Europeans, a
fundamental element of European heritage and culture, and a source of employment for
600 000 people across Europe (EC, 2007). Music “constitutes one of the most important
and omnipresent modes of individual and collective artistic expression in… everyday
lives” (European Council, 1997, n.p.). The European Council (1997) recognizes that
“music, as a means of artistic and cultural expression, cannot be separated from its
eminently social role nor from the importance of the economic sector it reflects” (n.p.).
Summary
Supra-national bodies such as the OECD and the EU, and capital, exert influence on
national policies, creating the context of international economic competitiveness in
25
which (particularly secondary) education is framed. Education is a prime locus for the
creation of value through enhancing the intellectual capital of future workers before
they enter the labour market, thereby enhancing national competitiveness.
Within this context, secondary schooling operates as preparation for entry into the
labour market. Students enhance their employability by enrolling in subjects that
improve their positional advantage. Subjects (often funded by the number of students
enrolled) compete with others on offer in schools on this basis.
Without any obvious positional advantage attached to music education, students under
pressure to enhance their employability may ignore music. Music education is
potentially marginalised. Attempting to compete on the basis of economic utility would
appear to be futile. Other subjects are better suited. Therefore, why students choose to
enrol (or not enrol) in music, and what they hope to gain from the subject, offers a better
basis for making music education more central to the curriculum and students‟ lives.
United Kingdom
The Department for Education and Skills
The Department for Education and Skills (DfES) is responsible for education and lifelong learning in England, including monitoring and planning, and commissioning and
publishing reports, statistics and advisory material. The DfES has several educational
priorities that inform its actions: providing high quality early education and childcare,
continuing the progress made in primary school, transforming (improving and
modernising) secondary education, delivering a flexible and challenging fourteen to
nineteen (years of age) phase, and increasing and broadening participation in higher
education (Eurydice European Unit, 2005). The following aims and objectives have
been set (DfES, 2003a, p6):
Aim: to build a competitive economy and inclusive society by:
 Creating opportunity for everyone to develop their learning;
 Releasing potential in people to make the most of themselves;
26
 Achieving excellence in standards of education and levels of
skills.
Objectives:
 Give children an excellent start in education so that they have
a better foundation for future learning;
 Enable all young people to develop and to equip themselves
with the skills, knowledge, and personal qualities needed for
life and work;
 Encourage and enable adults to learn, improve their skills and
enrich their lives.
Key Agencies in UK Educational Policy
Learning and Skills Council
A non-departmental public (governmental) body, the Learning and Skills Council (LSC)
is comprised of twelve members representing employers, trade unions, education and
training providers, and community groups. Its work covers: further education, work
related training, workforce development, adult and community learning, information
and guidance for adults, and education-business links (Eurydice European Unit, 2005).
Local Education Authority
The local council run LEA is responsible for the provision of state education. Decisionmaking is shared between the executive (mayor and cabinet), scrutiny committees and
the whole council. The extent of LEA control over education has diminished over the
past fifteen years. It retains responsibility for primary and secondary education.
Responsibility for post compulsory education was given to the LSC in 2000. The basic
principle behind LEA-school relations is „good schools manage themselves‟. In addition
to primary and secondary provision, LEAs are responsible for: financial administration,
monitoring and improving standards, staffing and staff development, ensuring regular
school attendance, inclusion and special education needs, administration of grants and
allowances, dealing with complaints and school meals and transport (Eurydice
European Unit, 2005).
27
Office for Standards in Education
The main aim of the Office for Standards in Education (Ofsted) is to improve the
quality and standard of education through independent inspections and regulation.
Ofsted manages school inspections and reports on: good practice in teaching and
learning, examinations and international comparisons, trends in education, the effects of
educational policy, concerns arising from school inspections (Eurydice European Unit,
2005).
Qualifications and Curriculum Authority
QCA promotes quality and coherence in education. Its work includes: reviewing
curricula, schools‟ examinations, and assessment of compulsory education, advising on
external qualifications for compulsory education, reviewing external academic and
vocational qualifications, and delivering and publishing accreditation criteria for
external qualifications (Eurydice European Unit, 2005).
Government Policy Documents Leading to Legislation
The government produces two types of command paper (Green Papers and White
Papers) that may be debated in the House of Commons.
A Green Paper is a consultation document issued by the government. It contains policy
proposals for debate and discussion before a final decision is taken on the best policy
option. Several alternative policy options are often given in a Green Paper. Following
consultation the government will normally publish definite recommendations in a White
Paper.
A White Paper is a document issued by government departments containing detailed
proposals for legislation. It is the final stage before the government introduces its
proposals to Parliament in the form of a Bill. (DfES, 2007a).
28
Overview of the UK Education System
History of Education in the UK
The comprehensive school, open to all students regardless of ability (currently the most
common type of school), gained support in the 1960s. The National Curriculum and the
delegation of budgetary responsibilities to schools came into force in 1988 (Education
Reform Act). The responsibility for planning and funding post-compulsory education
was reformed with the 2000 Learning and Skills Act, which passed responsibility for
planning, funding and provision to the Learning Skills Council. Attendance at school up
to the age of sixteen was made compulsory in 1973. At the end of their compulsory
schooling students will have completed eleven years of education (Eurydice European
Unit, 2005).
Structure of General Secondary Education
The compulsory years of education were divided into Key Stages when the National
Curriculum was implemented in 1988:
Key Stage One: five to seven years old
Key Stage Two: seven to eleven years old
Key Stage Three: eleven to fourteen years old
Key Stage Four: fourteen to sixteen years old
Having completed KS4, students can choose to continue into further education at school
or college (further education institutions), or undertake employment. Further education
comprises the final two post compulsory (or post sixteen) years of education (DfES,
2003c, Eurydice European Unit, 2005). Students study for Advanced (A) Level
qualifications or equivalent diplomas during post-compulsory education. A Level
qualifications are made up of the Advanced Subsidiary (AS) Level and the Advanced
Two (A2) Level. The AS Level can be taken as a free-standing qualification or as the
first half of a full A Level. The A2 Level is the second half of a full A Level. On
completion of A Levels students can either continue with further education (e.g.
Tertiary) or may seek employment. (Eurydice European Unit, 2005).
29
Types of State School
There are three types of government school: Community, Foundation, and Voluntary
(Controlled or Aided). All three types of school work in partnership with other schools
and LEAs, are LEA funded, and deliver the National Curriculum (DfES, 2003d). All
schools in this study were community schools.
Educational Funding
The DfES funds various statutory and non-statutory bodies and LEAs for specific
government priorities. The need for a dramatic and sustained increase in funding (from
2002) for education has been identified to ensure that the UK workforce has the skills
needed to compete with the best in the world (DfES, 2003b). The 2007 spending review
targets set are printed below (DfES, 2007c, p14-28):
1. Safeguard children and young people, improve their life outcomes
and general well-being, and break cycles of deprivation;
2. Raise standards and tackle the attainment gap in schools.
 Raise standards in English and mathematics so that:
o by 2006, 85% of 11-year-olds achieve level 4 or above,
with this level of performance sustained to 2008;
o by 2008, the proportion of schools in which fewer than
65% of pupils achieve level 4 or above is reduced by
40%.
 Raise standards in English, mathematics. ICT and science in
secondary education so that:
o by 2007, 85% of 14-year-olds achieve level 5 or above
in English, mathematics and ICT (80% in science)
nationally, with this level of performance sustained to
2008;
o by 2008, in all schools at least 50% of pupils achieve
level 5 or above in English, mathematics and science.
30
3. Improve levels of school attendance so that by 2008, school
absence is reduced by 8% compared to 2003;
4. Enhance the take-up of sporting opportunities by 5- to 16-year-olds
so that the percentage of school children in England who spend a
minimum of two hours each week on high quality PE and sport
within and beyond the curriculum increases from 25% in 2002 to
75%by 2006 and to 85% by 2008, and to at least 75% in each
School Sport Partnership by 2008;
5. All young people to reach 19 ready for skilled employment or
higher education;
6. Tackle the adult skills gap;
7. Raise and widen participation in higher education.
When allocating funds to education the UK government works from the standpoint that
the state cannot be expected to pay for everything. In deciding the “right focus for
allocating public funds, (the government) must take account of where there are market
failures which block investment in skills, as distinct from where the rates of return to
individuals and their employers make it fair to expect them to contribute to the costs of
their own learning.” (DfES, HM Treasury, DWP and DTI, 2003, p27) In keeping with
the global imperative of education as preparation for work, the spending review targets
are largely work related. Whilst attainment in English, Mathematics and Science is
emphasised, the Arts are not prioritised.
Education Qualifications (School Based)
There are several types of qualifications that students can work towards. At the end of
compulsory education most students will have undertaken examinations in a range of
compulsory and elective subjects for the GCSE (DfES, 2007b).
In Sixth Form, students work towards the General Certificate of Education Advanced
Level (A Levels) or the GCE Advanced Supplementary (AS Levels) examinations. A
Levels are mainly assessed by examination. The AS Level is the same standard as A
Levels, but with less content to allow increased breadth of subject choice (DfES,
2007b). A range of vocational qualifications are also available.
31
The majority of students take nationally recognized qualification examinations at the
end of KS4.
UK and the Knowledge Economy
The UK Position in the Global Knowledge Economy
The UK occupies a unique place in the world; it is at the heart of the EU and the
Commonwealth, is deeply linked by language and other ties to the USA, is a core
member of the UN and its constituent agencies, and is an active participant in many
other international bodies (DfES, 2004a). The UK is the second largest supplier of
direct investment in the world (DfES, 2004a). Despite this, UK productivity lags behind
its competitors (see Table 2).
In response to employer concerns “that they are not getting recruits with the skills they
want” (DfES, 2003a, p12) the government has identified the need for investment to
raise and to continually update individuals‟ skills. The beneficiaries are individuals
(through higher earnings) and the economy as a whole (through greater
competitiveness) (DfEE, Social Security & HM Treasury, 2001).
Ranking
Among
All 30 OECD
Countries
Period
G7 Countries
Gross Domestic Product Per
Capita
2003
3rd
14th
Productivity per Hour
2003
5th
15th (out of 27)
2003
5th
17th
Average 20002003
6th
14th
2004
6th
17th
Skills (% of adults with more
than low skills)
Research
and
Development
Intensity
Infrastructure,
Global
Competitiveness Report
Table 2. Comparison of UK 3conomy against the G7 and OECD Countries (OECD,
2005b).
32
The Development of the UK Knowledge Economy and its Relation to Education
The increasing openness of the global economy means that fewer individuals will be
sheltered from international competition. The UK cannot compete on the basis of a low
skill economy without a reduction in standards of living (DTI, 2004a). To compete
effectively, the UK will need to provide better quality goods and services, high value
added and productivity levels, and be able to exploit new technologies (DfEE, 1998).
Greater national productivity will help the UK to compete successfully in the world
economy (DfEE, Social Security & HM Treasury, 2001). The alternative is a „low
skills equilibrium‟ economy, in which the low skill levels of the workforce force a low
value added economy (see Figure 5).
The challenge is to equip the UK for the new age with new and better skills, knowledge,
and understanding (DfEE, 1998). Students need to be able to cope with changing
economic and social demands, and be able to make sense of the rapid transformation of
the world (Tomlinson, 2004; DfEE, 1998). This requires broad knowledge, transferable
skills (such as interpersonal, analytical, problem solving, organisational, and learning
skills) and specific training (Tomlinson, 2004). The government is “committed to
securing a well educated, highly skilled workforce in a knowledge driven economy.”
(DfES, 2003a).
Low Skilled Workforce
Low Value Added
Business finds it harder to
introduce innovations, new
working methods, or products.
Low Skills Equilibrium
Employers don‟t express the need
for skills as they pay low wages
for poorly skilled staff to produce
low value goods and services.
Figure 5. The low skills equilibrium economy.
33
The Economic Significance of Education in the UK
As education is a vital investment it is “essential that the labour market and wider
economy are considered when making education policy, and increasingly so” (DfES,
2003e, p6). The key to improving the future workforce is to improve the skills of young
people leaving school (DfES, HM Treasury, DWP & DTI, 2004). More highly educated
people are more productive, and therefore earn more and are less likely to be
unemployed (DfES, HM Treasury, DWP & DTI, 2004; DfEE, 1998; DfES, 2003e).
Education is a crucial factor in enhancing international competitiveness and creating
strong and sustainable economic growth (DfES, 2003e).
Employers have a right to expect that public education will be responsive to their needs
in providing skills for current and future demands. The government intends to “build
employers much more closely into the process of designing and delivering education
and training” (DfES, 2004b, p73). The benefits of strong links with education for
businesses are clear; easier education to work transition (DfES, 2004c), opportunities to
influence the curriculum, ability to ensure new recruits have the right skills and
attitudes, enhancement of local companies‟ reputations, the ability to reduce training
costs, increased employee loyalty, and access to fresh ideas through the thinking of
young people (DfES, 2005d).
Currently, employers and Higher Education providers complain that students leave
school without the knowledge, skills and attributes necessary to function and progress in
work or further education (Tomlinson, 2004). The proportion of jobs requiring high
skill and qualification levels are growing, whilst employment in low skill/qualification
level jobs is diminishing. Those with skills and qualifications are the most likely to find
regular employment. Those without skills and qualifications are more likely to move
into benefits (DfES, HM Treasury, DWP & DTI, 2003). Economic and social objectives
are necessarily entwined (DfES, HM Treasury, DWP & DTI, 2003).
For individuals, the concept of a „job for life‟ is largely extinct, replaced with the
concept of „employability for life‟ (DfES, HM Treasury, DWP & DTI, 2003; DTI,
2004; DfES, HM Treasury, DWP & DTI, 2005). Education is a worthwhile personal
investment in comparison to more traditional investments (DfES, 2003e). In the
34
knowledge-based society individuals should invest in their own learning to improve
their employability, professional competence and earning potential (DfEE, 1998).
The UK government has committed to ensuring that all young people receive an
education that prepares them for future employment and further learning (DfEE, Social
Security & HM Treasury, 2001). The education system has a responsibility to contribute
to the preparation of students for the world of work (Davies, 2002). Education needs to
improve to meet the demands of the labour market and the economy in general (DfEE,
Social Security & HM Treasury, 2001). Work is the context for learning (DfES, 2003g).
The UK government defines its role in education as providing “a framework within
which individuals, business, and the economy as a whole can prosper” (DfEE, Social
Security & HM Treasury, 2001, p15). Three key goals have been identified to raise
employability and productivity (DfEE, Social Security & HM Treasury, 2001):
1. To ensure young people have the skills and rounded education to
progress in employment;
2. To provide world-class technology and the higher-level skills
required by employers to improve business performance and
productivity;
3. To engage closely with employers and the labour market so the
skills that people acquire are those needed in the labour market.
Government Aims and Policy for Education
Aims and Objectives
In the 2002 green paper „14-19: Extending Opportunities, Raising Standards‟ the
government states “our aim is nothing less than a world-class education service with
standards that match the best in the world, and where all our young people develop the
confidence, skills and knowledge that they will need as adults” (DfES, 2002a, p3). The
strategic framework „Education and Skills: Delivering Results‟ outlines the context of
this aim (DfES, 2002b, p6):
35
The Government is working to make Britain a society that is:
 Inclusive: creating opportunities and removing barriers to
ensure that everyone can fulfil their potential; and
 Prosperous: with individuals able to develop the skills they
need to remain employable and for businesses to be
internationally competitive.
The DfES set out aims and objectives within the above context in its 2005 report (DfES,
2005a, p75):
Aim: To help build a competitive economy and inclusive society by:
 Creating opportunities for everyone to develop their learning;
 Releasing potential in people to make the most of themselves;
 Achieving excellence in standards of education and levels of
skills.
Objectives:
 Safeguard children and young people, improve their life
outcomes and general well being, and break cycles of
deprivation;
 Raise standards and tackle the attainment gap in schools;
 All young people to reach age nineteen ready for skilled
employment or higher education;
 Tackle the adult skills gap;
 Raise and widen participation in higher education.
The government‟s vision of the UK is “a confident, outward-looking society and a
leading edge economy playing its full part in the world”. To support this vision three
key goals were identified, each with associated priorities for action (DfES, 2004a, p3):
Goal 1: Equipping our children, young people and adults for life in a
global society and work in a global economy.
36
 To instil a strong global dimension into the learning
experience of all children and young people;
 To transform our capability to speak and use other languages;
 To equip employers and employees with the skills needed for
a global economy;
 To move towards the international mutual recognition and
improved transparency of qualifications.
Goal 2: Engaging with our international partners to achieve their goals
and ours.
 To benchmark our own performance against world-class
standards, drawing on best practice everywhere;
 To develop our capacity to engage strategically with a wide
range of partners across the world;
 To work with our European partners to realise the Lisbon
goal that the EU should become “the most competitive and
dynamic knowledge-based economy in the world”;
 To share expertise and resources in support of the
improvement of education and children‟s services worldwide,
particularly in Africa.
Goal 3: Maximising the contribution of our education and training
sector, and university research, to overseas trade and inward
investment.
 To promote further expansion in the number of international
students at further education (FE) and higher education (HE)
institutions, including increasing quality assured overseas
outlets;
 To make the UK an international leader in the creative and
supportive use of ICT for education;
 To promote the role of our universities as international hubs
for learning and research;
37
 To encourage education and training providers to work
internationally in partnership with business.
The aims and objectives for education, and their supporting goals, are largely
economic and work-related. Therefore, subjects such as music that have no
immediate utility in this context are pushed to the periphery.
The Fourteen to Nineteen Phase of Education
The Fourteen to Nineteen Phase of Education (14-19) phase reforms the current 14-16
and 16-19 phases of education into one coherent stage (DfES, 2003h). It is set within a
context of creating prosperity (DfES, 2002a). The UK 16-19 phase is weak in
comparison with other developed countries (DfES, 2004b).
It is intended that the 14-19 phase focus on outcomes at age nineteen, rather than at age
sixteen (the end of compulsory education) (DfES, 2002a). The 14-19 phase is aimed at
narrowing the skills gap by making sure every student is given the skills and experience
employers require (DfES, 2004b).
The 14-19 strategy assumes that most students aged 14-19 will be willing to decide
which higher education, training or career pathways to follow (DfES, 2002a). Students
will need to begin planning their decisions and post-compulsory education options
towards the end of Key Stage Three (DfES, 2002a).
Prior to the 14-19 reforms, the education system developed in a fragmented and
confused manner in response to the changing demands of educational and labour
markets and adult life (Tomlinson, 2004). Learners lacked a clear route through the
system, and employers were often unclear about the relevance and value of the
qualifications on offer (Tomlinson, 2004). The 14-19 phase aims to offer wider and
more flexible learning routes covering academic, vocational and combined courses
(DfES, 2004b). From age fourteen students will be able to choose from a range of
courses and qualifications that cover a wide variety of subjects and skills (DfES, 2003f).
In the interests of flexibility, they will be able to develop a mix of general and specific
subject choices to meet their interests and aspirations, allowing them to move into more
38
advanced post-compulsory learning (DfES, 2004b). All subject choices should have
recognisable progression into further and higher education or employment (DfES, 2003i).
The 14-19 curriculum is comprised of core compulsory subjects; Maths, English,
Science, Information
Technology, Citizenship, Religious Education, Physical
Education, Careers Education, Sex Education, and Work Related Learning (DfES,
2005b). As essential skills for employment, students should have strong functional skills
in Maths, English, and ICT by the end of their schooling (DfES, 2005b). This aim is at
the heart of the 14-19 phase (DfES, 2005b).
In addition to the core subjects students have options from four entitlement areas and/or
courses in specialised diplomas (see Figure 6) (Central Office of Information, 2005,
DfES, 2003f). It is hoped that by mixing practical and theoretical qualifications students
will receive a coherent education for progression into further education or the workforce
(DfES, 2005b).
Every young person in the UK will study:
 National Curriculum core subjects: English, Maths and
Science;
 National Curriculum foundation subjects: ICT, Physical
Education and Citizenship;
 Work-Related Learning and Enterprise;
 Religious Education; and
 Sex, drug, alcohol and tobacco education, and careers
education.
The choices available to young people must include:
All 14 specialised diplomas:
At least one course in each of the
Engineering; Health and Social Care;
following areas:
ICT;
the Arts; Design and Technology, the
Creative
Construction
and
and
Media;
the
Built
Environment; Land - Based and
Environment;
Manufacturing;
Hair
and Beauty; Business Administration
Humanities;
Or
Modern
Foreign
Languages; with an opportunity to
take a course in all four areas if they
wish.
and Finance; Hospitality and Catering;
Public Services; Sport and Leisure;
Retail; Travel and Tourism.
Figure 6. Overview of the new 14-19 curriculum (DfES, 2005c).
39
The changes to the curriculum are designed to meet the needs of both employers and
learners. Transforming the transition from secondary to post secondary education is
regarded as an essential priority for the UK, and central to building a prosperous and
fair society (DfES, 2005b). Employers and Higher Education will benefit from young
people equipped with specific and transferable knowledge who are competent in a range
of essential skills (Tomlinson, 2004). The hoped-for economic benefits include a
flexible workforce able to cope with shifting demands and increased productivity
(Tomlinson, 2004).
At the heart of the 14-19 reforms is the ability for students to “choose a qualifications
pathway which suits them and which can be the basis for progression to further
learning, higher education, or employment” (DfES, 2005c, p3). The qualification
pathways students embark on should “support more young people… into more highly
skilled employment” (DfES, 2005c, p12). All students should have choices that interest
them from age fourteen, and which equip them with the skills critical for success in
employment (DfES, 2004b). It is implied that subject curricula, and students‟ subject
choices, should be tailored to improve their effectiveness in the employment
marketplace.
The intended outcomes of the 14-19 phase are increased participation and attainment by
age nineteen, increased employability of students when they leave education, and more
rounded students who will become responsible citizens and workers, contributing to a
more productive economy (DfES, 2002a). The role of the arts in enhancing experience
and quality of life is not recognised in the push to gain work-related skills and
competencies.
Life-Long Learning
The DfES defines life-long learning as the continuous development of skills, knowledge
and understanding that are essential for employment and fulfilment (DfEE, 1998). In the
past, few students in the UK have aspired to remain in school past the compulsory years
of education (DfES, HM Treasury, DWP & DTI, 2004). However, participation is
becoming increasingly important, and individuals will need to engage in life-long
learning to enhance their employability and skills (DfEE, 1998).
40
Summary
In line with OECD and EU recommendations on education, the UK is re-configuring its
secondary education with a new emphasis on work-related learning, transferable skills,
and qualifications. The emphasis puts economic utility at the centre of educational
policy (as evidenced in the DfES goals for education).
At the end of KS3, students are encouraged to consider and choose a qualifications
pathway they will lead into work or further study. In this context (not being explicitly
work-force orientated) Music is decidedly disadvantaged. This may be reflected in the
low number of enrolments in KS4.
The wider work-related learning context is the context in which music education must
(for the moment) operate. Whilst music is (currently) guaranteed a place in the
curriculum up to KS3 as a compulsory subject, if it is to continue as a viable and
worthwhile subject in KS4, we need to better understand what will attract students to
the subject.
It is important to understand how students relate to the music curriculum within this
context, whether they are accepting and following the prevailing work-related
orthodoxy, or searching for different outcomes from music education. Equally important
are the views of those who do not enrol in music education.
If student participation in music (both in and out of school) is a given end of music
education, a better understanding of why students consider music worthwhile (or not)
will enable the music education community to create and promote a curriculum that
encourages greater student participation in music beyond the compulsory stage.
Music Education
Music
Music is what people think and say it is. It is what they do when they engage in action
they consider musical. The sense of what music „is‟ derives ultimately from its uses in
41
human life (Bowman, 2005b). Stålhammar (2000) found that students‟ descriptions of
the role of music are characterised by four dimensions: (a) Environmental - music has a
function in creating atmosphere: (b) Togetherness - music creates affinity: (c) Identity music promotes integrity both for individual and group: (d) Supportive - music can
promote other activities.
Music‟s prime good is its capacity for marking as distinctive time and events. It does
this by adding certain musical qualities to what would otherwise be an unadorned or
personal occasion (Regelski, 1999). The use of music in this way is a central function
around the world. Participants understand musical events intellectually, emotionally and
physically. Music provides a broad and holistic understanding that encompasses reason,
intuition, imagination, feeling and sense (Jorgensen, 1997).
At root, music is a human activity (Elliott, 1995). Musical endeavours are radically
diverse, fragmented, and potentially as numerous as the people who carry out such
activities (Bowman, 2005b). Further, it is something that people can do and learn
without being or becoming a qualified professional (Elliott, 1995).
Bates (2004) suggests that the value of music does not not derive from any inherent
nature. As a practice, music is situated and contextual. Its value is related to the needs of
people (Bates, 2004). Musical knowledge is at its most subjective and idiosyncratic in
valuing; a fusion between intuition and analysis takes place (Swanwick, 1994).
Musical Innateness, Developmental Theories of Music and Social
Psychological Perspectives
Genetic Basis and Innate Evidence for Musicality
Unique to humans is art. Therefore, it is possible that art may be a fundamental
manifestation of human nature with roots in biological processes. If this is so, art has
had (or has) selective value that enhances the survival of a species whose members
possess that behaviour (Dissanayake, 1980). In this interpretation, artistic behaviour
includes, but is broader than, the behaviour exhibited by „artists‟. There has been a
recent trend within the field of music cognition to “evoke Darwinian mechanisms of
natural selection to explain music‟s origins in Homo sapiens” (Justus & Hutsler, 2005,
42
p1). Schellenberg, Bigand, Poulin-Charronnat, & Stevens (2005) proposed that the ease
and rapidity of the musical acquisition process demonstrates music‟s adaptive
significance. Music is seen as an adaptive behaviour that has played a significant role in
human evolution (Cross, 2001). However, for music to be an evolutionary adaptive
behaviour, it must have some purpose aiding survival. Cross (2001) maintained that the
evolutionary purpose of music can be found in its role as a consequence free means of
exploring social interaction. Music provides children with a “risk-free space for the
exploration of social behaviour that can sustain otherwise potentially risky action and
transaction” (p99).
Tolbert (2001) considers musicality to be innate. From around five months the foetus is
capable of hearing human voices and music outside of the womb (Walker, 2004). The
evidence suggests that the foetus has the ability to not only hear, but also remember
sounds and music (Walker, 2004; Bolden, 2005).
Several studies have suggested that infants are universally equipped for the music of any
culture (Trehub, 2003). Humans appear to have some innate machinery motivating the
production and appreciation of music (McDermott & Hauser, 2005). Trehub (2003)
proposed that given the prevalence and impact of music, it seems more like a necessity
than a purely hedonistic act.
Developmental Theories of Music and Socio-Psychological Perspectives
A socio-cultural perspective of music has shifted current theories of learning from a
common development sequence to the incorporation of social and cultural networks in
developing thought (Hargreaves, Marshall & North, 2003). Dissanayake (1980)
considered statements about the nature of art to be largely derived from culture-bound
preconceptions of modern western aesthetics, with little or no bearing on the wider
consideration of art as a universal behaviour. Any inquiry into the nature of musical
meaning needs to be reconfigured in terms of the individual and collective processes by
which they become meaningful (Tolbert, 2001).
Up until the 1980s music psychology was conducted using psychometric and acoustical
studies, many of which had little relation to real-life experiences of music (Hargreaves,
Marshall & North, 2003). However, from the mid-1980s on it has been increasingly
43
acknowledged that music has cognitive, emotional and social functions in everyday life,
primarily in the management of self-identity, interpersonal relations, and mood
(Hargreaves & North, 1999; Hargreaves, Marshall & North, 2003).
The psychological functions of music are primarily social (Hargreaves & North, 1999).
A social psychological perspective requires us to view music making as a multidimensional act with the unique involvement of the whole person – physically, socially,
intellectually, and emotionally (Bunt, 2003). DeNora (2003) describes music as an
ordering device at the „personal‟ level; a means for creating, enhancing, sustaining, and
changing subjective, cognitive, bodily, and self-conceptual states. Music offers a means
to explore, define, and celebrate our sense of self (Laiho, 2004). Trevarthen (1999)
believes that musicality, as a part of the natural drive in human socio-cultural learning,
is necessary for human development. Music is “an important part of the lives of people
because it is through music that they can come to know and reflect upon their own
personhood” (Hays & Minichiello, 2005, p440).
At the heart of music for infants and young children is social regulation, which may also
be an equally important part of musical experience throughout life. Wells and Hakanen
(1991) found that adolescents reported greater emotional involvement, higher
motivation, higher levels of excitement and more openness when listening to music than
when engaging with other media. Music is used to enhance mood (energise, strengthen
or lift), or to tranquillise (Wells & Hakanen, 1991). The importance of this function of
music may stem from the biological social nature of humans, which contributes to the
motivation to create elaborate systems of music (Trehub, 2003). Music is a tool we use
to achieve desired psychological states, it is a means of defining our identity, and its
utility can be measured by research on its medical and commercial uses (Hargreaves &
North, 1999). It is important that students engage with such a prevalent part of human
life and experience.
The evidence that music may have an evolutionary and innate basis is of fundamental
importance to music education. The reasons why music evolved, or what advantages it
offers humans, affects not only why music is taught in schools, but also what students
hope to gain. Whilst there is limited evidence suggesting that music may be a biological
adaptation, music is in essence behaviour. The focus for music education should be on
why the behaviour developed and what humans gain from engaging in that behaviour.
44
This should directly influence not only why, what and how music is taught in music
education, but also why students choose to engage in musical behaviour at school, and
what they hope to gain from their engagement. Many of the themes raised in the
literature regarding innateness and developmental theories will be mirrored in the
review of the music education literature.
Perspectives of Music Education
Stefanakis (2003) describes the rationale of music education as the fundamental starting
point from which the structure and content of the curriculum is derived. The oldest and
best-established theory of music education is that which emphasises students as
inheritors of a set of cultural values and practices. The task of the music teacher is to
initiate students into the recognised musical tradition (Swanwick, 1998). However, this
rationale sits uncomfortably in comprehensive education where there is great cultural
diversity. Bowman (2005b) describes properly considered music education as
emancipatory in nature – an endeavour that frees people from the
debilitating notions that come ready-made; that value-based choices
reduce to arbitrary assertions of personal preference; that what
„counts‟ about music is the ability to execute it with a minimum of
errors; or that what „counts‟ as being musically educated is some kind
of standardised knowledge or uniform proficiency (p42).
There are currently two main philosophies of music education: aesthetic and praxial.
These are outlined below, followed by aims and objectives for music education drawn
from both philosophical standpoints.
Music Education as Aesthetic Education
The idea that music education could be conceived of as aesthetic education has grown
steadily since the mid-twentieth century, promising to “release music education from its
utilitarian past and to establish it as an intrinsically worthwhile discipline: music for
music's sake and not for any other” (Finney, 2002, p120). The aesthetic justification for
music education emphasises primarily internal meaning. Expressive emotional meaning
45
evoked in music exists without reference to extra musical concepts, actions or emotional
states (McCarthy & Goble, 2002). The central goal of aesthetic music education is the
perception of and reaction to expressiveness in music (Reimer, 1970). Reimer suggests
that “at the „heart of the matter‟ in music is the expressiveness of sound, and the „heart
of the matter‟ in music education is to help every child experience the expressiveness of
sound as fully as he is capable of doing so” (Reimer, 1970, p114).
Whilst perceiving and reacting to the expressiveness of sound is integral to performing
and composition, the experience is dependent on neither (Reimer, 1970). In the music
education as aesthetic education philosophy, listening is essential to the experience of
expressiveness in music. Musical study is not seen as an end, but rather a means to the
end of a deeper experience of music.
Economic changes highlighting a return to „basics‟ in education have impacted on
music education as aesthetic education. The inherent „purposeless of music‟ is not
congruent with utilitarian rationales of education (McCarthy & Goble, 2002).
Praxial Philosophy of Music Education
A praxial approach to music education should focus on getting people into action
musically (Regelski, 1999). Regelski (1999) emphasises the role of praxial education in
highlighting the musical processes that are most likely to contribute to a life more fully
lived through musical involvement. Students should learn what music „is‟ and „is good
for‟ in the broadest and most relevant functional terms (Regelski, 1999).
Elliott (1991) highlights learning how „to music‟. To „live‟ a musical culture students
must participate in or make a musical culture. Music making is central to understanding
and appreciating music (Elliott, 1990). A broadly conceived praxial philosophy of
music will focus on getting students into action musically at least as amateurs (Regelski,
2000). Music deserves to be made and enjoyed in as many forms and by as many people
as possible (Regelski, 1999).
As students develop their musical skills and take on challenges opportunities for selfgrowth, knowledge, and esteem are created (McCarthy & Goble, 2002). The praxial
philosophy of music education affirms the value of music education on this basis.
46
Swanwick (1999) argues that there was little to be gained from the music education as
aesthetic education versus praxial music education debate.
Music Education and Advocacy
Advocacy is the way that music educators “explain to policy makers, as well as to the
general public, the reasons why our profession is important and why we need their
support to continue serving the needs of society” (Mark, 2002, p44). Music is a difficult
subject to justify (Jorgensen, 1995a). Justification shifts to political grounds in the
absence of compelling arguments for the inclusion of music in the curriculum. If
justifications are to be political they must be judged on pragmatic grounds, leaving the
profession in a bind; convinced of music‟s intrinsic value yet for political reasons forced
to appeal to music‟s utilitarian (extrinsic) contribution to society and education
(Jorgensen, 1995a).
Justifications fall into two rough categories; transfer of learning, or non-musical
outcomes, and justifications relating to certain conceptions of education (Plummeridge,
2001; Koopman, 1996). Non-musical benefits often advocated for music include:
enhanced achievement in areas outside music, development of critical thinking,
improved reading and writing skills, development of confidence and self-discipline,
development of eye-hand motor skills, development of spatial and perceptual skills
(Kelstrom, 1998; Jorgensen, 1995a). Even if the claims to non-Musical benefits are
justified, it seems impossible that music education is the most efficient means of
improving such social and cognitive skills (Koopman, 2005).
When advocacy is forced to yield to pressure and justify music education in terms of
performative results (e.g. reading and writing skills) the status of music in the
curriculum suffers (Koopman, 2005). The Achilles heel of music education justification
is that whilst music education may have intrinsic and extrinsic values, it cacan not assert
that it is an essential part of the curriculum (Jorgensen, 1995a). As many possibly
beneficial and enriching things are not included in the curriculum there is a need to
show the essentialness and centrality of music to justify its presence (Jorgensen, 1995a).
This is particularly so given the increasingly economic values and justifications
underpinning the secondary curriculum. Pragmatic rationales of music education are
47
rarely successful; basic skills can be tackled direct rather than through the indirect route
of the arts (Bresler, 1998b).
Connections with numeracy, equal opportunity, cross-curricular links and balanced
educational provision were considered by Pitts (2000) to be an unsatisfactory rationale
for music in the curriculum. Sloboda (2001) proposed that music couldcould not
function effectively in schools without an implicit agreement between stakeholders
about what it is for. Of central importance is what the students (consumers) who enrol in
music education believe it is for, and how their position compares with that of the music
education community and the wider context of education.
Music Education and Culture
Music has been linked with culture in some form since early human civilisation (Kelly,
2002; Swanwick, 1999). Musical works are 'situated' in specific musical practices or
music cultures (Elliott, 1996). Part of music‟s function is to assist the enculturation of
society by passing down cultural traditions, skills and values through the performance
of music. However, music does more than remind and reinforce local cultural values.
Music also offers the possibility of experiencing an enlarged cultural range (Swanwick,
1994). It is an expression of social as well as individual beliefs, desires and values, and
provides a means for shaping as well as reflecting cultural differences (Jorgensen, 2002;
Alerby, Ferm, Fung, & Brown, 2005).
In an increasingly pluralistic world, music may be the most uniting factor shared
throughout the world. By acting as a mirror to society music can reflect how people
live, think, and feel (Kelly, 2002). McCarthy (2000) suggests that “in a culturally
diverse society it would seem that music can take the lead in bonding people in cohesive
groups and in helping them to build worlds of shared knowledge, shared musical
memories, and a collective musical consciousness that lends meaning, depth and
purpose to future music making” (p8).
Music may be a more or less universal element of human culture, but its language is not
universal (Jorgensen, 1997). Pitts (2000) maintains that the cultural focus of music still
has a valid function within the curriculum, but should not stand-alone. For a rationale
48
more relevant to contemporary students music education must look to address the
impact of music teaching on individual lives (Pitts, 2000).
Music as Enhancing and Transforming Force
The aesthetic doctrine of music education has led to the conception of music as
disembodied and formal; its uses, corporeal roots and social situation are incidental to
its real meaning and durable value (Bowman, 2005a). A more pragmatic view construes
music as practice, social, and inseparable from human life and living. Music naturally
shares many of life‟s basic characteristics as a mode of action inextricably linked to the
processes of human living (Bowman, 2005a).
Making music is part what of what humans do in everyday activity (Lines, 2005). As a
human activity, music does not achieve significance or meaning before humans
experience it by (for example) performing, composing, listening, or dancing (Alerby,
Ferm, Fung & Brown, 2005). Regelski (1998) considers music to be of and for life and
use, and not „for its own sake‟. In this way musical meaning and value is felt rather than
known, experienced rather than understood. Jorgensen (1997) maintains that music
should be viewed as a part of life rather than apart from it.
Cox (1999) found that music teachers identified the main rewards of music teaching to
be contributing to the growth of students and the communal nature of music making.
Given the role(s) that music plays in life it is reasonable to expect that an education in
music should carry over into students‟ lives in important and discernable ways
(Regelski, 1999).
Music education aims to „make a difference‟ in the musical lives of students (and by
extension society) by increasing the wealth of skills and options for „musiking‟. It is a
field that promotes values that are both basic to life, and special in their unique
contribution to the good life (Regelski, 2005). Music has a pragmatic contribution to a
life well lived (Regelski, 1998). Joregensen (2003a) also identifies the role of music
education in enhancing students‟ lives; “as music teachers we are about the education of
people. This reality necessitates that we attempt to improve our students‟ lives
individually and collectively. We hope that our music-making will enhance the lives of
our students and that its effects will spill over into the school and community at large”
49
(p207). Elliott (1995) suggests that school systems that actively support the aims of
music education increase the likelihood that students will learn not only to make a
living, but to also make a life, both inside and outside of school.
Music education should “focus on „study‟ that „makes a difference‟ in the lives of
students, now and in the future” (Regelski, 2005, p20). The special function of the arts
is to extend, illuminate, and transform; to ultimately make life worth living or „like life‟
(Swanwick, 1998). Music teachers should “strive to enable and empower each student
to use music to make a difference in life over what would have been the case without a
formal education in school” (Regelski, 2000, p82). The focus should be on the personal
uses to which music can be put in life; “music matters because it is basic to the good
life” (Regelski, 2000, p86). To this end music education should promote dedicated
„amateurising‟ where the complete love of music and sharing it with like-minded people
is a principal value in a life well lived (Regelski, 2005). Music education needs to
empower learners to make connections with themselves and the world via the „window‟
of music… and to keep them in touch with humanness, deriving the joy of a sense of
community, identity and self-worth” (Leong, 2003, p163).
Music education comes alive when it is experienced holistically, when learners view
musical knowledge as relevant to their lives and within their power to grasp; when it is
challenging and inspiring (Jorgensen, 2003b). National standards, state curriculum
guides and codified instructional methods cannot bring music education alive
(Jorgensen, 2003b). The end of music education is to transform rather than transmit
musical practice, to subvert more than only sustain musical traditions (Jorgensen, 2002).
If music (as a transformative force) in education is to become central, there must be a
political shift in music education that speaks to ideals of freedom, democracy,
community, and the importance of social values in music (Jorgensen, 1995a). Jorgensen
(1995a) maintains that viewing music as an integral part of life may require radical
changes in how music is taught and learned.
Understanding Our Place in the World
Music significantly enhances and enriches our understanding of ourselves and the world
(Swanwick, 1999). Swanwick (1994) writes that “music has the potential to take us
50
beyond ourselves, our own small space in time and our local tribe; extending
knowledge, enlarging mind, keeping open our capacity for knowing” (p176). Formal
education and teaching in music should be framed and conducted in ways that are
compatible with this aspiration (Swanwick, 1994).
Similarly, Palmer (2004) suggests that music education can make a contribution to the
ongoing search for an understanding of each other and ourselves. In addition, he
proposes that engaging with music can provide empathy with the environment, and
offers opportunities to strive for higher levels of consciousness about what it means to
be human.
Growth, Self-Knowledge, and Identity
Music is one of the most important ways in which young people define and express
their identity (O‟Neill, 2001a). In terms of artistic experience, personal fulfilment and
educational development music has high value. Students have considerable autonomy in
the way they engage in musical activities in comparison to other educational activity
(O‟Neill, 2001a). Finney (2003) found that students reported that the expressive arts
provided opportunities for building confidence and the development of a sense of self.
From a pragmatic point of view, genuine education cannot consist solely of the
techniques of transmitting truths, facts or skills. Education aims to enhance agency and
increase students‟ control of action and habit. To educate is to develop the capacity for
further growth. Therefore, the aim of music education is to “to develop dispositions and
habits that favour growth and change - to nurture the habit of changing habits in service
of consequences that are at once desired and desirable, while yet, strictly speaking,
unknowable” (Bowman, 2005a, p161). Music education is “fundamentally concerned
with what one knows and can do as a result of music instruction; but it is concerned just
as importantly, or perhaps more so, with the kind of person one becomes through that
process” (Bowman, 2001, p12).
School music plays a significant role in building personal and community identities
(McCarthy, 2000). Through the medium of music students learn about themselves, their
interactivity with others, and about their world (Stefanakis, 2005). Music provides “a
connecting point, a way of knowing, a means of physical, emotional, cognitive and
51
socio-cultural navigation” (Stefanakis, 2005, p20). Swanwick (1996) describes music
making as a way of understanding ourselves, and others. Becoming musically educated
“extends to who and what one is: to one‟s character or identity” (Bowman, 2005b, p40).
Playing music provides performers with constructive knowledge, or knowledge about
the quality and effect of their actions and, therefore, a sense of whom they are (Elliott,
1991). Elliott (1995) maintains that the primary values of music education are the
primary values of music: self-growth, self-knowledge and optimal experience. Music
education offers a unique and major source of one of the most important kinds of
knowledge humans can attain: self-knowledge. The aims of music education are to
ensure that students achieve self-growth, self-knowledge, and musical enjoyment. It
follows that musicianship is also a unique and major source of self-esteem.
Hargreaves, Marshall, and North (2003) identified three main overlapping outcomes of
music education: musical-artistic, personal and socio-cultural (see Figure 7). At the
centre is the ultimate outcome of music education: the development of self-identity.
Creativity
Creative thinking in music is a human phenomenon that is found in all musical cultures.
There are no cultural boundaries in the human need to channel creative thinking through
music (Campbell, 1990). Creativity is essential to the way we work and live; the
creative process is individual and social (Bartel, 2004).
Sherman (1971) differentiates between musical knowing (communicable but ultimately
cannot be verbalised) and musical knowledge (expressed through verbalisation).
Musical knowing is a creative condition, “nourished by the kind of doing that begets
discovery… It is the result of all that may be associated with creative activity. In a
sense, knowing is the result of one‟s coming to grips personally with things and ideas in
ways that reflect individualised assessments and decisions” (p20). Creative thinking in
music is largely demonstrated through composition and improvisation (Campbell,
1990).
When students compose they freely venture into unclear situations. The thinking that
results in the generation of ideas and judgements involves unique compositional
52
problems. This thinking is a “multifaceted act of an agentive mind which is locked in
dialogue between seeking, setting and solving musical problems” (Burnard & Younker,
2004, p71). Sullivan (2006) sees the creative impulse as a drive for self-actualisation.
The adoption of composition in the GCSE and National Curriculum in the mid 1980‟s
and early 1990s brought music education into the realm of arts education, where
student-centred learning, creative work and problem-solving had been the norm for
decades (Odam, 2000). When composition is taught well students look forward to their
secondary music lessons (Odam, 2000).
- Aesthetic Sensitivity
- Creativity
- Emotional Expressiveness
- Performance and aural skills
- Composition and Improvisation
- Literacy and Sight-Reading
- Mood Regulation
- Cognition and Learning
- Scholastic Gains
Self-Identity
- Group Performance
- Communication with
audience
- Interpersonal Skills
- Teamwork
- Cooperation
- Moral/Spiritual Development
- Character Development
- Quality of Life
Figure 7. Potential Outcomes of music education (Hargreaves et al. 2003).
An emphasis on creativity and motivation through activity is based around the
constructivist idea that students learn better when they are involved in creating things
(Webster, 2000). Students learn by expressing their own ideas, listening to the ideas of
others, and developing a shared conception of the problem and possible solutions
towards a common goal. A collaborative approach, actively engaging with modifying
53
and extending others‟ ideas helps to develop understanding and critical thinking skills
(MacDonald & Miell, 2000).
Sullivan (2006) describes the traditional approach to music education as based around a
nineteenth century ethic of teacher-directed sequential instruction. However, he
suggests that solutions to contemporary problems, new ideas, new music, and new films
(amongst others), come from creative individuals. On this basis, he believes that
creativity should be at the centre of music education. A holistic approach involving
composition, improvisation and focussed listening activities makes it possible for more
students to be involved in different ways, influencing a larger population of the school
and makes music teaching more effective (Webster, 2000). Webster (2000) believes that
the best way to teach music is to engage students routinely in creating music through
performance, composition, improvisation and active listening. To make creativity
central, music educators need to: recognise that all students are creative; encourage and
provide diverse experiences and perspectives and the ability to synthesise them into
creative possibilities; offer richly experiential and multidimensional lessons; and allow
and encourage divergent and even subversive patters of thought (Bartel, 2004).
Odam (2000) identifies strong evidence that students enjoy composing activities in
school, and engage in composition both in and out of school for a variety of reasons and
occasions. Composition is viewed as an opportunity to improve quality of life (Odam,
2000).
A focus on the students‟ experience of music requires a shift in focus from student as
„inheritor‟ to student as „enjoyer‟, „explorer‟, and „discoverer‟ (Swanwick, 1998). This
is a fundamental shift requiring a view of students as musical improvisers, inventors and
composers. The teacher is transformed from director to facilitator (Swanwick, 1998).
The great virtue of this is that it encourages music educators to look and listen to what
students do. By allowing students to make music in the present tense music educators
can introduce a concept (through activity lacking any direction related to the needs of
earning a living) that can overthrow the future-orientated, instructional ethos of schools
and the preoccupation with producing a product (Small, 1996). Musical study becomes
contextualised and filled with meaning and intrinsic value when students see that the
educational process provides rewards to be experienced now as well as in the future
54
(Jorgensen,1997). Developing music education along creative lines opens up the
possibility for students to look to schools as a source of musical excitement and
imagination.
Music Education In Relation to Music Outside of School
Music education provides a means to develop the musicianship required to achieve the
values of music outside of school (Elliott, 1995). Whatever is included in the curriculum
should be validated in relation to students‟ actions outside of school, and later in life in
the „real world‟ (Regelski, 1999).
The purpose of education in the arts is to help every student to discover a path that they
are willing to pursue toward a life-long involvement in the arts (Shuler, 2001).
Therefore, music educators must ensure that the curriculum and instruction leads
students to a better understanding of the power of music in their lives (Rideout, 2005).
Students‟ experience of music is “linked to the person and to the interaction with the
world around. It is tried out and judged by the pupils directly on the basis of their own
experience and practical everyday knowledge” (Stålhammar 2000, p41-42).
The existence of a (musical) practice suggests it adds value to the lives of those who
engage in it. The inability or unwillingness of typical students to use in their everyday
musical lives what they are taught in school music “indicates that much of it is either
meaningless to them or lifeless and impotent as to its action value” (Regelski, 2004).
The value of music education is justified to the extent that it adds value to the lives of
students (Regelski, 2004). Stålhammar (2000) concluded “the principal focus of music
education must not be on music as an independent artifact, but on how people relate to
music” (author‟s emphasis) (p43).
Community
When people make music they do so within a community, including those who share
understandings, attitudes, and practical traditions (Jorgensen, 1997). Music education
has a primary role as a means of socialisation; a means of creating communities and
public spaces in which multiplicities and pluralities can be heard (Jorgensen, 2002).
Integrating the arts with the rest of life and seeing music as inextricably interwoven with
other aspects of civil society are important ends of music education.
55
Considering community as a place in time, as process and as an end, is of particular
relevance to music education in a changing and shrinking world in which dislocation
and alienation is pervasive (Jorgensen, 1995b). This means grounding the music
curriculum
in a particular place and moving to an ever-broadening view, ensuring
that all learners come to understand their place within a growing
community, value differences as well as similarities, feel connected to
others, accept and love their own musical traditions, and are
empowered to change those things that should be changed and
embrace new perspectives. It means defending this place against the
onslaught of sometimes well-meaning, even hostile agencies that
would supplant learners‟ sense of place with an alien or bogus culture,
peddled by religious, political, financial or other interests, and who
would silence them or relegate them to the status of consumers rather
than active musical participants (Jorgensen, 1995b, p80-81).
Musical Knowledge
Although it is possible to have precise knowledge about music it is not the kind of
knowledge that music lovers and musicians consider as being crucially important
(Swanwick, 1994). „Knowing‟ is not a separate process, disconnected from musical
practice. Musical knowing is not merely factual or propositional; it is knowing about,
rather than knowledge of (Swanwick, 1994). Elliott (1995) believes that the acquisition
of formal music knowledge is a proper but secondary goal of music.
The value of musical knowledge is to be found in the ways in which it enhances musical
experience. Therefore, to be valued in general education, music experience must
represent a substantial value. The intrinsic value of music cannot be demonstrated by
words; we can only decide on the basis of our own experience (Koopman, 1996).
56
Foregrounding Musical Experience
Our sense of what music „is‟ derives ultimately from the uses to which it is put in our
lives (Bowman, 2005a). Engaging in music for therapeutic purposes gives a different
sense of what music „is‟ to engaging in music for commercial purposes, although there
may be points of commonality. The context of, and reason for, musical action is
important in defining meaning and what music „is‟.
Small (1996) describes learning music as a journey, a “voyage of exploration that has
no end, and thus no goal: we need not think of future virtuosity but only present
experience” (p200).
The pleasure of making music has made it important to humans (Monk, 1996). Music
celebrates the full experience of here and now, as opposed to instrumental behaviour
that sacrifices the quality of the present to an imaginary state in the future (Koopman,
2005). Music education should be based first on engaging students in the pleasures of
musical experience, utilising that pleasure as motivation to refine taste and technique
(Monk, 1996). It is important that humans, as living subjects, have the opportunity to
come close to music when learning music. Music education should be about living
music (Alerby, Ferm, Fung & Brown, 2005).
The effectiveness of music education should be gauged by the richness, diversity,
frequency, and depth of people‟s musical engagements (Bowman, 2005a). Lamont,
Hargreaves, Marshall and Tarrant (2003) propose that the challenge for music education
is to
maximise the experience of all (authors italics) pupils during the
statutory period, and to help all those who show an additional interest
in music beyond the classroom to develop that… providing the
confidence to partake in musical activities in whatever personal or
social context they choose (p240).
Music is largely encountered this way through practical work, and is more likely to be
felt as valuable. A main aim of music education is to raise consciousness and
57
purposefully and critically explore a number of musical procedures and experiences
directly through the reality of a variety of inter-cultural encounters (Swanwick, 1998).
As an outcome of music education students should be empowered and enabled to
deliberate and choose to be musically active in intentional ways. Formal music
education should enable students to want and be able to put music „into action‟ in
enhancing or benefiting their lives (Regelski, 1998).
Quality of Action
Much depends on how music education is done, rather than what is done (Swanwick,
1999). The values of personal and social enrichment that result from quality musical
engagements are the reasons why people do music. It follows then that music education
has a main aim in “opening up the windows of value” (Swanwick, 1994, p163).
Summary
Cross (2001) suggested that the genetic purpose of music may be found in its role as a
consequence-free means of exploring social interaction; providing children with a riskfree means of exploring social behaviour that might otherwise be a potentially risky
action and transaction. This argument is reflected in the praxial philosophy of music
education which emphasises the role music has to play in providing students with
opportunities for self-growth and self-knowledge; through bringing „flow‟ or order to
consciousness. The UK policy document „Schools: Building on success‟ also touches on
these points, maintaining that students‟ involvement in music “can change the way
children and young people feel, think and act, stimulate creativity and provide
opportunities for self-expression, reflection and emotional development” (DfEE, 2001,
p61). Swanwick (1994), Elliott (1995) and Sherman (1971) emphasise that music
making is central to understanding and appreciating music. For students to understand
and appreciate music they need to be actively engaged in music, and should find active
engagement worthwhile and relevant.
The literature demonstrates that there is little utilitarian or economic value to be gained
from enrolling in music education. Nor does music education predominately aim to
offer economic or positional advantage through music qualifications at KS4. Rather,
58
music‟s value is related to people‟s needs and the functions it performs in their lives
(cognitive, emotional or social). Of interest are the functions (the reasons why students
engage with music) and values students attach to music in their current lives and
anticipated future lives, and how they relate to the wider educational context.
Participation in Music Education
Government attempts to influence choice patterns through policy requiring actions that
change perceptions and understandings in all influencing factors in choice (e.g. parents,
students, teachers, media) (Hemsley-Brown & Foskett, 2001a).
It is not reasonable to expect everyone in society to find active music participation
interesting, or beneficial (Gates, 1991). Despite this, there is currently a widespread
perception (shared by students, teachers, school inspectors, and policy makers) that
there is a problem with school music participation at the secondary level (Lamont et. al,
2003).
Adolescents are particularly involved with musical activities. A large percentage plays
or has played an instrument, and has spent a significant proportion of time listening to
music (North, Hargreaves, & O‟Neill, 2000). As an art form, music is important for
young people. They have clear and straightforward demands for live music venues and
music centres with recording and rehearsal facilities (Nick Randell Associates, 2004).
Most out of school involvement comes from movement and listening. Most students
have digital music players, some have karaoke machines, and a small number use
computer programmes. Singing, dancing, and listening is the common out-of-school
music curriculum (Finney, 2003).
Participation in music offers a wide range of benefits and costs; aesthetic,
psychological, informational, political, social, economic. For each participant there is an
idiosyncratic life context into which musical participation fits (Gates, 1991). Kehrberg
(1989) identified students‟ self-appraisal of ability and skills as strongly related to their
level of school music participation. Supporting this assertion is Pitts‟ (2007) finding that
Year 10 students‟ reasons for not participating in extra-curricular music were largely
based around a self-perceived lack of skill.
59
Gates (1991) identifies seven categories of participants in which music plays different
roles; non-participants, recreational and dabblers, hobbyists, amateurs, apprentices, and
professionals (see Table 3).
Participation Professional Apprentice
Role of
Music
Work
Amateur
Hobbyist Recreationalist Dabbler
Serious Leisure
Play
Nonparticipant
No Role
Table 3. Categories of music participant based on the role of music in their lives (Gates,
1991).
Students are motivated by the intrinsic satisfaction of making music and being a part of
a musical community (McCarthy, 2000). Participants in extra-curricular music
identified fun and a “clear sense of straight forward enjoyment, and of musical
development and opportunities taking place in an atmosphere of friendship and
sociability” (Pitts, 2007, p155). Students identified the development of skills,
opportunities to perform, and previous involvement as reasons for participating in extracurricular music (Pitts, 2007).
Wright (2002) found that the “majority of Year Nine students attached a great deal of
importance to music in their lives but little or no importance to it as a subject in school”
(p240). Unlike most (if not all) other school subject areas, there are many desirable and
easily available alternative avenues of access to music open to students (Swanwick,
1999). As a result, students can have little time for „school music‟, possibly viewing it
as a quaint musical sub-culture (Swanwick, 1999). McCarthy (2000) proposes that the
challenge “lies in accessing… why they continue (or don‟t continue) to participate in
music making. Answers to the latter question may change radically the nature of
rationales used to prove music‟s value in education” (p7).
Factors Influencing Subject Choices
Hemsley-Brown and Foskett (2001a) identify five contexts of student subject choice;
family, social, institutional, academic, and perception and image. Harland et al. (2000a)
found that the most common reasons for GCSE subject choices were: personal identity,
ability, and relevance to future career or employment (see Table 4). Lord and Harland
(2000) stated that students base their subject choices on enjoyment, careers, and ability.
60
Common reasons for not participating in GCSE Music were; unimportance of the
subject, timetable clashes, and lack of ability (see Table 5) (Harland et al., 2000a).
Participation in optional music studies is often connected to students‟ views of their
ability and future study and work plans (Brandstrom, 1999). Students who learn
instruments continue when they have a close association with others who play
instruments. A longer period of time and involvement with performing groups also
contributed to continuing with instrumental learning (O‟Neill, 2001a).
Instrumental Tuition
Music is a less accessible subject for students without specialised support through
school-based or private instrumental lessons. Students who do not learn an instrument
are less likely to succeed (Gammon, 1996). Wright (2002) found that extra musical
(instrumental) tuition was a factor in the decision to enrol or not enrol in GCSE Music.
Personal Interest and Enjoyment
Ability
Career
Advice from Parents
Advice from School
Limited Options Available
Easy Option
Teacher Teaching the Subject
Friends Enrolled
No Response
Other
School Required
Music
%
84
59
36
27
27
12
9
7
6
5
3
1
Drama
%
85
59
42
15
18
14
12
14
11
5
1
1
Dance
%
77
54
32
14
26
5
4
11
10
11
1
1
Art
%
81
62
34
16
19
15
16
5
8
7
1
1
Table 4. Percentages of student reasons for enrolling in GCSE Music compared to other
GCSE arts subjects (Harland et al., 2000a, p520).
NB Percentages do not sum to 100 per cent as respondents could give more than one response.
61
Other Subjects More Important
Timetable Clashes
Lack of Ability
Advice from Parents
Subject Not Available
No Response
Advice from School
Other
Music
%
47
36
25
10
8
8
4
4
Drama
%
42
23
15
8
34
8
3
2
Dance
%
33
16
12
5
64
5
2
2
Art
%
48
37
31
11
1
8
3
1
Table 5. Percentages of student reasons for not enrolling in GCSE Music compared to
other GCSE Arts subjects (Harland et al., 2000a, p522).
NB Percentages do not sum to 100 per cent as respondents could give more than one response.
Influence of the Music Teacher
The classroom music teacher plays a significant role in developing a positive or
negative attitude to music (Temmerman, 1993). When making decisions about music
participation high school students consider the effectiveness of the teaching and the
quality of the progression as important factors (Walker & Hamann, 1995). However,
Bray (2000) identified a potential cultural dissonance between the interests of students
and the training and background of most teachers, which may affect the uptake rate of
GCSE Music. The Musical Futures project suggested that releasing the teacher from
being „expert-in-everything‟ could allow teachers to be managers of each students
learning (Price, 2005).
Family
The participation of other family members in music plays a critical role in determining
an individual‟s beliefs and behaviours regarding music (Davidson, 1999). A higher
participation rate is found among those who associate (through family and friends) with
people who engage in musical activity (O‟Neill, 2001b).
Gender
Overall, girls are more likely to enrol in music than boys (Bray, 2000) (see Table 6). A
QCA review found that girls had a higher preference for music than boys (Lord &
62
Harland, 2000). However, in mixed schools across the UK the gender balance is quite
even (Bray, 2000).
Female
Male
Total
Music
%
62
38
100
Drama
%
71
29
100
Dance
%
90
10
100
Art
%
53
47
100
Table 6. GCSE participation by gender (Harland et al., 2000a, p514).
Transition From Primary School to Secondary School in the UK
The largest decline in music education participation takes place in the transition from
primary to secondary school (O‟Neill, n.d.b). Lamont et al. (2003) found that girls‟
enjoyment of music decreased between years four and nine. Boys‟ enjoyment increased
slightly (see Figure 8).
100
80
Girls
60
Boys
40
Combined
20
0
Year Year Year Year
4
6
7
9
Figure 8. Reported enjoyment of class music lessons (Lamont et al., 2003).
Students’ Experience of Music In and Out of School
The relation of school music with students‟ experience of life and culture has to be a
variable in the accessibility and popularity of music education (Gammon, 1996). Wright
(2002) found that despite a majority of students describing music as moderately to very
important in their lives, an inverse response was given for the importance of music as a
subject. Wright (2002) suggests that students are not opting for music in large numbers
63
because it does not provide a syllabus in which the majority have an interest.
The central importance of music in the lives and identities of many teens seems to
develop outside of the classroom, suggesting that music in schools is out of touch with
the needs of many students (North, Hargreaves & O‟Neill, 2000). When students
talk about the school's or the adult world's value of musical experience
and knowledge, then music is separated from personal feelings and
social togetherness. They then present music as a freestanding artifact
which is judged by people on the basis of well-established value
norms (Stålhammar, 2000, p41).
The importance of music outside of school (constituting a badge of identity) means that
the distinction between school music and music outside of school is pronounced. The
authenticity of secondary school music and its relation to music outside of school is
problematic (Hargreaves et al., 2003). Folkestad (2006) found that the great majority of
musical learning takes place outside of schools. The intention here is not to learn about
music, but to play, listen, and dance to music.
The reasons why students engage with music (and what they seek from their
engagement) may differ from their teachers‟ views as to why people should engage with
music. In this case it is likely that music education does not offer students a legitimate
or relevant curriculum (Regelski, 2005). Musical Futures (Price, 2005) found that “for
far too many, perhaps event he majority of 11-19 year olds, it (music) is not more than a
diverting few hours in the classroom. Too often music education is disconnected from a
burning musical passion in their lives and fails to harness this passion to provide a
natural pull to learn” (p5). Further, “there appears to be a severe disconnection between
young people‟s experiences in school and their musical lives outside it” (p8).
Students‟ interactions with music outside of school are neither passive nor lacking in
intensity. As a result, „school music‟ and „real music‟ exist at a considerable distance
(Regelski, 2005). This disjunction results in attitudes that are often dismissive of „school
music‟ or begrudging admissions that it might hold value for some people, but not
personally (Regelski, 2005). Ofsted found that “pupils perceive music in school to be
64
unrelated to the enthusiasm and commitment that derives from their experience of music
in their private time” (Ofsted, 2005, n.p.). The hierarchies of talent and articulations of
musical value in class may “not… map well to students‟ abilities and tastes outside the
classroom” (DeNora, 2003, p169). The current system only works well for a significant
minority of students (Price, 2005).
To the less ambitious students, the school music tradition has little to offer (Small,
1996). Small (1996) views schooling as “essentially a commodity which a community
buys on behalf of its younger members” (p182). The lack of authenticity and relevance
in music education is partly because teachers, as purveyors of the commodity, find
themselves in a monopoly situation in which the recipients (students) have little choice
but to accept what is on offer (Small, 1996). A lack of respect or understanding for the
musical lives of students leads to a curriculum that does not address their enthusiasms or
aspirations (The Power of Music, n.d.). There is a need to bridge the gap between music
making at home and in school; effectively de-schooling music learning (Price, 2005).
Economics and Future Work and Study
Government policy intends that individual student choices regarding their pathways
through the 14-19 phase will prepare them for the world of work and further study
(DfEE, 2001). Students attach limited career or employment relevance to the creative
arts (Lord & Harland, 2000). This reflects the low importance also attached to the
creative arts. Courses perceived as vital for career pathways such as English,
Mathematics and Science are predominately viewed as the most important subjects
(Lord & Harland, 2000).
A QCA study found that “pupils attach utilitarian views to their perceptions of the
importance of subjects” (Lord & Harland, 2000, p42). The utilitarian value of future
careers and work, rather than relevance to current life, is predominant. Students are well
aware of the need to earn a living when they leave school. Therefore, they are not going
to take a subject seriously that they feel has little financial or practical use (Wright,
2002).
65
Music and the Wider Educational Context
The idea that music is relevant for all students underpins the place of music within the
curriculum. However, discussions about the value of music tend to focus on extramusical outcomes or transferable skills (Pitts, 2000). With the focus on utilitarian skills,
traditional subjects such as maths, science, and history are considered part of the core
curriculum. Perceived as „extra-curricular‟, music is often given short shrift (Kelstrom,
1998). Ball (1992) suggests that “it is hard to convince a person with no background or
appreciation of music that participating in school music is as important as learning to
read or learning mathematics or learning any other number of other, obviously practical
things” (p13). Whilst music can be claimed as important, claiming they are as important
as other fields of study is difficult given that “most current thought among professionals
and laymen alike views education almost exclusively as the means toward earning a
livelihood. For most people music will do little or nothing to help them make a living.”
(Ball, 1992, p13). Bresler (1998a) suggests that music occupies a position within the
curriculum that is both central and peripheral. Music is peripheral to the academic core
curriculum. However, many major events in which the school comes together centre
around music.
In spite of advocacy efforts, the position of the arts is still precarious. The demand for
basic skills and accountability pressures the arts into being established and defended by
the terms of the corporate world (Bresler, 1998b). Music has to compete with other
subjects for space (Gammon, 1996). Stowasser (1993) asserts that music education will
need a more practical basis with greater emphasis on its relation to general education
and society to survive.
Music in Relation to Other Arts Subjects
Harland, Kinder, Lord, Stott, Schagen and Haynes et al., (2000b) found that music, in
comparison to art, drama and dance, attracted the highest proportion of no impact
responses from students. A majority of students indicated that music generated none of
the pre-selected outcomes for the arts: a heightened sense of enjoyment, excitement,
fulfillment and therapeutic release of tensions, an increase in the knowledge and skills
associated with particular art forms, enhanced knowledge of social and cultural issues,
the development of creativity and thinking skills, the enrichment of communication and
66
expressive skills, advances in personal and social development, and effects that transfer
to other contexts such as learning in other subjects, the world of work and cultural
activities outside of and beyond school (Harland et al., 2000a).
Lower levels of enjoyment, skill development, relevance, and a lack of expressive and
creative dimensions were also reported (Harland et. al, 2000b). Overall, music was
found to be the most problematic and vulnerable of the arts subjects, with comparatively
lower levels of enjoyment and very low enrolment at KS4 (Harland et. al, 2000b).
Effects of Markets and Consumerism
In the global economy the various scales of cultural industry – local, national, and
international – are interconnected (Kong, 2000). The new economy is characterised by
the commodification of play, or the marketing of cultural resources (including rituals,
the arts, festivals, sports, games and social movements). Companies no longer sell just
the physical product. Rather, they are increasingly turning customers into clients and
selling access to the „experience‟ (Rifkin, n.d.; Kong, 2000).
Capitalism is the context in which culture must now survive. Unprecedented choice and
music technology provides people with greater autonomy in musical experiences than
has previously been possible (Sloboda, 2001). Consequently students can easily and
cheaply create musical „worlds‟. Kelly (2002) suggests that music could be so widely
and easily available that many young people take its existence for granted, further
contributing to the perception of music education as peripheral and not representative of
social values. Accordingly, music education in schools is no longer a privileged route
by which to access musical experiences (Sloboda 2001). This is particularly in KS4
when students have the choice to engage with music education.
The unprecedented youth spending power created by first world prosperity allows youth
to set rather than accept cultural agendas. The effects of this are felt throughout
secondary education (Sloboda, 2001). There is consensus regarding subjects more
directly related to occupational skills than music (where the earning potential of the
student is at stake). However, in music education, consensus is not holding where
neither school management or government can articulate a shared vision of the value of
music that is stronger than the students own lived experience (Sloboda, 2001).
67
The Arts and Their Role in Employment and the Economy
The arts “provide an alternative for states looking to build the workforce of tomorrow”
(Psilos, 2002, p1). The benefits of the arts in helping build the required workforce are;
increased academic performance, reduced absenteeism, better skills building, increased
self-esteem, and the acquisition of job skills (Psilos, 2002). Arts competencies can be
practical skills in the modern economy (e.g. Media workers apply arts skills in
television, film, web design, and advertising) (Psilos, 2002). Developing creative
abilities is of fundamental importance in meeting the challenges of economic
development. The shift from industrial to cultural production has increased the size and
economic importance of the creative industries. The music industry is one of the UK‟s
biggest and most culturally significant creative industries. In global market terms the
UK has an estimated share of ten to fifteen percent, second to the United States of
America (Department for Culture, Media, and Sport, 2006).
Harland et al. (2000a) found that employer and employee comments corroborated
teacher and pupil views that the arts in schools offer benefits to students in terms of
future employment. These benefits focused on transferable skills rather than specific
arts-based competencies. Employers viewed involvement in drama and music as
offering a balance to school work thereby, helping to develop more rounded people and
developing transferable skills for future employment (Harland et al., 2000a).
Consequences of Educational Policy for music education
The move towards education policy-making by politicians and the business community
rather than educators has had a vast impact on the types of policy used to direct
education. From an economic point of view schools are now seen as producing a
product. The resulting business mentality examines education with a view towards the
practicalities for the workforce (Hinkley, 2000). In this framework the arts, though nice,
are not necessary (Hinkley, 2000). Should the purposes of education be broadened to
“include the learning of those things helpful in making a life rather than just a living, the
situation would be radically different” (Ball, 1992, p13).
Within this context Pitts (2000) found that it was “quite clear that music ranked some
way below „standards in the 3 R‟s‟ in the Governments perception of education
68
priorities” (p33). Lamont et al. (2003) found that teachers felt that curriculum music
was often valued by those in association with the school, but lacked any real validation
from government.
The educational functions of music are not well understood by those who shape
educational policy (Eisner, 2001). Subsequently, music occupies a place at the periphery
(not core) of education. In music education the “luxury of the undeclared; the hidden
curriculum; the „secret garden‟ is gradually being invaded by educational accountants
who want to know what it is we actually buy and sell and at what price” (Swanwick,
1990, p306). Bowman (1998) suggests that “unless we become more fully informed and
articulate, decisions affecting music will be made by the less informed, guided by
economic and political agendas rather than by musical and rational ones” (p4).
Discussion
Whilst the ideals of music education identified by Elliott (1995) are primarily concerned
with the whole child (including self-development, social competency, cultural
awareness and creativity), the functions of schooling (tied to mechanisms of short term
utility and control) are not. Harris (1996) questions the place of an apparently nonutilitarian subject in a school system that places an increasingly strong emphasis on the
skills and knowledge thought to enhance material well-being.
To what extent should music education be based on current economic educational
priorities? The mechanisms of efficiency and productivity are opposed to the conditions
under which the arts thrive. Further, the distinction between input and output makes no
sense (Koopman, 2005).
Against this wider context for education, music education emphasises not making a
living, but enhancing experience and, more broadly, life. Music education offers a
means of enculturation. It challenges and extends students‟ cultural range. Participation
in music provides a cultural bond, enriching participants‟ understanding of themselves
and their place in the world. The ability of music to transform life, to offer an alternative
to superficial, short-lived experience, should be at the heart of music education.
69
If the ultimate aim of music is to enrich experience, thereby enriching life, then music
education should primarily aim to enable students to enhance their musical experiences,
both in and beyond school. The teaching of musical knowledge should be connected
with practice; the value of musical knowledge lies in its ability to enhance musical
experience. Participation in music on this basis is relevant, contextual, and motivated by
the intrinsic satisfaction of making music, and of being part of a musical community. It
offers a powerful (and potentially liberating) alternative to the economic influence on
education and life.
Whilst there are points of convergence between the two rationales of education, they
differ in direction and basis. McCarthy‟s (2000) challenge to access why students
continue (or do not continue) to participate in music making highlights the importance
of understanding how students relate to music. Of equal importance is understanding
how students relate to the economic imperative behind secondary education, and the
degree to which they relate to rationales behind music education. Such an understanding
will help to illuminate why students enrol (or do not enrol) in music, and offer insight
into what they hope to gain. This in turn will provide music educators with possible
directions and opportunities to explore in the wider work of offering an empowering
and enriching experience of music education that provides an alternative to the largely
instrumental focus of education in general.
70
CHAPTER THREE
Method
This study used both qualitative and quantitative date collected from questionnaires and
small group interviews. The questionnaires used a combination of Likert scale questions
(to allow basic statistical analysis, and for ease of completion for the participants) and
open-ended questions. The open-ended questions offered students the opportunity to
expand on their responses to the scale questions. Small group interviews were used to
further explore the themes raised, and to triangulate the responses given, in the
questionnaires.
Participants
This study was originally intended to span students from Years Nine through to Twelve,
and to include interviews with their teachers. All nine comprehensive secondary schools
within the LEA in which the researcher was working as a teacher were initially
contacted by post regarding participation in the study. The LEA was contacted
regarding the study to ensure that there were no objections to the study taking place in
the district, and that the appropriate procedures were followed. Letters of invitation
outlining the study were sent to Headteachers and Heads of Department (see Appendix
A and B). However, due to the overwhelmingly negative response from the schools
contacted about participating in a study of the original size, the initial intention was
revised to encompass only students in Years Nine and Ten. A second letter of invitation
was sent to Heads of Department outlining the revised study (see Appendix C).
Of the nine schools contacted regarding participation in the revised study, three agreed
to participate, two did not respond to any of the attempts to contact them, and four
declined to take part. Of those that declined, the predominant reason given was a lack of
teacher and class time.
In most cases the concerns regarding time were related to pressure from the schools to
obtain high examination results at KS4. The schools that took part were ranked in the
bottom third of the secondary schools in the district at KS4.
71
A further two schools were contacted at the suggestion of a colleague (snowball
technique). One of those schools (in a neighbouring district) declined due to workload
pressures, the other (in central London) agreed to participate. A former colleague in a
third school offered to take part but was requested not to by school management due to
recent local bad publicity regarding bullying. In total, four schools agreed to participate.
A permission form explaining the nature of the study and the confidential treatment of
data was sent to parents via the participating schools (see Appendix D).
The background information on the participating schools that follows has been taken
from the most current Ofsted report for each school. For each school the percentage of
students eligible for free-school meals is given as an indicator of the socio-economic
background of the school population. Students are eligible for free-school meals if their
parent(s) receive: Income Support (for those who work sixteen hours or less each week
and have savings of less than £16 000), Income Based Jobseekers Allowance, support
under Part VI of the Immigration and Asylum Act 1999 or Child Tax Credit (provided
they are not entitled to Working Tax Credit and have an annual income as assessed by
Her Majesty‟s Revenue and Customs that does not exceed £14,155). (Wokingham
District Council, 2006).
School A
School A is a large mixed comprehensive school. Ofsted found students‟ overall
attainment on entry to School A in Year 7 to be above average. School A had a very
small number of ethnic minority students; similarly the number of students who come
from homes where English is an additional language is very low. The proportion of
students with special educational needs (SEN), including students with education
statements, was broadly in line with the national average. Year 9 National Curriculum
test results and GCSE results have risen and been maintained at an above national
average level. The quality of teaching at School A was good overall (Jones, 2002).
School A was judged by Ofsted to be a good and effective school that provides good
value for money. Its students developed positive attitudes towards education and behave
well (Jones, 2002).
72
At the time of inspection the percentage of KS3 and KS4 students known to be eligible
for free school meals was five and a half percent. The percentage of students on the roll
at KS3 and KS4 with special education needs (both with and without individual
education statements) was sixteen percent. Less than one percent of students spoke
English as an additional language. School A had a student mobility rate of nine percent
(students joining or leaving the school other than at usual admission/school leaving
times) (Jones, 2002).
The provision of music is School A was judged to be good overall. Strengths identified
by Ofsted included: well above average GCSE results, a large proportion of good and
very good teaching, very good leadership and management and commitment and
support from other music staff, and very good monitoring and assessment of students‟
progress. The areas identified for development were: access to sufficient and
appropriate information and communication technology, and the need to improve the
quality and appearance of the music department rooms (Jones, 2002). At the time of the
study thirteen percent of the Year Ten population were enrolled in GCSE Music.
School B
School B is a popular, multi-ethnic, multi-faith inner city 11-18 mixed comprehensive
school. At the time of inspection twelve percent of the school‟s student population were
refugees or asylum seekers. The students at School B were drawn from a wide range of
backgrounds from the advantaged to disadvantaged. More than a third (a high ratio) of
students spoke English as an additional language, and almost four percent were in the
early stages of learning English. Overall, socio-economic circumstances were below
average. A higher proportion of students than the national average was eligible for free
school meals (Alcorn, 2003).
School B was judged as providing a sound quality of education for its students.
Although below levels expected nationally, standards were beginning to rise. Teaching
was satisfactory and often good (Alcorn, 2003).
for free school meals was twenty and a half percent. The percentage of SEN students on
the roll at KS3 and KS4 (both with and without individual education statements) was
73
twenty-one percent. School B had a student mobility rate of eight percent (Alcorn,
2003).
The provision of music in School B was judged to be good overall. The strengths
identified by Ofsted included: outstanding achievement of higher attaining students,
high standard of extra-curricular activities, very good range of instrumental teaching
with a high take-up by the students, and an above average number of students taking
GCSE Music. The areas identified for development were: insufficient use of assessment
for curriculum planning and informing students of their progress, pacing of lessons
sometimes too slow, insufficient use of information technology in years seven to nine,
and a lack of homework in years seven to nine (Alcorn, 2003). Seven percent of Year
Tens were enrolled in GCSE Music
School C
School C is an average-sized, mixed, community comprehensive school for pupils aged
11 to 18. Ofsted found the attainment of the pupils on entry to School C in Year 7 to be
well below the national average. The percentage of pupils eligible for free school meals
was broadly in line with the national average. However, overall family circumstances
were below those to be found nationally. The number of pupils believed to be using
English as an additional language was higher than in most schools. The percentage of
SEN pupils identified by the school was above the national average. Similarly, the
percentage of pupils with individual education statements was well above the national
average. A very low number of pupils were identified as coming from traveller families.
The number of refugees and asylum seekers was also low. A very small number of
pupils were in public care (Feast, 2004).
School C was found to be a satisfactory school, providing a satisfactory quality of
education and satisfactory value for money. Standards were below the national average
at the end of Year 11. However, the results represented good achievement overall given
pupils‟ well below average attainment on entry to the school in Year 7. The quality of
teaching was satisfactory (Feast, 2004).
The provision of music was found to be satisfactory. The main strengths identified by
Ofsted were the purpose-built accommodation provides an outstanding facility for the
74
subject and enthusiastic and well organized teaching which created a good ethos for
learning. The areas identified for development were the low standards (due to a recent
lack of regular specialist music teaching prior to the arrival of the teacher at the time of
inspection) and a lack of adequate resources to meet the learning needs of students
(Feast, 2004). At the time of the study nine percent of the Year Ten population was
enrolled in GCSE Music.
School D
School D is a large comprehensive school. It draws students from several estates of
rented and owner-occupied housing. Ofsted found students‟ attainment on entry to Year
7 to be just above the national average. The proportion of students eligible for free
school meals was well below average. School D had a small proportion of ethnic
minority students. Similarly, the number of students who came from homes where
English was not the first language was low. The proportion of students on the SEN
register was well below average (Evans, 2001).
for free school meals was four percent. The percentage of students on the roll at KS3
and KS4 with special education needs (both with and without individual education
statements) was twenty percent. Four and a quarter percent of students spoke English as
an additional language. School D had a student mobility rate of two percent (Evans,
2001).
School D was found to be a good school. Standards were above average, and most
achieved well in the majority subjects (including those with special educational needs).
Students had good attitudes to learning. Teaching was judged to be good to very good
(Evans, 2001).
Ofsted judged music provision at School D to be good to very good. Identified strengths
included: above average standards by Year Nine, significant number of students
received instrumental lessons both within the school and at the local Music Centres, a
lively extra-curricular program, and very good teaching and learning at KS3. Ofsted
identified the central curriculum issue of barely adequate time and continuity for music
75
in Year 9 as an area for improvement (Evans, 2001). At the time of the study 7.5% of
the Year Ten population was enrolled in GCSE Music.
Procedure
Using the literature review, a number of statements were chosen that were considered
representative of the rationales for education presented by the government and the
music education community. The chosen statements were adapted to make the language
more accessible for students, whilst maintaining their original emphasis (see Appendix
E for the questionnaire statements and sources). The questionnaires and interviews were
constructed around these statements
Questionnaires
The questionnaires were developed using the statements described above, and other
information taken from the literature review regarding participation and influences on
enrolment decisions. The questionnaire was constructed using a mix of open ended and
Likert Scale questions. The open-ended questions were designed to allow students to
expand upon the themes raised in the scale-based questions, and offered an opportunity
to triangulate the scale responses.
Pilot Study
The questionnaire was piloted six weeks prior to the study by non-Music teaching staff.
After discussing the questionnaire with the staff involved, the length of the
questionnaire was reduced. It was suggested that at the school in which the pilot staff
taught the students would be unwilling to answer any large number of open questions.
Some questions were altered to include greater use of scales to enable students to
complete the questionnaire more quickly.
The revised questionnaire was piloted again with the same staff. Following further
revisions to clarify the language used, the questionnaire was piloted with Year Ten and
Eleven music classes. Student responses were reviewed, and the questionnaire discussed
76
with the students. Some questions were altered to remove ambiguities. The pilot study
indicated that the questionnaires should be completed within twenty to thirty minutes.
Administering the Questionnaires
Questionnaires were designed for Year Ten GCSE Music Students (see Appendix F),
Year Ten students who did not choose Music (see Appendix G), and Year Nine students
(who were in the process of making subject choices) (see Appendix H). Each
questionnaire followed the same format and questions, adjusted to suit the enrolment
context of the students.
A random sample of one third of the Year Nine and Year Ten groups in each school was
generated using a random sample generator. The final figure varied depending on
school attendance as some of the students selected in the random sample were serial
truants, others were ill or on family holiday at the time of the study (see Table 7). A
high proportion of students failed to arrive to complete the questionnaire or did not
return the questionnaire. One student sent a different student in their place.
Sample Size Minus
Incomplete Questionnaires
Intended Sample Size
Sample Size After Absentees
Sample Size Minus
Sample Size After Absentees
Sample Size Minus
School
A
School
B
School
C
School
D
Total
Year 10 GCSE Music Students
Sample Size
After Absentees
School
Year 10 Non-GCSE Music
Students
Year 9 Students
66
55
54
56
42
41
19
18
17
53
28
28
50
24
19
20
17
17
50
32
31
52
24
22
12
12
12
79
37
39
78
50
50
18
16
16
152
132
62
Table 7. The number of participants in each cohort in each school. Total = 346 Students
All GCSE Music students (unless absent on the day of the questionnaire) were given the
questionnaire in each participating school. In each school the music staff administered
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the Year Nine questionnaire either in class, or through form groups. The researcher
visited each participating school to help administer the GCSE Music and non-GCSE
Music questionnaires (which were completed during class time). The selected nonGCSE Music students were withdrawn from classes to complete the questionnaire on
the day that the researcher attended the school.
Interviews
Interviews were conducted on a small group basis with a further random sample of
approximately a third (depending on attendance) of those who completed the
questionnaires in each of the three groups. The overall attendance at Year Ten nonGCSE Music interviews in particular was low. In School C the researcher was unable to
complete the non-GCSE Music interviews due to the refusal by the Headteacher to
allow students time out of class to attend the interviews. After discussion with the
teaching staff, who thought the students were highly unlikely to attend during lunch,
recess or after school, the interviews were abandoned.
The interviews were semi-structured, based around the surveys, and were intended to
triangulate, and to offer an opportunity for students to expand on, their responses in the
questionnaires.
Treatment of Data
Questionnaires
Once the questionnaires had been completed the responses were collated, analysed, and
tabulated. The statistical software SPSS was used to assist this process. A high rate of
incomplete questionnaires was returned. A clear majority of those who did not answer
all the questions chose to answer the scale-based questions but not the open ended
questions, or did not follow the directions or the questions properly. After reviewing the
completed questionnaires, questionnaires that were incomplete except for the first two
or three questions were removed to reduce their impact on the statistical analysis. Table
7 outlines the final number of students who participated in each school.
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The questionnaires allowed for stratification by school, year groups, enrolment type or
intention, participation type, gender, ethnic background, and socio-economic
background. However, the final sample size was not large enough to allow any
meaningful use of each of these strata. Therefore, based on the sample size of each
strata and the initial analysis of the results, several were not used. Ethnic background
has not been taken into account due to the lack of representative samples of any
background other than white. As there were no significant differences in the results
between schools they were combined, leaving the sample stratified by gender (male or
female), year group (Year Nine or Ten) and enrolment type or intention (Year Ten
GCSE Music, Year Ten non-GCSE Music, Year Nine intending to enrol in GCSE
Music, or Year Nine not intending to enrol in GCSE Music). For the sake of brevity and
clarity these cohorts will be referred to as Year Nine non-Music, Year Nine Music, Year
Ten non-Music, and Year Ten Music.
After reviewing the statistical analysis, the scale-based questions were recoded from a
scale of one to five to a scale of one to three to provide a better overview and more
meaningful categories (see Tables 8 and 9).
Gender Rating
Year Group
Year 9 Non Music Year 10 Non Music Year 9 Music
16.7%
14.5%
Male Very Hard
Hard
20.4%
20.3%
23.1%
Equally
51.9%
42.0%
30.8%
Easy
5.6%
20.3%
46.2%
Very Easy
5.6%
2.9%
Year 10 Music
15.2%
39.4%
36.4%
9.1%
participate in?‟ prior to recoding
Gender Rating
Male
Year 9 Non Music
Hard
37.0%
Equally
51.9%
Easy
11.1%
Year Group
Year 10 Non Music Year 9 Music Year 10 Music
34.8%
23.1%
15.2%
42.0%
30.8%
39.4%
23.2%
46.2%
45.5%
participate in?‟ after recoding
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Interviews
Each interview was recorded and transcribed (see Appendix I – M, School A; N – V,
School B; W – Z, School C, and AA – GG, School D). Recordings took place in the
space available (e.g. a practice room or the dining hall). Some short sections of the
recordings were not transcribable due to ambient noise or the student mumbling and
have been indicated as such in the transcript. To reduce the impact on lessons,
interviews were held at the same time as the questionnaires. The randomly selected
interview students temporarily left the questionnaire to take part in the interview. The
interviews were stratified by year group (Year Nine and Ten). The Year Ten cohort was
further stratified by enrolment type (GCSE Music and non-GCSE Music). The Year
Nine cohort was not stratified by enrolment intentions as these were unknown prior to
the collection and collation of the questionnaires, and therefore represent a mixed
cohort.
Unless indicated otherwise, all quotes in the results section are from the written
response questions in the questionnaire.
Ethical Considerations
The preservation of anonymity was explained in the letter sent to parents outlining the
project. Students were also informed both verbally and on the cover of the questionnaire
that the responses they made would be confidential and anonymous. They were also told
that there would be no repercussions for negative responses. Students were not required
to write their name on the questionnaires.
At the start of each interview students were reminded that their views would be treated
confidentially, and that any references to personal identities in the recording would be
removed from the transcripts. This was done accordingly. The students were informed
that only the researcher would have access to the recordings, and that there would be no
repercussions for negative responses.
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CHAPTER FOUR
Results
This chapter provides the qualitative and quantitative data gathered from the
questionnaire and interviews (See Appendices F to GG)
Influences on Enrolment Decisions
Participation in Music
Participation Rates
Students were asked to rate their current participation levels as non-participant, dabbler,
amateur, or apprentice. Similar patterns of participation can be identified for males and
females in both the Music and non-Music cohorts. Non-Music students commonly
identified themselves as being „non-participants‟ (not actively participating in music) or
„dabblers‟ (participate without serious intentions). Conversely, Music students mostly
identified themselves as being „amateurs‟ (participate as a serious leisure activity) or
„apprentices‟ (participate as potential work, with the possibility of becoming a
professional). There was some cross over between the Music and non-Music cohorts in
the „amateur‟ category (see Table 10).
Gender/
Participation Level
Year 9 Non-Music
Non-Participant
Dabbler
Amateur
Apprentice
12.3%
47.4%
36.8%
1.8%
Non-Participant
Dabbler
Amateur
Apprentice
23.2%
42.9%
30.4%
3.6%
Year 9 Music
Male
14.3%
0%
57.1%
28.6%
Female
0%
15.4%
61.5%
23.1%
Year 10 Non-Music
Year 10 Music
71%
15.9%
10.1%
2.9%
0%
17.6%
29.4%
50%
69.6%
25%
3.6%
1.8%
0%
8.7%
65.2%
21.7%
Table 10. Students rating of their current participation levels (percentages)
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Similar patterns were identified when current participation was cross-referenced with
students‟ anticipated future participation levels. Most non-Music students envisaged
their future musical participation to remain the same or to decline. However, most
Music students believed they would maintain or increase their higher level of
participation (see Tables 11 and 12).
Current Participation
Year
9
Non-Music
Male
Year
Music
Non
–
Participant
Dabbler
Amateur
Apprentice
Non
–
Participant
Dabbler
Amateur
Apprentice
Non
–
Participant
Dabbler
Amateur
Apprentice
Non
–
Participant
Dabbler
Amateur
Apprentice
9
Year
10
Non-Music
Year
Music
10
Non-Participant
7%
8.8%
Future Participation
Dabbler Amateur Apprentice
3.5%
1.8%
26.3%
12.3%
8.8%
19.3%
1.8%
7.1%
3.5%
3.5%
Professional
1.8%
7.1%
14.3%
42%
20.3%
4.3%
4.3%
10.1%
1.4%
4.3%
2.9%
2.9%
8.8%
17.6%
2.9%
14.3%
7.1%
1.4%
28.6%
21.4%
2.9%
5.8%
1.4%
1.4%
2.9%
2.9%
11.8%
5.9%
35.3%
Table 11. Cross-tabulation of male students‟ current and future participation levels
(figures are a percentage of each cohort).
Current Participation
Female
Year
NonMusic
9
Year
Music
9
Year
10
NonMusic
Year
10
Music
Non
Participant
Dabbler
Amateur
Apprentice
Non
Participant
Dabbler
Amateur
Apprentice
Non
Participant
Dabbler
Amateur
Apprentice
Non
Participant
Dabbler
Amateur
Apprentice
NonParticipant
19.6%
12.5%
3.6%
Future Participation
Dabbler Amateur Apprentice
3.6%
23.2%
7.1%
7.1%
19.6%
3.6%
7.7%
38.5%
58.9%
10.7%
10.7%
12.5%
Professional
7.7%
15.4%
15.4%
7.7%
7.7%
1.8%
3.6%
1.8%
4.3%
13%
34.8%
13%
8.7%
4.3%
4.3%
13%
Table 12. Cross-tabulation of female students‟ current and future participation levels
(figures are a percentage of each cohort).
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In keeping with their higher participation rates, Music students were more likely than
non-Music students to regularly take part in activities such as composing (with or
without a computer), playing an instrument (solo or ensemble), discussing music,
singing (solo or ensemble) and dancing (on own or with others). The differences
between the music and non-Music cohorts were less apparent among the females than
the males. Males enrolled or intending to enrol in GCSE Music generally participated in
musical activities such as listening to music, composing, discussing, and playing
instruments with others. The females participated more in dancing, singing, and playing
their instrument on their own.
The Age at Which Students First Began to Learn Music
The average age given for beginning to learn music was similar across all cohorts. With
the exception of female Year Nines, Music students began to learn music at a very
slightly older age than to non-Music students, (see Table 13). On average, males began
learning music at an older age than females.
Year Group
Gender
Mean
Year 9 Non-Music
Male
Female
Average
Male
Female
Average
Male
Female
Average
Male
Female
Average
6.86
6.81
6.84
8.04
6.46
7.28
7.16
6.38
6.81
9.50
7.52
8.70
Year 9 Music
Year 10 Non-Music
Year 10 Music
Standard
Deviation
4.046
3.058
3.575
3.845
2.876
3.443
4.002
2.896
3.558
3.578
2.7.28
3.380
Table 13. Average age at which students first started to learn music.
Reasons for Enrolling or Not Enrolling in GCSE Music
Enjoyment of Music at KS3
The majority of the non-Music students rated the influence of their enjoyment of KS3
Music on their GCSE Music enrolment decisions as neutral, or reported that their
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enjoyment of music at KS3 was not influential (see Table 14). Similar proportions of
Music students to non-Music students gave a neutral response. However, significantly
more Music students reported their enjoyment of KS3 Music as being influential on
their enrolment decisions. The exception was the male Year Nine Music student cohort,
which returned fewer neutral responses, but more influential responses (see Table 14).
Gender
Male
Female
No Influence
Neutral
Influential
No Response
No Influence
Neutral
Influential
No Response
Year 9 NonMusic
61.4%
21.1%
8.8%
8.8%
53.6%
26.8%
14.3%
5.4%
Year Group
Year 9
Year 10 NonMusic
Music
21.4%
59.4%
7.1%
20.3%
64.3%
18.8%
7.1%
1.4%
23.1%
50%
30.8%
23.2%
46.2%
26.8%
0%
0%
Year 10
Music
20.6%
35.3%
44.1%
0%
13%
34.8%
52.2%
0%
Table 14. The influence of enjoyment on enrolment intentions.
The students were asked to explain their rating of the influence of their enjoyment of
music at KS3 on their GCSE Music enrolment intentions. The reasons given for their
ratings were highly varied, making statistical analysis difficult. Of the Year Nine male
non-Music students that responded that their enjoyment of music at KS3 was not
influential, significant proportions thought it was influential because music had been
unenjoyable. However, viewed as a percentage of the whole cohort, the percentages
were low (see Table 15). The main alternative influences given by those who indicated
that enjoyment of KS3 Music did not influence their enrolment decisions were a lack of
interest in music and lack of confidence and/or ability (see Table 5). Other categories of
influence cited were: not enough options in the timetable, not relevant to career or
future study, other priorities or wanted to study other subjects, and the negative
influence of the music teacher (see Table 15).
The most common response categories for non-Music students who thought their
enjoyment of music at KS3 was influential were lack of enjoyment, and, enjoyment of
KS3 lessons and enrolment intentions were linked. Other responses included: enjoyed
music at KS3, enjoyed Music but not pursing it at KS4, and the teacher had a negative
influence.
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Cohort
Year 9 Male
Year 9 Female
Year 10 Male
Year 10
Female
Response
Lack of Interest
Unenjoyable
Lack of Confidence/Ability
Not Enough Options in
Timetable
Not Relevant to Career
Unenjoyable
Lack of Interest
Unenjoyable
Lack of Interest
Unenjoyable`
Non-Music Students
% Of ‘not influential’
% Of total
responses
cohort
28.6%
7%
21.4%
5.3%
14.3%
3.5%
14.3%
3.5%
14.3%
47.6%
38.1%
34.4%
25%
3.5%
17.9%
14.3%
15.9%
11.6%
38.9%
12.5%
Table 15. Explanations of the non-Music students who thought their enjoyment of KS3
music did not influence their enrolment decisions.
Typical responses by non-Music students regarding the influence of their enjoyment of
music at KS3 were: “don‟t find music interesting at school”, “I found it kind of boring,
not very interesting” and “I didn‟t think I was experienced enough… at the time to enrol
in a GCSE course”. Some students cited the lack of relevance that music had to their
future or intended career: “I base my GCSE choices on my future not how much I enjoy
them”, “I didn‟t want music to be part of my career”, “I didn‟t really feel it would be
useful to me in the future”, and “I felt it had little purpose in further life”. Other reasons
cited were: “I would have liked to pick music but I could not because I already had
picked my GCSE subjects”, “I am better at other subjects and I enjoy other subjects
more”, “I do not enjoy the music that is done in school”, “the music was always piano
and classical, that‟s not my thing”, and “I already have grade six music outside school, I
did not feel the need to music in school also”. A few students explicitly identified a link
between enjoyment and enrolment intentions: “If you enjoy music lessons then, you
would want to participate in GCSE Music”, “because if we don‟t enjoy what we are
doing and find it uninteresting, then we‟d get bored and wouldn‟t take as much interest
in it.” Some students identified difficulties with the lessons: “classes were
disorganised”, “we never get to do practical seriously because the teachers can‟t handle
the students”, “I love music, but the classes we had in year seven, eight and nine were
mental” and “the music class is over-crowded and we don‟t learn anything”.
Significant proportions of Music students explicitly identified a link between enjoyment
at KS3 and enrolment intentions at KS4 (see Table 16): “it made me think more
85
seriously about choosing it”, “because music in school is fun and helped we with my
choice of taking music”, “enjoyed the practicals and the topics to be learning about
seemed good”, and “the normal lessons are very fun so they make one want to do GCSE
Music even more”. The Year Ten music cohort identified their involvement in extra
curricular music as a contributing factor. Typical comments were “I like the music
outside of school which influenced me to do GCSE Music” and “I wanted to do it
because I do music outside of school” Students highlighted the role of career intentions:
“I was starting to think about music in my future” and “it was more to do with the idea
of having a future career in music”. Other responses included “I thought that „school
music‟ was a good help with creative skills, this made me want to continue at GCSE”,
and “I... just thought that it was a good way of getting a decent GCSE”.
Cohort
Year 9 Male
Year 9
Female
Year 10 Male
Year 10
Female
Response
Enrolment Intentions and Enjoyment
Linked
Enjoyed Music
Linked
Enjoyed Music
Unenjoyable
Linked
Involved in Non-Curricular Music
Linked
Involved in Non-Curricular Music
Music Students
% Of ‘influential’
% Of total
responses
cohort
50%
35.7%
30%
21.4%
50%
38.5%
20%
20%
15.4%
15.4%
53.8%
41.2%
11.5%
8.8%
60%
52.2%
30%
26.1%
Table 16. Explanations of the Music students who thought their enjoyment of KS3
music did influence their enrolment decisions.
Few of the Music students that identified their enjoyment of KS3 Music as being not
influential elaborated on their response. Of those that did, the reasons included: “I like
music but the school doesn‟t inspire me to take it as a GCSE because it‟s boring” and “I
don‟t particularly enjoy music in school even though I play the French Horn”.
Subject Selection
During the interviews students were asked what they took into consideration when
choosing GCSE subjects. Common considerations were future career/study pathways,
enjoyment of lessons, and subjects in which students achieved well. For some, the main
86
consideration was “…the things you want to do in the future”, “mainly career”,
“something you can earn money from”, “there‟s not much point taking PE, music or
drama if you want to be a barrister is there” or “what you want to do when you‟re
older”. Other students took into account their strengths; “most of the time it‟s like
interest and stuff… you wanna be like good at the things you wanna be good at, so
basically trying to further like, whatever your talent” and “for me its be if I was good at
it”. Enjoyment was also an important consideration: “whether or not you like it, as in
enjoy it”, “stuff I find fun, like, I enjoyed it”, “it was just subjects that I enjoyed and I
thought I would enjoy” and “not much point having my career, it‟s gonna be crap,
really, but I‟m gonna sing”.
Some students considered combinations of factors, such as “what I like, what I‟m good
at, what I want from a job”, “there‟s two things to think „bout, if they‟ve got anything to
do with what you want to become when you‟re older, and if they‟re like suitable, if
they‟re not too hard for you, something you can pass”. Students‟ comments indicated
that they considered a combination of interest or enjoyment and career intentions: “mine
was split fifty-fifty down the middle, „cause I enjoy what I took, but I also thought it
would be like relevant for my career, what I wanted to do”.
Electing to Enrol in GCSE Music
Students were asked in the interviews, more specifically, why they thought some
students enrolled in GCSE Music, and why some did not. Similar responses were given
across the cohorts. Future use of music was a common theme. Typical responses
included “they might want to use it when they‟re older”, “if you want to do something
linked with music later in life”, and “they want to be professionals when they grow up”.
One student identified the role of GCSE Music in his career aspirations: “the
qualifications for the sort of jobs I wanna do I thought it‟d be good”. Enjoyment was an
important factor: “because they enjoy it and they find it interesting” or “it‟s practical so
it‟s fun”. One GCSE Music student enrolled because “it‟s just more enjoyable than lots
of the other subjects that we had for options… because you don‟t just have to sit at a
desk and write all the time”. This reasoning was supported by another student who
thought that “it‟s different to all the other subjects… it‟s not repetitive… you can‟t
anticipate anything”.
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Others thought those who enrolled in GCSE Music were influenced to do so by friends:
“maybe they find it fun and they like, do it with their friends and that”. A GCSE Music
student stated that his enrolment decision was based on many factors, but focussed on
his social life; “it‟s so many things actually to choose from… some of it‟s the social life
as well, I feel as if the social life‟s gone up a lot, you have, you meet a lot of new
people, you get on better with teachers, you know I feel it is just a much friendlier
atmosphere”. Other people who influenced enrolment decisions were older Music
students – “all the year elevens that do it were like „yeah, it‟s really good, take it‟” – and
family – “my brother, „cause he‟s a musician, so, family kinda thing”.
The ability to play an instrument was identified by music and non-Music students alike
as a reason for enrolling in GCSE Music. Typical comments included “ if someone
plays a certain instrument then they‟re probably going to do that and maybe their friends
do it or something”, “they play an instrument”, “because I play an instrument” and “for
most people that, whether they play an instrument or not does like, influences whether
they take music”. The possibility of gaining a good grade in music was identified by a
male GCSE Music student, who thought “I could play an instrument so I knew I could
get an alright GCSE”.
A small number of students identified participation in out-of-school music as influential.
A Year Ten non-GCSE student thought others enrolled because “they do it out of
school”, reflecting the comment by a Year Ten GCSE student who enrolled because
“I‟ve been doing it outside school for a while”.
One GCSE Music student enrolled to improve her “creative skills… „cause I didn‟t
really know how to make anything up before”. A non-GCSE Music student, who also
identified creativity as a reason to enrol in GCSE Music, thought that “they just want to
make their own music as well”. Self-expression was identified as a reason for enrolling
in GCSE Music for Music students because “it‟s a way to really express themselves”.
Another (GCSE Music student) enrolled because “I love it, it‟s interesting, I just think
it‟s really expressive as well”.
Lack of ability was the most common reason cited in the interviews for not enrolling in
GCSE Music. Typical responses were “they‟re not good at it”, “if they can‟t do it, if
they don‟t think they can sing or play an instrument”, “not really musically gifted”,
88
“they‟re just not musically talented”, “ a lot of people don‟t want to take it if they
don‟t…play an instrument”, and “a lot of people think it‟s hard or complex”.
Lack of enjoyment was also commonly given as a reason not to enrol, with typical
comments such as “they don‟t enjoy it or they find it boring”, “some people just find it
boring”. One student specifically identified the repetition involved in learning to play
music, “we‟re learning the same thing over and over and over and over, it‟s like, forget
it, I‟ve learnt this twice already, I‟m not going to learn it again”.
A lack of relevance of music to students‟ future was also often given as a reason for not
enrolling in GCSE Music, “It didn‟t play a part in what I wanna be when I‟m older”,
“some people think it‟s pointless, that it won‟t lead to anything”. One student
specifically identified difficulties with career pathways in music, “the chances of just
like…doing it as a living, are so small”.
Other subjects were viewed as more important or attractive: “the subjects I chose were
like higher on my agenda”, “I did enjoy it but when I got to like Year Ten, and all the
other things like media studies started coming around I thought I just might try them
instead of doing music, seeing as I done it in Year Nine”.
Year nine students and Year Ten GCSE Music students identified lack of motivation as
a reason not to enrol in GCSE Music. Some students thought others did not enrol
“because they‟re lazy”, “they think „oh I‟m going to play this instrument‟, and then give
up like after a month” or because “they can‟t be bothered”.
Two students identified timetabling difficulties, “there‟s not enough room in their
courses, can‟t fit it in”, “I think music would have been like, a fifth choice, but you can
only choose four”. A small number of students did not enrol in GCSE Music due to
difficulties with the lessons: “the lessons are never in control and stuff like that”,
“teachers didn‟t control the class”, “I just didn‟t really like this schools music
department and how they taught it”. Other reasons given for not enrolling in GCSE
Music were “maybe their parents are forcing them” and “they‟re scared about what
people might think”.
89
The questionnaire also asked why other students enrolled in GCSE Music. The results
reflected the interview comments. The largest proportions of students believed
enjoyment was one of the main reasons why others enrolled in GCSE Music. Typical
responses included “they get pleasure from producing music”, “they like it and it‟s an
inspiring subject”, “it‟s a fun lesson”, and “love of music in general”.
Some were more specific about why others enjoyed music lessons and identified the
ratio between written and practical work as an important factor: “not a lot of written
work”, “more practical, not as boring as others” and “not much writing, enjoyable” Two
students identified the link between enjoyment of music in KS3 and enrolment in KS4:
“they enjoyed school music in years seven to nine”, “because they liked it in years
seven to nine”. Another described music “a fun lesson and has a variety of subjects”.
Other common reasons were musical ability (“they might be musically gifted”, they are
musically talented”, “they are good at an instrument”, “ability to play an instrument”),
career (“they want a career in music”, “they want to go into the music business and
want to play in a band”, “they want a music-orientated job”), and interest in music
(“interest in music and types of music”, “they are… interested in music”, “general
interest in music”) (see Table 17).
Other reasons cited were (as a percentage of all students): playing/performing (4%)
(“want to play in a band”, “they play in a band”), useful later in life (2.9%) (“they…
wish to continue it when they leave school”, “they want to pursue it later in life”, unsure
(1.4%), creativity (1.2%) (“they like… experimenting in different sounds and rhythms”,
“to learn how to make up music”), friends (0.6%) (“they had a groups of friends who
play instruments”), improves mood (0.3%), music technology (0.3%), develops personal
attributes (0.3%) (“to further their minds”), expression (0.3%) (“being able to express
yourself”), positive influence of the class music teacher (0.3%), no timetable clash
(0.3%) (“because they could and I wasn‟t because of my other lessons”), and involved
in non-curricular music (0.3%).
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Year
Gender
Male
9
Female
Male
10
Female
Non-Music Students
Reason
% of Cohort
Enjoyment
52.6%
Musical Ability
24.6%
Career
17.5%
Enjoyment
Career
Ability
58.9%
41.1%
37.5%
Enjoyment
Ability
Career
50.7%
27.5%
24.6%
Enjoyment
Career
Ability
Interest in Music
64.3%
50%
32.1%
10.7%
Music Students
Reason
% of Cohort
Enjoyment
42.9%
Career
42.9%
Interest in Music
21.4%
Ability
14.3%
Enjoyment
61.5%
Easy Lesson/Doss
23.1%
Improve Musical Knowledge
23.1%
Interest in Music
23.1%
Ability
23.1%
Enjoyment
44.1%
23.5%
Career
17.6%
Ability
17.6%
Enjoyment
52.2%
Ability
26.1%
Easy Lesson/Doss
21.7%
Interest in Music
17.4%
Career
13%
Table 17. Reasons why students believe others enrol in GCSE Music (% of students).
Nb. As students could give more than one answer totals will not add up to 100%.
The questionnaire also asked why others did not enrol in GCSE Music. The most
common reasons were a lack of confidence or ability and a lack of enjoyment.
Statements such as “not able to play an instrument”, “didn‟t feel good enough”,
“because they doubt their own abilities” and “they think they need to be good at it to do
it” are representative of those who felt that a lack of confidence or ability was a main
reason for not enrolling in GCSE Music. Similarly, statements such as “don‟t enjoy it”,
“they find it boring”, and “dull” illustrate students‟ opinion that lack of enjoyment was
also a main reason not to enrol in GCSE Music. Some students felt it was a combination
of these factors, “they don‟t like it and they think they‟re not good at it”. Two students
explicitly linked enjoyment of KS3 music with enrolment in KS4, “they didn‟t like it in
the first three years”, “didn‟t enjoy the KS3 way”.
Other common reasons for not enrolling in GCSE Music were; a lack of interest in
music (“they are not interested”, “because they weren‟t interested”, “lazy”, “they cannot
be bothered”), other priorities for study (“because other subjects come in front of
music”, “they found other lessons more productive”, “have no interest in the school‟s
music, would rather just teach themselves”), and a lack of relevance to future
career/study intentions (“won‟t be important to their career and future life”, “don‟t think
it will help them with their career”) (see Table 18). One student identified a lack of
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knowledge about music career pathways, “they might not know what jobs you can get
with a music qualification”. Another claimed that other students did not enrol in GCSE
Music, because music careers offer “hardly good pay, money is everything”.
Non-Music Students
Year
Gender
Reason
Unenjoyable
Music Students
% of
Cohort
40.4%
29.8%
Unenjoyable
Not Relevant to Future
Career/Study
48.2%
42.9%
Unenjoyable
Lack of Interest in Music
Other Priorities/Wanted to
Study Other Subjects
Unenjoyable
25%
16.1%
Male
9
Female
Male
10
Female
Reason
% of
Cohort
57.1%
35.7%
35.7%
14.3%
46.2%
38.5%
38.5%
Unenjoyable
Career/Study
56.5%
33.3%
Career/Study
Unenjoyable
20.3%
14.5%
Unenjoyable
Career/Study
64.3%
Unenjoyable
35.7%
43.5%
32.1%
30.4%
23.2%
Career/Study
10.7%
15.4%
15.4%
47.1%
38.2%
20.6%
20.6%
47.8%
13%
Table 18. Reasons why students believe others do not enrol in GCSE Music (% of
students)
Less common factors were (as a percentage of all students): negative influence of the
class teacher (3.5%) (“they don‟t like the teacher”, “dislike of the teachers”), not useful
in the future (3.2%) (“won‟t be important to their… future life”, “they do not see a
future for them in music”), not enough options in the timetable (1.4%) (“they have no
more choices left to take”), unsure (1.2%), easy lesson or doss (0.9%) (“they don‟t want
a free ride subject”), advice (0.6%) (“parents don‟t want them to”), involvement in noncurricular music (0.6%), none (0.6%), already a competent musician (0.3%), did not like
the class activities (0.3%), prefer popular music (0.3%) (“do not want to know about
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classical”, “friends” (0.3%), “not well advertised” (0.3%), and a “lack of equipment”
(0.3%).
As a cross reference, the questionnaires asked the Year Ten GCSE Music students for
the main reasons why they thought GCSE Music was a good course to enrol in. The
Year Ten non-GCSE students were asked why they thought GCSE Music was not a
good course to enrol in, whilst the Year Nine students were asked what they hoped to
gain from the course (for those considering enrolling), and for those not intending to
enrol, what factors were influencing their decisions. The Year Nines were also asked
what might change their minds.
The responses of the Year Ten non-GCSE students were similar to those given to the
questions regarding why other students enrol or do not enrol in GCSE Music (see Table
19). Lack of enjoyment or relevance to intended career were common reasons: “I
thought it was boring”, “boring old music”, “music qualifications not needed, no
intention of working in music”, “it is not a career I‟m interested in”, “better options
available to help you in your future career”. A lack of ability or confidence was another
common reason for why music was not a good course to enrol in, “I felt I wasn‟t good
enough”, “I wasn‟t experienced enough at music to feel confident”, “I wouldn‟t learn
enough to pass, wasn‟t good at it and was always left behind”. For some, the class
music teacher was a negative influence, “I didn‟t like the teacher”, “it would have
caused more problems if I did take it, my interest in music lessened, my relationship
with the teacher lessened”.
Reason Why Music Was Not a Good Course in Which
to Enrol
Unenjoyable
Not Relevant to Career/Future Study
Teachers Negative Influence
Other Priorities/Wanted to Study Other Subjects
Not Useful in the Future
% of Male
Students
44.9%
31.9%
30.4%
17.4%
15.9%
14.5%
% of Female
Students
50%
37.5%
33.9%
19.6%
16.1%
14.3%
Table 19. Reasons why Year Ten non-GCSE Music students thought music was not a
good course to enrol in (% of students).
Some students thought there were more important subjects, or preferred other lessons:
“I had more important options”, “prefer other lessons” “I preferred different lessons”, “I
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wanted to study other subjects”. A lack of interest in music was a common theme: “I
didn‟t have enough interest in it, it became boring”, “not found interesting”.
Other reasons cited were (as a percentage of Year Ten non-GCSE Music as a whole):
not enough options in the timetable (2.2%) (“there were only two choices of GCSE”),
already a competent musician (1.5%) (“have grade six outside of school”, “I had already
done it and passed with a good enough grade to not need to do it again”), friends (1.5%)
(“none of my friends were doing it”), “lack of equipment” (1.5%), advice (0.7%)
(“parental influences”), easy lesson or a doss (0.7%) (“it‟s a doss”), involvement in noncurricular music (0.7%) (“participate in many music activities already”).
The Year Nine students not intending to do GCSE Music gave similar reasons for not
wanting to enrol to the Year Ten non-GCSE cohort. However, the gender differences
were more significant compared to the year 10 non-GCSE cohort. The most common
factors influencing Year Nine males not to do Music were a lack of enjoyment (“I don‟t
like the subject”, “I don‟t like music”) and other priorities or the desire to study other
subjects (“like other subjects more than Music”, “for me Music is not a priority”). The
Year Nine females not intending to do GCSE Music were more concerned about the
relevance of music to their future career or study (“I had options I felt came before, they
fitted y current career choice”, “it won‟t help me in my future career”), and a lack of
confidence or ability (“I‟m not musical”, “I do not think I am good enough to do it”)
(see Table 20).
Factors Influencing the Decision Not to Enrol in GCSE Music
Unenjoyable
Not Relevant to Future Career or Study
Lack of Confidence or Ability
Other Priorities/Wanted to Study Other Subjects
% of Males
29.8%
10.5%
15.8%
19.3%
5.3%
% of Females
14.3%
25%
19.6%
12.5%
17.9%
Table 20. The main factors influencing Year Nine students not to enrol in GCSE Music.
Other factors that were cited as influencing students not to enrol in music were (as a
percentage of all Year Nine students not intending to do Music): not enough options in
timetable (4.1%) (“other subjects clash”), negative influence of the teacher (3.3%) (“my
music teacher at my old school”), already a competent musician (3.3%) (“I already play
a musical instrument”), not useful in the future (2.5%) (“I don‟t intend to use music in
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the future”), involved in non-curricular music (0.8%) (“I do lots of music outside
school”), and unsure (0.8%).
A large proportion of students did not offer any suggestion as to what might change
their enrolment intentions. Of those that did, the most common responses were
“nothing” and greater musical ability (“if I played an instrument”, “if I had been playing
the bass for longer”, “if I were better at music”). The females also identified a change in
career intentions as a factor that might change their mind, “if I change my idea of what I
want to do when I‟m older”, “if I have a change of mind about my career”. Both males
and females identified a greater enjoyment of Music, “if it was fun”, “if I start taking
more vocal or instrumental lessons I might enjoy it more” (see Table 21).
Factor
Nothing
Greater Musical Ability
Change in Career Intentions
Enjoyment
No Response
% of Males
21.1%
14%
5.3%
10.5%
24.6%
% of Females
17.9%
19.6%
16.1%
8.9%
21.4%
Table 21. The main factors that might influence Year Nine students not intending to
enrol in GCSE Music to reconsider.
The other factors identified were (as a percentage of all Year Nine‟s not intending to
enrol in GCSE Music): “money” (4.9%), advice (3.3%) (“if I was told by someone very
talented that I would do well”, “if my family suggests me to do it”), other option
preferences were unavailable (3.3%) (“if all the subjects I wanted to do were
unavailable”, “if it was the only subject that wasn‟t full”), interest in music (1.6%) (“the
love of music”), unsure (1.6%), greater relevance to career intentions (0.8%) (“if
someone told me I have to do it to get the job I want”), better activities (0.8%) (“more
better activities”, “if the school lets Rap be a part of GCSE Music”), influence of the
class teacher (0.8%), “friends” (0.8%), and “no timetable clash” (0.8%).
The reasons why GCSE Music students thought the course was a good one to enrol in
were far less varied. The most common reasons given were enjoyment, and
improvement of musical knowledge: “I enjoyed my music lessons and I thought it
would be fun”, “it looked fun”, “I enjoy music”, “to help me read drum kit music”,
“because it would help me improve as a musician, improve my skills”, “because it will
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give me a better understanding of music and making music”. Females were significantly
more interested in creativity than males (“get creative skills”, “I… thought it would be
cool to make music”, “it… helps you create more” “it‟s creative”).
Males were
interested in preparing for a potential career in music (“it will help me if I choose to
work in the music industry”, “I want to be in the music industry”), and the opportunity
to work with their friends (“because of… my friends”, “friends who played joined”).
Both male and female cohorts also identified having an interest in music as a good
reason to enrol in GCSE Music (“I was interested in music”, “I‟m interested in it”, “it is
interesting” (see Table 22).
Reason Why Music Was a Good Course in Which to
Enrol
Enjoyment
Creativity
Interest in Music
Career Development
Friends
% of Male
Students
47.1%
35.3%
14.7%
14.7%
14.7%
14.7%
% of Female
Students
73.9%
73.9%
26.1%
17.4%
8.7%
4.3%
Table 22. Reasons why GCSE Music students thought music was a good course to
enrol in.
Most students gave a combination of these factors as reasons why they thought GCSE
Music was a good course to enrol in. The following quotes are representative examples
of such combinations: “musical importance in my life, friends, teacher”, “fun, helpful
and refreshed approach to work”, “I‟ve learnt a lot more about music, I‟ve worked with
people I wouldn‟t normally work with and I‟ve had chances to work with equipment I
wouldn‟t have had”, “lots of practical lessons, composition, good teaching”, “It may
help me in the future, I‟m good at it, I‟m interested in it and it‟s fun”.
The other reasons cited were (as a percentage of all Year Ten GCSE Music students):
advice (1.7%), easy lesson or a doss (1.7%), musical ability (11.7%) (“because I have
talent in music”, “I‟m good at it”), develops personal attributes (5%) (“I thought it
would make me better/more confident”, “being able to express myself”, “gives you
independence”), playing or performing opportunities (6.7%) (“I enjoy playing my
instruments”, “play instruments”), positive influence of the class music teacher (6.7%)
(“because of our teachers, they are very laid back”, “good teaching”), useful later in life
96
(6.7%) (“I want to use my music in the future”), and friends (6.7%) (“I knew friends
that were doing it”, “friends who have chosen it”).
The Year Nine students intending to do GCSE Music were asked what they hoped to
gain from the course. Students largely focussed on improving their musical knowledge,
“to understand music better and to get better at it”, “I want to broaden my mind in
music”, “desire to improve”. A significant proportion were interested in improving their
playing and performing abilities, “better performance abilities”, “play instruments
better”. Compared to the males, females were more interested in qualifications and
career (“a GCSE qualification”, “understanding of music industry”), enjoyment
(“enjoyment in different musical activities”) and creativity (“learning how to make up
music”, “practice song writing and composing”) (see Table 23).
What Students Hoped to Gain From Enrolling in GCSE Music
Playing/Performing Opportunities
Career Development
Enjoyment
Creativity
% of Males
64.3%
35.7%
21.4%
14.3%
0%
% of Females
69.2%
30.8%
38.5%
30.8%
15.4%
Table 23. What Year Nine students hoped to gain from enrolling in GCSE Music.
A significant proportion of those intending to do GCSE Music did not suggest any
factor that might cause them to reconsider. Significantly more females than males
thought they would reconsider if the course was not as good as they expected (“if it‟s
not as good as I thought”, “if it‟s boring and the stuff we do is old and traditional”, “if
loads of people that didn‟t play musical instruments took the course”). Almost half of
the males thought “nothing” would make them reconsider. Students also identified the
teacher as a possible reason to reconsider their intentions, “lack of teacher control”, “if
they don‟t want me to”. Other factors identified were: “amount of homework”, “my
really really strict parents”, and “my career choice” (see Table 24).
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Factor
Nothing
Not as Good as Expectations
Teacher
Too Much Homework
Parents
Career Choice
% of Males
42.9%
14.3%
14.3%
7.1%
0%
0%
% of Females
23.1%
38.5%
7.7%
0%
7.7%
7.7%
Table 24. The main factors that might cause Year Nine students intending to enrol in
GCSE Music to reconsider.
The Strongest Internal Influences on Enrolment
Students were asked to rate the four strongest internal GCSE Music enrolment
influences (such as ability, interest, and enjoyment). Ability and interest in music were
the strongest influences across all cohorts with the exception of the Year Nine male
Music students. Needing the GCSE Music qualification for work was a strong influence
mainly for the Year Nine males, although it was a strong influence for significantly
more students intending to do GCSE Music than for those not intending to enrol (see
Table 24).
Enjoyment of music in KS3 was a strong influence for all female cohorts (except Year
Ten non-GCSE). Intention to work in the music industry was a stronger influence for
females in Year Nine, compared to males, but stronger for Year Ten GCSE males. All
Year Ten cohorts (except female GCSE Music students) had smaller proportions of
students citing intention to work in the music industry as a strong influence. The
perception of music as a bludge or doss was a strong influence for both Year Nine
males, particularly for those intending to do GCSE Music in Year Ten. Personal
ambition or desire and the importance of music in their lives were also strong influences
for females enrolled in or intending to enrol in GCSE Music (see Table 25).
Other influences to enrol were the facilities available (particularly for Year Nine males
not intending to enrol in GCSE Music) and the desire to improve instrumental skills.
Year Ten students did not identify any further influences
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Influence to Enrol in GCSE
Music
Ability in Music
Interest in Music
Need the Qualification for
Work
Bludge/Doss
Intention to Work in the
Music Industry
Enjoyment in KS3
Personal Ambition/Desire
Importance of Music in Life
Males
Non-Music
Music
Year
Year
Year
Year
9
10
9
10
30.6% 14.1%
0%
54.5%
18.4%
25%
0%
75.8%
Females
Non-Music
Music
Year
Year
Year
Year
9
10
9
10
48.9% 11.5% 38.5% 71.4%
63.8% 17.3% 69.2%
81%
38.8%
6.3%
61.5%
12.1%
23.4%
5.8%
0%
4.8%
38.8%
3.1%
69.2%
0%
8.5%
7.7%
0%
0%
14.3%
9.4%
15.4%
21.2%
21.3%
7.7%
23.1%
4.8%
6.1%
10.2%
12.2%
15.6%
6.3%
4.7%
0%
0%
7.7%
12.1%
12.1%
12.1%
27.7%
12.8%
12.8%
13.5%
7.7%
7.7%
30.8%
15.4%
35.8%
28.6%
23.8%
19%
Table 25. The strongest influences to enrol in GCSE Music (% of students).
Strongest External Influences on Enrolment
To complete the overview of influences of participation, students were asked to identify
the strongest external influences on GCSE Music enrolment (who influenced their
decisions).
The people with the greatest influence across cohorts were class music teachers and
parents. In both cases, they were more influential for females than males. Family history
and careers counsellors were more influential for males than females, whilst females
were more likely to be influenced by friends. Instrumental or vocal teachers were a
stronger influence to enrol for Year Ten GCSE Music than for Year Nines intending to
do GCSE Music. For non-GCSE males, the biggest external influence to enrol in GCSE
Music was their friends. For females, it was their parents (see Table 26).
Who Influenced GCSE Music
Enrolment Decisions
Instrumental/Vocal Teacher
Class Music Teacher
Parent
Other Family Member
Family History
Friends
Careers Counsellor
Males
Non-Music
Music
Year Year
Year
Year
9
10
9
10
0% 12.9% 7.1% 36.4%
46% 14.5% 42.9% 39.4%
46% 12.9% 28.6% 27.3%
42% 9.7%
50% 21.2%
22% 4.8% 14.3% 6.1%
16% 19.4% 7.1% 39.4%
20% 8.1% 28.6%
3%
Females
Non-Music
Music
Year Year
Year
Year
9
10
9
10
56% 13.5% 30.8% 40.9%
54% 25% 61.5% 59.1%
48% 17.3% 61.5% 50%
24% 7.7% 15.4% 13.6%
8%
7.7%
0%
4.5%
24% 15.4% 23.1% 27.3%
12% 5.8% 15.4%
0%
Table 26. The people with the biggest influence on GCSE Music enrolment intentions.
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Interview discussions on enrolment influences usually involved a combination of
factors. In particular, the role of parents and other family, personal opinion, and other
teachers was discussed. The following extracts are typical examples.
Interviewer: Who influences you in your decisions?
Student 1:
Myself.
Interviewer: Nobody else?
Student 2:
I s‟pose my parents had something to do with it but at the
end of the day it was down to me.
Student 3:
Yeah, same as me, I chose it and my parents like, they
told me what they thought I should do but I just kept
what I wanted to do.
Student 4:
My mum told me what she wanted to do, but I filled it in
and handed it in and here I am.
Student 1:
The instrument teachers kinda influence you „cause like,
they tell you that you, they think you should go for it
then that‟s gonna make you feel like you actually could
fit.
Student 2:
I just thought myself, I want to do music.
Student 3:
Yeah my class teacher as well, she said that I should do
it.
Interviewer: Yeah.
Student 4:
Um, myself.
Interviewer: Anyone try to influence you not to do music?
Student 5:
Oh the teachers did a bit, normal teachers, because they
wanted me to do like technology or something.
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Student 6:
I‟m not gonna say names yeah, but teacher… „cause like
I do drama as well, it‟s like… you‟re not doing anything
else.
Interviewer: So, she was trying to tell you in terms of, like, why it‟s
not good to do drama and music?
Student 6:
Like too many arts stuff to do, well it‟s like I‟m doing
history and Spanish so that‟s a lot of coursework, and
English and science and maths so as far as I‟m concerned
it‟s my future, not hers, if you want do music you
shoulda done it.
Student 1:
Friends.
Student 2:
My grandfather.
Student 1:
Mainly friends.
Interviewer: To do more or to not do music?
Student 1:
To do music.
Student 3:
My dad… to do it.
Student 2:
My grandpa and me.
Interviewer: Did he want you to do it or not?
Student 2:
Really wanted me to do it.
Student 4:
My choice.
Student 3:
I sometimes felt that my mum was like, sorta like…
Student 2:
(interrupts) …the Headteacher.
Student 3:
Didn‟t really care, but she does, doesn‟t show it very
much.
Interviewer: Did the Headteacher say to you not to do music?
Student 2:
She said it was a waste of a subject.
Student 1:
Yeah, she actually did say that.
Student 3:
And drama.
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Interviewer: Oh, interesting. Did she give any reasons?
Student 3:
No, she just said she didn‟t see the point… waste of time.
Student 1:
If you have like older brothers or sisters and you hear
what they have to say… then you might be put off or you
might want to take it because of them, so they can
influence you.
Interviewer: What about you class teachers?
Student 2:
Sometimes you wanna take a subject where you like a
teacher… because they teach it well and you just think
that way you‟ll do well with it.
Student 3:
They point out all the good bits about doing their subject
and all the bad bits about doing everyone else‟s.
One student cited advice from her tutor as influential, “well my old tutor said that for
GCSE you should choose what you‟re gonna do good at so you get the GCSE‟s and
then for A-Level maybe choose some more academic ones that‟ll help you and stuff”. A
GCSE Music student cited the influence of a band performance at her primary school,
“when I was like, in primary school, I knew that I liked music a lot so I um, when Status
Quo came to my school I thought it‟s definitely something I‟d want to do when I‟m
older”.
Instrumental Ability
Ability to play an instrument was an important enrolment consideration for the majority
of Music students. Non-Music students were more likely to identify instrumental ability
as an unimportant consideration (see Table 27).
In the Year Ten non-Music cohort 30.4% of males and 33.9% of females identified a
lack of playing ability or confidence as the reason for not enrolling in GCSE Music; “I
wasn‟t good at it, didn‟t play an instrument well”, “I wasn‟t experienced enough at
music to feel confident”. A male Year Ten non-Music student described taking up the
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piano at home, inspired by favourite bands. Asked if would have been more likely to
enrol in GCSE Music if he had taken up the piano earlier he replied “yeah, definitely”.
Importance of
Instrumental Ability
Not Important
Neutral
Important
Males
Non-Music
Music
Year
Year
Year
Year
9
10
9
10
45.1% 47.8%
7.7%
9.1%
19.6% 23.9% 15.4% 21.2%
35.3% 28.4% 76.9% 69.7%
Females
Non-Music
Music
Year
Year
Year
Year
9
10
9
10
30.9% 40.7% 16.7% 18.2%
41.8% 22.2%
8.3%
22.7%
27.3%
37%
75%
59.1%
Table 27. The importance of instrumental ability when deciding to or not to enrol in
GCSE Music.
Year Nine students described the how they felt it was important to be able to play an
instrument if enrolling for GCSE Music: “kinda important that you have a basic
foundation before you start”, “it‟s quite important to have a musical instrument because
I learned the clarinet from quite a young age so if I hadn‟t learned then I really wouldn‟t
have a clue with Music”, “if you play an instrument it‟s easier to know what‟s going
around you in music”, and “if you can read music already you would, I think you would
find music a bit easier.”
Most students felt that the ability to play an instrument was an important consideration.
One student stated that “I think for most people that, whether they play an instrument or
not does, like, influences whether they take music.” However, there were differing
opinions. Another student suggested that “just because you like play, play one
instrument, don‟t mean that you like music in general sorta thing. So you gotta actually
like music in general to take part”.
Playing and performing music was the second most common experience (after
improving musical knowledge) that Year Nine students intending to enrol in GCSE
Music were hoping to gain from the course (35.7% of males and 30.8% of females).
One female student intended to enrol in GCSE Music because she “want(ed) to do more
practical”, another to learn “how to make up music and play instruments better”.
Another student identified “working with people that play musical instruments” as a
reason for enrolling in GCSE Music. In contrast, only 5.9% of males and 8.7% of
females in the Year Ten GCSE Music cohort identified playing and performing music
as the reason why they enrolled in GCSE Music: “I love to play music”, “I‟m in a band
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with two other excellent, talented musicians and we thought we would learn from it. We
were right”. Other responses included “I like to play music”, “because it gives me a
better understanding of music and making music” and “friends who played joined, fun
to make up music, easy to improvise and play”.
In the Year Nine non-Music cohort, 16.1% of males and 22.6% of females also
identified a lack of playing ability and/or confidence as the reason for not wanting to
enrol in GCSE Music: “I don‟t play an instrument at this moment in time”, “not
knowing how to play an instrument properly”. In response to what might change their
mind about not enrolling in GCSE Music, several identified instrumental ability: “ If I
learnt how to play an instrument”, “…if I had been playing the bass for longer”.
Slightly more students not intending to enrol than those intending to enrol, and slightly
more males than females, thought they would be more likely to enrol if they had begun
learning an instrument earlier (see Table 28).
Less Likely to Enrol
No Change
More Likely to Enrol
Non-Music
Male Female
20.4%
18%
20.4%
40%
59.2%
42%
Music
Male Female
0%
8.3%
53.8%
50%
46.2% 41.9%
Table 28. Students‟ perception of the effect of beginning to learn an instrument at an
earlier age on Year Nine enrolment intentions.
Of the Year Nine students not learning an instrument at the time of the questionnaire, at
least half thought that they would be more likely to enrol in GCSE Music if they were
learning an instrument. None of the non-instrumental lesson students (intending to enrol
in GCSE Music), and only a small percentage of those not intending to enrol in GCSE
Music, thought that leaning an instrument would make them less likely to enrol (see
Table 29).
Less Likely to Enrol
Neutral
More Likely to Enrol
Non-Music
Male Female
17.5% 16.3%
20%
23.3%
62.5% 60.5%
Music
Male Female
0%
0%
33.3%
50%
66.7%
50%
Table 29. The effect of learning an instrument on Year Nine enrolment intentions.
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Relevance of School Music
School Provision of Musical Activities
Students were asked to rate the frequency (from never to always) at which their school
provided musical activities that they wanted to participate in. Music students thought
that their school sometimes or always provided activities in which they wanted to
participate in significantly higher proportions than non-Music students. Despite this, the
Music students (with the exception of Year Nine males intending to enrol in music)
were fairly evenly split between “sometimes or always” and “not often or never”. The
proportion of students who responded „equally‟ was generally even across all cohorts.
The exception was the Year Nine female students not intending to enrol in GCSE
Music, who returned a higher percentage of “equally” responses (see Table 30).
Year
Gender
Nine
Male
Female
Male
Female
Ten
Non-Music Students
Not
No
Often
Sometimes
Equally
Response
or
or Always
Never
3.5%
45.6% 24.6%
26.3%
33.9% 41.1%
25%
1.4%
49.3% 23.2%
1.8%
60.7% 30.4%
7.1%
No
Response
Music Students
Not
Often
Sometimes
Equally
or
or Always
Never
14.3% 28.6%
57.1%
38.5% 23.1%
38.5%
35.3% 24.5%
38.2%
30.4% 34.8%
34.8%
Table 30. The frequency with which schools provide musical activities students want to
participate in.
The questionnaire asked students which musical activities their school provided that
they wanted to participate in. The most common activity was the opportunity for
playing and/or performing. Typical responses were: “learn to play different
instruments”, “concert band, choir, keyboard ensemble”, “using practice rooms to
practice with my band”, and “instrumental lessons”. Another common response was
that there were no musical activities provided by schools that students wanted to
participate in, such as “nothing”. One student elaborated “I wouldn‟t, musical activities
provided by school aren‟t as good as they could be”. The Year Nine male students
intending to enrol in Music in particular also identified creative activities (“making up
own music”, making and writing songs”, making pieces with friends”) and working
with music technology (“computers and studio”, “recording music”, “Cubase”, “making
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music on the computer”) as activities provided by their school that they wanted to
participate in. A large proportion of students did not respond to the question (see Table
31).
Males
Non-Music
Activities Provided by
Schools That Students Want
to Participate in
Playing/Performing
None
Creative
Music Technology
No Response
Music
Females
Non-Music
Music
Year
9
Year
10
Year
9
Year
10
Year
9
Year
10
Year
9
Year
10
29.8%
31.6%
1.8%
3.5%
31.6%
36.2%
43.5%
0%
1.4%
17.4%
50%
7.1%
14.3%
14.3%
14.3%
52.9%
32.4%
0%
0%
0%
51.8%
37.5%
5.4%
0%
7.1%
32.1%
62.5%
1.8%
0%
3.6%
69.2%
15.2%
0%
0%
15.4%
60.9%
21.7%
0%
0%
17.4%
Table 31. Musical activities provided by schools that students want to participate in.
Other activities cited were (as a percentage of all students): popular music (1.2%)
(“making tunes in the DJ area”, “DJ‟ing is a new activity provided by our school”),
unsure (1.2%) (“don‟t know what‟s on”, and class activities (0.9%) (“all class work”).
To give a better picture of the relevance of schools‟ provision of musical activities to
students, the questionnaire asked which musical activities that they wanted to participate
in were not provided by their school. Again, playing and performing opportunities were
the main category of response (see Table 31). Music students and males were more
likely to desire more playing or performing opportunities than non-Music students or
females. Significant proportions of those who identified opportunities to play or perform
were seeking better access to instrumental lessons or opportunities to perform with their
band. Typical responses regarding included “saxophone”, “keyboard lessons”,
“individual drum lessons”, and “learn how to play the violin”. Representative comments
of those seeking opportunities for their band(s) included “battle of the bands, gigs”,
“rock festival”, and “gigs for bands”. Other comments regarding performing and
playing generally referred to ensembles and included: “musical plays”, “full orchestra”,
“African drumming group regularly rather than just on occasion”, “smaller groups (e.g.
quartets)”, “access to equipment for students not taking GCSE”, and “more singing
activities”.
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There was a significant number of students who responded “nothing”. Generally, more
females and non-Music students responded “nothing” than males or Music students.
One Year Ten non-GCSE Music female responded, “I don‟t like musical activities”. A
significant proportion of students did not answer the question. The Year Ten male
GCSE Music cohort was the only cohort to significantly identify popular music as an
activity they would like better provision of (see Table 32). Typical comments regarding
popular music included “making music videos”, “producing beats”, “R&B, Garage”,
and “mixing beats and decks”. A small proportion of Year Nine females intending to
enrol in GCSE Music wanted activities to help improve their theoretical knowledge
(“reading music”).
Males
Non-Music
Activities Not Provided by
Schools That Students Want
to Participate in
Playing/Performing
None
Popular Music
No Response
Music
Females
Non-Music
Music
Year
9
Year
10
Year
9
Year
10
Year
9
Year
10
Year
9
Year
10
29.8%
26.3%
24.6%
47.8%
42.9%
28.6%
41.2%
14.7%
17.9%
60.7%
30.8%
23.1%
15.4%
30.4%
39.1%
3.5%
36.8%
8.7%
10.1%
7.1%
7.1%
29.4%
14.7%
23.2%
41.1%
3.6%
5.4%
25%
7.1%
8.9%
23.1%
8.7%
39.1%
Table 32. Activities not provided by school that students would like to participate in.
The other activities students wanted schools to provide were (as a percentage of all
students): “don‟t know” (2.9%), music technology (1.7%) (“producing on computers”,
“making music using computers”), creative activities (1.4%) (“making music”),
“activities with other schools” (0.3%), and social activities (0.3%) (“party kind of things
to get more people in the year to mix”).
The questionnaire asked students to rate their preference for school music compared to
out-of-school music. All cohorts of students, with the exception of Year Nine males not
intending to enrol in GCSE Music, preferred music out of school. Compared to Year
Nines, the Year Tens had a much lower preference for school music. Year Nine students
intending to enrol in GCSE Music had a greater preference for music out of school than
those not intending to enrol in GCSE Music. The opposite was true in Year Ten.
Preferences for school music were similar across all the cohorts (see Table 33).
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Non-Music Students
Year
Gender
Nine
Male
Female
Male
Female
Ten
No
Response
School
Music
Equally
1.8%
1.8%
38.6%
21.4%
8.7%
5.4%
24.6%
41.1%
24.6%
25%
1.8%
Music Students
Out-ofSchool
Music
35.1%
35.7%
66.7%
67.9%
No
Response
2.9%
School
Music
Equally
28.6%
30.8%
5.9%
8.7%
21.4%
7.7%
35.3%
34.8%
Out-ofSchool
Music
50%
61.5%
55.9%
56.5%
Table 33. Students‟ preference for school music compared to out-of-school music.
The Significance of School Music, and Music in General, to
Students
Students were asked to rate the importance of music generally, and school music
specifically, in their lives. School music was considerably less important in students‟
lives than music in general. Music tended to be more important in the lives of females
than males, with the exception of the Year Ten GCSE Music students (see Table 34).
The music cohorts gave a higher rating than the non-Music cohorts for the importance
of both music and school music. With the exception of Year Nine females intending to
do GCSE Music, Music students rated the importance of music significantly higher than
non-Music students (see Table 34).
Year
Gender
Male
9
Female
Male
10
Female
Importance of Music
Not Important
Neutral
Important
No Response
Not Important
Neutral
Important
No Response
Not Important
Neutral
Important
No Response
Not Important
Neutral
Important
No Response
Non-Music
Music School Music
33.3%
63.2%
31.6%
22.8%
26.3%
5.3%
8.8%
8.8%
19.6%
75%
37.5%
17.9%
42.9%
7.1%
Music
School Music
21.4%
14.3%
35.7%
85.7%
35..7%
7.1%
23.1%
69.2%%
92.3%
7.7%
24.6%
37.7%
37.7%
11.8%
11.8%
76.5%
24.4%
25.1%
53.6%
79.7%
10.1%
5.8%
4.3%
83.9%
10.7%
3.6%
1.8%
Music
4.3%
21.7%
73.9%
14.7%
44.1%
39.2%
2.9%
8.7%
47.8%
39.1%
4.3%
Table 34. The importance of music and school music in students lives.
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Students were asked to indicate in the questionnaire the ways in which school music
was important in their lives. The common answer was “none” or “nothing”. Some
students elaborated, “I don‟t think it is important in my life because the music we listen
to in class in not what I listen to out of school”, “learning music in school is not that
important in my life”, “only if you wish to be a musician”, “ it isn‟t, the things we are
taught don‟t help us at all”, “it isn‟t important to me, but I can see why it would be
important to certain people”, “the music in school is boring, I never understand
anything. The equipment wasn‟t very good and we never got to do our own work and
express ourselves”, “not very much because I‟m not good at it”.
However, excepting the Year Ten female non-GCSE Music students, a significant
proportion of students in each cohort thought that school music was important in that it
increased or developed their musical knowledge and understanding. Typical responses
of this sort included: “it can teach me how to read music which could benefit me later in
life”, “it helps me in the writing process, it means I can analyse songs better, it opens
my playing up”, “improved band songs”, “it helps me play my keyboard, it helps me
listen more carefully to music I hear”, “you can learn different types of music.
A few non-GCSE Music students also highlighted the development of personal
attributes, “the lessons I had in Year Nine helped me to work in a group and by myself
to produce a piece of work”, and “you learn a lot to help you in life”. Music students
also highlighted the development of personal attributes with comments such as “it helps
me to become more confident”, “it helps me meet new people”, “build confidence,
working with others”, “feel different emotions and caring”, “it makes me more
confident, believing in myself and wanting to succeed”, and “more knowledge of music
will help me become a more well-rounded person”.
The other main areas highlighted by Music students were enjoyment (“it‟s enjoyable”,
“fun, get to join in with friends”, “break from school”), and career (“it‟s the first steps
you take towards a music career”, “job when older”) (see Table 35).
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Year
9
10
Ways in which School Music is Important
Improves Musical Knowledge
Enjoyment
Career Development
Personal Attributes
None
No Response
Enjoyment
Career Development
Personal Attributes
Creativity
None
No Response
Non-Music
Male Female
26.3% 30.4%
10.5%
7.1%
5.3%
5.4%
1.8%
5.4%
22.8% 21.4%
36.8% 26.85%
21.7%
7.1%
7.2%
10.7%
7.2%
5.4%
2.9%
7.1%
2.9%
5.4%
47.8% 64.3%
14.5%
7.1%
Music
Male Female
42.9% 23.1%
7.1%
30.8%
28.6% 15.4%
7.1%
30.8%
7.1%
21.4%
7.7%
44.1% 52.2%
17.6% 26.1%
26.5% 17.4%
11.8% 17.4%
11.8% 21.7%
2.9%
4.3%
11.8%
13%
Table 35. The ways in which school music is important in students‟ lives.
Many students described combinations of the above factors, such as “it introduces you
to more obscure music, shows the history and what goes into producing the final
sound”, “widens my knowledge in the subject, will help with future careers, makes me
more confident because of performing”, “learning instruments, different cultures of
music and learning to make my own piece of music”, and “you learn to cooperate in
groups. You can read basic music and have a basic understanding of it. Working with
others and on your own”.
The other ways in which school music was important in students‟ lives were (as a
percentage of all students): easy lesson or a doss (0.9%) (“kills an hour”, “it wastes an
hour”), improves quality of life (0.6%) (“bringing people together”), improves mood
(0.3%) (“it relaxes me”, “calms you down”), interest in music (0.9%) (“it enhances my
interest”), music technology (0.9%) (“like to do music tech and use the music I learn
now to do recording”, “tech based/recording practice”), musical ability (0.6%)
(“enhances the ability to play an instrument”, “enhances my performance abilities”),
playing and performing opportunities (4.6%) (“practice an instrument”, “gives you a
chance to learn what it is like to play in a band”), positive influence of the teacher
(0.6%) (“relationships with teachers”), friends (0.3%) (“I can share my abilities with
friends”), unsure (1.7%), and self-expression (0.3%) (“a way to express yourself”).
Enjoyment and improving musical knowledge were common ways in which school
music enhanced students‟ lives. Responses elaborating on how school music enhanced
life by improving music knowledge included “it helps me with theory, gets me to try
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different styles of music”, “it gives me more knowledge and understanding of the world
of music, I can understand music in different cultures”, “it broadens knowledge, helps to
write music, helps to play music”, “it helps me understand what the guitarists in my
band say”, “made me more open to new types of music”. Responses elaborating on how
school music enhanced life by providing enjoyment included “fun, relax and enjoy”,
“relaxing, fun, leisure pastimes”, “fun lesson”, and “fun, something to do outside
school”.
However, a significant proportion of students (but non-Music in particular) believed that
school music did not enhance their life: “I don‟t think it really enhances your lifestyle”,
“not important”, “it doesn‟t, they are boring topics that are uninteresting and have no
meaning”. Female Music students were the only cohort to identify the development of
personal attributes through participation in school music as a factor that enhanced their
life (see Table 36). Responses elaborating on this theme included “gives me a more laid
back approach to work”, “makes me a more sociable person, makes me more popular”,
“use a different part of thinking”, “stops me from doing stupid things”, “it lets you learn
about each other”, “changes the way you act and helps increase your intuition”, “music
can make you who you are”, “builds self-confidence, makes my dream feel real” and
“gives you your personality”. A significant proportion of students did not respond to
the question. Generally, a greater percentage of non-Music students than Music students
chose not to answer the question.
Year
9
10
Ways in which School Music Enhances Life
Enjoyment
Personal Attributes
None
No Response
Enjoyment
Personal Attributes
None
No Response
Non-Music
Male
Female
10.5%
10.7%
14%
12.5%
3.5%
10.7%
24.6%
14.3%
42.1%
30.4%
10.1%
7.1%
5.8%
14.3%
2.9%
8.9%
42%
51.8%
24.6%
12.5%
Music
Male
Female
42.9%
7.7%
7.1%
15.4%
7.1%
23.1%
25%
23.1%
35.7%
15.4%
29.9%
34.8%
11.8%
8.7%
8.8%
30.4%
14.7%
26.1%
29.9%
13%
Table 36. The main ways in which school music enhances students‟ lives.
The other ways in which students believed school music enhanced life were (as a
percentage of all students): career development (1.7%) (“qualifications and job
111
choices”),, creativity (1.7%) (“it‟s fun composing”, “helps you with creating your own
music”), improves quality of life (“enhances outside school life”, “it changes what you
do in your spare time”, “gives you something to do when you are bored”, “chills you
out, gives your life some rhythm”, “make you understand different aspects of life”)
(1.7%), improves mood (“makes me feel looser, makes me feel happy, makes me
think”, “chills you out”) (2.3%), develops interest in music (“can make your interests in
music higher”, makes me more interested in music”, “enhances your interest”) (2.6%),
“ability” (0.6%), playing and performing opportunities (“helps me play and understand
better”, “band practice”, “performing”) (3.2%), unsure (5.2%), friends (“helps me build
friendships between people working in a team”, “it enabled me to have fun with my
friends”) (1.7%), self-expression (“express and maybe to show emotions”) (0.3%), and
“activities with other schools” (0.3%). A very small percentage of students (0.9%)
asserted that school music was unenjoyable, but did not elaborate any further.
Students‟ comments in the interviews also illuminated the ways in which they found
music to be relevant. Those with a negative perception of music mainly focussed on
activities that were “boring”, “each week you‟d be told to compose a piece of music and
that was it. You‟d be left to you, and, that was it… or you‟d have to listen to a piece of
music and pick out the instruments you could hear, and it wasn‟t, interesting.” One
student highlighted a poor relationship with the teachers, “I don‟t find music that
exciting because I just had, bad time in music, I didn‟t get along with the teachers or
nothing”.
Several students highlighted behavioural problems in lower school Music classes as a
factor that reduced interest in music, “I think sometimes they get a bad impression of it
maybe, from like, junior school and stuff and think, they don‟t think that they‟re going
to enjoy it, but some of them don‟t really give it a chance”. In the following quotes,
students discuss behaviour in Music in lower school. The first quote also highlights the
importance of doing music outside school as a counterbalance to music classes in
school. The wider context of the second quote was a discussion about concentration.
Student 1:
I just like music basically, I didn‟t like it in the first three
years but thought might as well go for it… and I really
enjoy it, it‟s probably my favourite subject.
112
Interviewer: If you didn‟t like it in year seven, eight or nine, why did
you choose to do it?
Student 1:
I really loved music, like in general, but the first three
years we hardly done anything so
Interviewer: So, school music is separate from music in general?
Student 1:
Yeah
Student 2:
„Cause in year seven eight and nine there are a load of
people who
Student 3:
Mess around
Student 2:
Just don‟t care about music… you didn‟t get anything
done. But if you do a load of music out of school then, it
influences you.
Student 1:
Everyone‟s out of control.
Student 2:
Look how many people concentrate in music.
Student 1:
Exactly! They concentrate on sleeping in music, that‟s
about all.
Student 3:
No, but you have to read music, when you have to play
music, you have to concentrate.
Student 2:
Yeah, but they‟re not concentrating with messing around
are they.
Student 4:
Bashing chairs
Student 2:
It‟s just the pure fact that the teacher does, can… keep
control of the class then you‟re obviously gonna end up
liking that subject. If the teacher can‟t keep control of the
class you‟re gonna be “what‟s the point of me doin‟ this
subject when I don‟t know nothing about it”.
Some students thought Music “just seems to be a bit of a doss subject”, or a “waste of
time”. In the following quote, GCSE Music students discuss music‟s stereotype as a
„doss‟ subject. They also touch on the impact of poor behaviour in Music lessons.
Student 1:
Loads of people think it‟s a doss.
Student 2:
Maybe they didn‟t like the sort of way it was taught in
the other years.
113
Student 3:
Everyone didn‟t see how it was, like, now, but they saw
what it was in the other years and thought, y‟ know, can‟t
be bothered, it‟s only… going to be banding a triangle
and there‟s no point doing it, but it‟s more than that… it
does seem to have a bit of a stereotype as a doss, which
is kinda stupid.
Interviewer: What sort of stereotype?
Student 3:
It‟s just getting a triangle and banging it, and you could
get a GCSE out of it.
Student 2:
There‟s a stereotype that there‟s no talent for it, but there
really is.
These students went on to discuss what it was that they liked about Music.
Student 4:
You can do something about it if you mean to and
it‟ll sound good, whereas in other lessons you have
to follow like a certain thing, but in music you can
just…
Student 3:
There‟s a lot more freedom to do what you want in
the lesson rather than just listen and write down
bits.
The freedom to work in this way was a common theme among students who enjoyed
music lessons in school. Music was seen as being different from other lessons.
Student 1:
It‟s more fun and if I‟m doing something that‟s
challenging it will keep amused and entertained, whereas
if I was in history or something I just wouldn‟t do any
work because I was bored.
Interviewer: Why‟s it more fun than other subjects?
Student 2:
„Cause we can do what we want, „cause they give us like
a basic outline of what they want us to do, but as far as
that‟s concerned we can do what we want using our own
instruments and whatever we want.
114
Other students thought that “learning fun is the best way you can, it always sticks in the
back our your head”, “you actually get to do stuff rather than just write all the time”. A
few students touched on the satisfaction gained from creating music that sounds good,
“writing stuff down in music is just not really music is it? That‟s when you hear, when
you actually get a good piece together and it sounds really good, and that‟s what‟s good,
sounds nice and stuff”, “you get something out of it, rather than like just writing
something down on paper, you get something out of playing and instrument, like
playing a piece of music or something”, “music is a lot about sound, mostly, that‟s what
I relate to, I don‟t really like the writing down the notes and stuff, I just like to play”. In
the following quote a Year Ten GCSE Music student discusses the satisfaction gained
from, and the pressure from his peers not to participate in creating music.
Student 1:
I fell in love with it. I started playing piano and then, it
just happened.
Student 2:
Same as me, I started off playing drums when I was
seven, but anyway.
Interviewer: Why did you fall in love with it? What happened?
Student 1:
It‟s the sound, it‟s, I don‟t know, it‟s first when I started
playing piano and I didn‟t really like it „cause it‟s quite
hard but once it clicks, once you get everything… and
you can start making up your own music as well, that
was the point.
Interviewer: Who influences you to do music, or not to do?
Student 1:
Yep my friends
Interviewer: Really? Like in what sort of way, what do they say?
Student 1:
“that‟s not cool man, that‟s not cool, you should be out
on the street with me, should be with me man”. Yeah,
like that.
Interviewer: Why‟s it not cool?
Student 1:
Nah that‟s just what they think, I think it‟s very cool, I
think it‟s the coolest, cool out, but, their minds are not
open… it‟s like a food you know, if you don‟t try it
you‟ll never know.
115
Several other students also identified lacking the motivation to learn as a reason why
Music lessons were not enjoyable, “can‟t be bothered, practice and that init”, “getting
into it‟s not very attractive like, reading music and that. Just playing it again”, “if you‟re
not amazing at it straight away some people just don‟t see the point”, “it does take up a
lot of your time…you have to be quite dedicated… if… you‟re good at it.”
Another common reason given for why students did not like Music lessons was the
relevance of the classroom activities, “all you really learn about is classical and stuff so
they just think that it‟s not like anything, there‟s no point in bothering”, “all we do is sit
in front of pianos or do little bits of writing on posters and things”, “we don‟t really do
much practical”, “I don‟t really want to like, play keyboards or xylophones, it‟s not
really any use to me, so I just play my, bring my guitar in and sit in one of those rooms
and just play like that, instead of actually doing what Sir wants us to do”.
Two Year Nine students discussed the difficulties in pursuing a career as a performer.
Student 1:
I don‟t know if it‟s a very good career „cause you‟re
going to become like really famous for singing and that
and music…
Student 2:
It‟s a gambling career.
Student 1:
…it‟s going to be a difficult career, pressure all the time,
so…
Interviewer: It‟s a what, sorry, gambling, why‟s that?
Student 2:
„cause you don‟t know whether you‟re going to succeed
or not if you choose that sort of path, might be like you
don‟t succeed, and it might be like you do, so it‟s like
chance.
Student 1:
Yeah, and you‟d have to have a backup whereas I‟d
want a career that I could just go do, and have a
backup as well.
One Year Ten non-GCSE Music student interested in music production expressed
concerns about the musical equipment his school had to offer, “ I wanted to get a job in
music like, music production init…I wanted to pick it yeah, the school doesn‟t, they
don‟t have valid equipment”.
116
Students in all cohorts (but in particular the Music cohorts) thought that school music
should reflect real-life music making. The non-Music cohorts also had large proportions
of students who gave a neutral response. Music students also thought (males more so
than females) that school music did reflect real-life music making. However, the nonMusic students (in particular the Year Tens) were more inclined to respond that school
music did not reflect real-life music. Significant proportions of non-Music cohorts gave
a neutral response. A cross-tabulation of the results shows that non-Music students who
agreed with the statement that school music should reflect real-life music making were
more likely to be neutral, or disagree with, the statement that school music did reflect
real-life music (see Table 37).
School Music Should Reflect Real-life Music
Making
Gender
Year
Cohort
Non-Music
9
Music
Male
Non-Music
10
Music
Non-Music
9
Music
Female
Non-Music
10
Music
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
School Music Does Reflect Real-life Music
Making
Response
No Response
Disagree
Neutral
Agree
7%
1.8%
23.3%
8.8%
1.8%
1.8%
12.3%
14%
5.3%
8.8%
14%
12.3%
7.1%
1.4%
17.4%
8.7%
23.2%
2.9%
5.9%
5.9%
2.9%
7.1%
14.3%
71.4%
1.4%
2.9%
15.9%
13%
8.7%
7.2%
2.9%
8.8%
14.7%
2.9%
14.7%`
38.2%
3.6%
26.8%
7.1%
7.1%
7.1%
10.7%
7.7%
15.4%
7.7%
23.1%
7.1%
10.7%
17.9%
1.8%
5.4%
10.7%
34.8%
26.1%
21.7%
1.8%
23.2%
7.1%
5.4%
1.8%
7.7%
38.5%
1.8%
17.9%
7.1%
17.9%
13%
4.3%
Table 37. Students‟ perceptions of school music making and real-life music making.
117
The questionnaire asked students whether they agreed or disagreed with statements
outlining reasons to study music. Music students agreed with all the statements in
significantly larger proportions than non-Music students. The reasons to study music
that were most popular across the Music student cohorts were (in order): interest,
leisure, and development of the self. Year Nine Music students agreed with each
statement in larger proportions than Year Ten Music students. A higher male preference
for studying music to gain a qualification was the major gender difference across all
music cohorts. Non-Music students were generally fairly evenly split between agreeing
and disagreeing, with a significant proportion of students neutral. The non-Music
students tended to agree more than disagree that music should be studied out of interest
or for relaxation, as opposed to the main school subjects. They tended to disagree that
music should be studied to gain a qualification or to develop the self (see Table 38).
Non-Music
Male
Response
No
Response
Disagree
Neutral
Agree
Reason for
Studying Music
Leisure
Interest
Develop the Self
„Relaxation‟
Away From
Main Subjects
To Gain a
Qualification
Leisure
Interest
Develop the Self
„Relaxation‟
Away From
Main Subjects
To Gain a
Qualification
Leisure
Interest
Develop the Self
„Relaxation‟
Away From
Main Subjects
To Gain a
Qualification
Leisure
Interest
Develop the Self
„Relaxation‟
Away From
Main Subjects
To Gain a
Qualification
Music
Male
Female
Year
Year
Year
Year
9
10
9
10
5.9%
4.3%
8.8%
8.8%
8.8%
4.3%
1.4%
Female
Year
Year
9
10
1.8%
3.6%
2.8%
1.8%
3.6%
1.8%
10.5%
1.4%
1.8%
1.8%
8.8%
1.4%
1.8%
5.4%
28.1%
19.3%
26.3%
24.6%
18.8%
43.5%
25%
10.7%
42.9%
21.4%
23.2%
41.1%
7.1%
24.6%
20.3%
23.2%
35.1%
50.7%
31.6%
31.6%
36.8%
Year 9
Year
10
2.9%
4.3%
7.1%
11.8%
5.9%
17.6%
8.7%
4.3%
8.7%
26.8%
14.3%
17.6%
30.8%
26.1%
35.7%
42.9%
28.6%
29.4%
15.4%
39.1%
40.6%
26.1%
43.5%
48.2%
44.6%
42.9%
30.4%
19.6%
41.1%
28.6%
21.4%
28.6%
23.5%
35.3%
32.4%
30.8%
23.1%
46.2%
52.2%
21.7%
39.1%
28.1%
34.8%
33.9%
25%
28.6%
29.4%
15.4%
34.8%
33.3%%
26.1%
42.9%
30.4%
21.4%
23.5%
69.2%
34.8%
31.6%
40.4%
28.1%
34.8%
50.7%
23.2%
25%
42.9%
32.1%
44.6%
55.4%
41.1%
64.3%
78.6%
64.3%
58.8%
58.8%
50%
69.2%
76.9%
53.8%
39.1%
73.9%
52.2%
36.8%
43.5%
41.1%
46.4%
57.1%
50%
53.8%
34.8%
22.8%
21.7%
19.6%
21.4%
50%
47.1%
15.4%
26.1%
Table 38. Reasons for studying music.
118
Significantly fewer non-Music students than Music students thought that Music was a
serious subject in its own right. Male non-Music students were more likely to think that
Music was not a serious subject than the non-Music females (see Table 39).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male Female
10.5%
1.8%
36.8% 19.6%
24.6% 48.2%
28.1% 30.4%
1.4%
3.6%
37.7% 30.4%
31.9% 32.1%
29%
33.9%
Music
Male Female
35.7%
64.3%
38.5%
61.5%
32.4%
58.8%
26.1%
65.2%
Table 39. Music as a serious subject in its own right.
The Importance of School Music to Students’ Overall
Education and Future Career/Study
Students were asked to rate their perception of music‟s importance to their overall
education and their future career or study and that of six categories of people or
institutions (themselves, friends, parents, school, government, employers). For each
category there were significant numbers of students who gave a neutral response (see
Table 39).
Generally, Music students were more likely than non-Music students to believe, and
think that others believed, that music was important to their overall education. However,
compared to the Music students, a greater proportion of the Year Nine non-Music
students (particularly the females) thought that their school, and the government,
believed that music was important to their overall education. The government‟s view of
the importance of music to overall education was the only category in which both music
and non-Music students gave similar responses. The majority of students thought that
the government believed music was not important or gave a neutral response (see Table 40).
119
Non-Music Students
Music Students
No
Not
No
Not
Neu ral Important
Neutral Important
Viewpoint Year Gender
Response Important
Response Important
15.8%
29.8% 24.6% 29.8%
100%
Year Male
9
Female
0%
21.4% 51.8% 26.8%
7.7%
15.4%
76.9%
Personal
1.4%
50.7% 20.3% 27.5%
2.9%
2.9%
14.7%
79.4%
Year Male
10 Female
1.8%
58.9% 21.4% 17.9%
8.7%
17.4%
73.9%
15.8%
47,4% 22.8%
15%
14.3%
28.6%
57.1%
Year Male
9
Female
39.3% 39.3% 21.4%
38.5^
30.8%
30.8%
Friends
1.4%
56.5% 18.8% 23.2%
20.6%
29.4%
50%
Year Male
10 Female
48.2% 33.9% 17.9%
21.7%
65.2%
13%
14%
40.4% 29.8% 15.8%
14.3%
35.7%
50%
Year Male
9
Female
30.4% 41.1% 28.6%
23.1%
23.1%
53.8%
Parents
2.9%
55.1% 20.3% 21.7%
2.9%
23.5%
17.6%
55.9%
Year Male
10 Female
75%
12.5% 12.5%
17.4%
39.1%
43.5%
19.3%
15.8% 31.6% 33.3%
21.4%
7.1%
71.4%
Year Male
9
Female
19.6% 30.4%
50%
30.8%
30.8%
38.5%
School
36.2% 30.4% 33.3%
14.7%
20.6%
64.7%
Year Male
10 Female
48.2%
25%
26.8%
4.3%
4.3%
39.1%
52.2%
15.8%
40.4% 22.8% 21.1%
42.9%
28.6%
28.6%
Year Male
9
Female
1.8%
39.3% 33.9%
25%
61.5%
23.1%
15.4%
Government
1.4%
60.9% 20.3% 17.4%
2.9%
50%
26.5%
20.6%
Year Male
10 Female
60.7% 21.4% 17.9%
4.3%
47.8%
34.8%
13%
15.8%
47.4% 17.5% 19.3%
28.6%
35.7%
35.7%
Year Male
9
Female
1.8%
46.4% 28.6% 23.2%
38.5%
15.4%
46.2%
Employers
2.9%
63.8%
7.2%
26.1%
2.9%
32.4%
23.5%
41.2%
Year Male
10 Female
1.8%
66.1% 12.5% 19.6%
4.3%
39.1%
34.8%
21.7%
t
Table 40. Perceptions of the importance of music education to their overall education.
Music students believed, and thought others believed, that music was important to their
future career or study, whilst significantly more non-Music students gave a „not
important‟ rating. The „government‟ category was the only exception to this trend. Over
two thirds of students in each cohort thought that the government believed music to be
unimportant to their future career or study or were neutral. Compared to Year Ten, more
Year Nine students thought that their parents and school believed that music was
important to their future career or study (see Table 41).
120
Non-Music Students
Music Students
No
Not
No
Not
Neutral Important
Neutral Important
Viewpoint Year Gender
Response Important
Response Important
15.8%
42.1%
14%
28.1%
100%
Year Male
9
Female
51.8%
23.2%
25%
7.7%
23.1%
69.2%
Personal
4.3%
55.1%
13%
27.5%
11.8%
23.5%
64.7%
Year Male
10 Female
66.1%
12.5%
21.4%
17.4%
17.4%
65.2%
19.3%
43.9%
24.6%
12.3%
14.3%
21.4%
64.3%
Year Male
9
Female
58.9%
28.6%
12.5%
23.1%
38.5%
38.5%
Friends
1.4%
59.4%
20.3%
18.8%
17.6%
29.4%
52.9%
Year Male
10 Female
73.2%
16.1%
10.7%
26.1%
56.5%
17.4%
15.8%
40.4%
24.6%
19.3%
7.1%
21.4%
71.4%
Year Male
9
Female
44.6%
30.4%
25%
15.4%
38.5%
46.2%
Parents
5.8%
55.1%
23%
15.9%
2.9%
23.5%
23.5%
50%
Year Male
10 Female
80.4%
14.3%
5.4%
21.7%
34.8%
43.5%
15.8%
26.8%
26.3%
21.1%
21.4%
21.4%
57.1%
Year Male
9
Female
1.8%
26.8%
32.1%
39.3%
23.1%
30.8%
46.2%
School
5.8%
52.2%
24.6%
17.4%
2.9%
26.5%
26.5%
44.1%
Year Male
10 Female
60.7%
25%
14.3%
4.3%
26.1%
34.8%
34.8%
15.8%
47.4%
15.8%
21.1%
50%
42.9%
7.1%
Year Male
9
Female
37.5%
32.1%
30.4%
76.9%
23.1%
Government
4.3%
62.3%
13%
20.3%
2.9%
47.1%
26.5%
23.5%
Year Male
10 Female
64.3%
19.6%
16.1%
4.3%
60.9%
17.4%
17.4%
17.5%
42.1%
21.1%
19.3%
14.3%
42.9%
42.9%
Year Male
9
Female
39.3%
25%
35.7%
38.5%
23.1%
38.5%
Employers
5.8%
62.3%
13%
18.8%
2.9%
35.3%
20.6%
41.2%
Year Male
10 Female
1.8%
66.1%
19.6%
12.5%
4.3%
26.1%
39.1%
30.4%
Table 41. Perceptions of the importance of music to their future career or study.
The Rationales for Education
Music Education
At the end of the questionnaire students were asked to rate their level of agreement with
statements based on the music education literature review. In general, Music students
agreed with the statements regarding music education significantly more than nonMusic students. In general, a higher proportion of Year Nine Music students than Year
Ten Music students agreed with the statements. Year Nine male Music students also
generally agreed with the statements more than the Year Nine females. The gender
differences in Year Ten were less marked and less consistent.
121
Music Education Helps To Develop Self-Growth, Self-Knowledge, and Self-Esteem
The Music students, in particular the females, agreed with this statement significantly
more than the non-Music students. The majority of the non-Music students either
disagreed or remained neutral (see Table 42).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
10.5%
1.8%
29.8%
39.3%
38.6%
42.9%
21.1%
16.1%
1.4%
39.1%
39.3%
37.7%
37.5%
21.7%
23.2%
Music
Male
Female
42.9%
57.1%
15.4%
23.1%
61.5%
14.7%
26.5%
58.8%
30.4%
69.6%
Table 42. Students‟ responses to the statement „Music education helps to develop selfgrowth, self-esteem, and self-knowledge‟.
Musical Experiences are Unique
Music students agreed in significantly higher proportions than the non-Music students.
There was little gender difference in music cohorts. Non-Music students‟ responses
were spread fairly evenly across the response categories, with the exception of the Year
Ten males, a greater proportion of whom were neutral (see Table 43).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
8.8%
3.6%
33.3%
32.1%
24.6%
39.3%
33.3%
25%
1.4%
18.8%
32.1%
42%
35.7%
37.7%
32.1%
Music
Male
Female
14.3%
85.7%
7.7%
7.7%
84.6%
7.7%
7.7%
84.6%
30.4%
69.6%
Table 43. Students‟ responses to the statement „Musical experiences are unique‟.
Music Helps Shape Your Understanding of the World Around You
Significantly more Music students than non-Music students agreed with this statement.
However, of those Music students that agreed with the statement, significantly more
122
were in Year Nine than in Year Ten. Most non-Music students were either neutral or
disagreed (see Table 44).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
7%
1.8%
28.1%
33.9%
42.1%
46.4%
22.8%
17.9%
1.4%
39.1%
33.9%
39.1%
37.5%
20.3%
28.6%
Music
Male
Female
7.7%
23.1%
69.2%
21.4%
78.6%
2.96%
17.6%
35.3%
44.1%
17.3%
39.1%
43.5%
Table 44. Students‟ responses to the statement „Music helps shape your understanding
of the world around you‟.
Music Helps Form Your Identity and Character
Music students agreed with this statement in significantly higher proportions than nonMusic students. Significantly more Year Nine students intending to enrol in music than
Year Ten Music students agreed with the statement. Similarly, a higher proportion of
Year Nine students not intending to enrol in music agreed with the statement than Year
Ten non-Music students (see Table 45). There was little gender difference in either the
music or non-Music cohorts.
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
8.8%
3.6%
26.3%
19.6%
26.3%
35.7%
38.6%
41.1%
4.3%
1.8%
31.9%
37.5%
26.1%
28.6%
37.7%
32.1%
Music
Male
Female
7.1%
7.1%
85.7%
15.4%
84.6%
11.8%
35.3%
52.9%
21.7%
26.1%
52.2%
Table 45. Students‟ responses to the statement „Music helps form your identity and
character‟.
123
Music Enriches What You Study in Other Subjects
A greater proportion of Music students compared to non-Music students agreed with
this statement. However, fewer Music students agreed with this statement than any of
the other statements regarding music education. Year nine students intending to enrol in
GCSE Music agreed more than Year Ten GCSE Music students. More Year Ten GCSE
Music students than Year Nine students intending to enrol in music disagreed with the
statement. The majority of non-Music students gave a neutral or disagree response (see
Table 46).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
7%
1.8%
36.8%
35.7%
31.6%
51.8%
24.6%
10.7%
47.8%
31.9%
20.3%
46.4%
30.45
23.2%
Music
Male
Female
7.1%
35.7%
57.1%
2.9%
26.5%
32.4%
38.2%
7.7%
53.8%
38.5%
30.4%
52.2%
17.4%
Table 46. Students‟ responses to the statement „Music enriches what you study in other
subjects‟.
Music Makes a Unique Contribution to Human Existence
Music students (in particular the Year Nines) agreed with this statement in significantly
greater proportions than non-Music students. There was little gender difference in either
the music or non-Music cohorts (see Table 47).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
8.8%
5.4%
35.1%
23.2%
24.6%
42.9%
31.6%
28.6%
3.6%
36.2%
32.1%
30.4%
35.7%
33.3%
28.6%
Music
Male
Female
21.4%
7.1%
71.4%
7.7%
15.4%
76.9%
17.6%
26.5%
55.9%
21.7%
30.4%
47.8%
Table 47. Students‟ responses to the statement „Music makes a unique contribution to
human existence‟.
124
Performing Music is a Unique Way of Knowing, Being and Doing
this statement. The Year Nines intending to enrol in GCSE Music in particular agreed
more than the year the GCSE Music students. A greater proportion of the Year Ten nonMusic students than the Year Nine students not intending to enrol in GCSE Music
agreed with the statement (see Table 48).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
7%
1.85
40.4%
26.8%
28.1%
51.8%
24.6%
19.6%
1.4%
3.6%
36.2%
21.4%
30.4%
46.4%
31.9%
28.6%
Music
Male
Female
21.4%
78.6%
15.4%
84.6%
5.9%
38.2%
55.9%
17.4%
34.8%
47.8%
Table 48. Students‟ responses to the statement „Performing music is a unique way of
knowing, bring and doing‟.
I Am Motivated by the Intrinsic Satisfaction of Making Music
Music students agreed with this statement significantly more than non-Music students.
Male Music students were more likely to agree than female Music students. Year ten
non-Music students disagreed significantly more than Year Nine students not intending
to enrol in GCSE Music (see Table 49).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
12.3%
1.8%
28.1%
37.5%
29.8%
44.6%
29.8%
16.1%
2.9%
44.9%
60.7%
34.8%
21.4%
17.4%
17.9%
Music
Male
Female
7.1%
7.1%
85.7%
5.9%
8.8%
20.6%
64.7%
15.4%
30.8%
53.8%
4.3%
39.1%
56.5%
Table 49. Students‟ responses to the statement „I am motivated by the intrinsic
satisfaction of making music‟.
125
I Am Motivated by Being Part of a Music Community
Music students agreed with this statement in significantly greater proportions than nonMusic students. Similarly, the Year Nine students intending to enrol in GCSE Music
agreed with the statement more than the Year Ten GCSE Music students (see Table 50).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
10.5%
1.8%
36.8%
39.3%
28.1%
48.2%
24.6%
10.7%
1.4%
42%
57.1%
36.2%
25%
20.3%
17.9%
Music
Male
Female
21.4%
78.6%
7.7%
23.1%
69.2%
7.7%
23.1%
69.2%
13%
26.1%
60.9%
Table 50. Students‟ responses to the statement „I am motivated by being part of a
musical community‟
Music as a Practical Activity (Making Music) Should be Central to Music Education
this statement. Male Music students agreed more than female Music students. Fewer
female non-Music students than male non-Music students disagreed with the statement.
However, similar proportions of male and female non-Music students agreed with the
statement, and a higher percentage of females compared to males gave a neutral
response (see Table 51).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
12.3%
1.8%
28.1%
16.1%
28.1%
48.2%
31.6%
32.1%
2.9%
33.3%
25%
33.3%
42.9%
30.4%
32.1%
Music
Male
Female
21.4%
78.6%
5.9%
14.7%
5.9%
73.5%
30.8%
69.2%
30.4%
69.6%
Table 51. Students‟ responses to the statement „Music as a practical activity (making
music) should be central to music education‟.
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Student Perceptions of What Music is „Good For‟
The final question in the questionnaire asked students what they thought music was
„good for‟. During the interviews students also discussed what they thought music was
„good for‟. In both questionnaires and interviews opinions and perceptions were wide
ranging. However, there were some common themes.
Non-Music students gave more varied responses than Music students (see Table 52).
Enjoyment was the main factor identified by students across all cohorts, followed by
career (although career was identified by a larger proportion of Music students than
non-Music students). Typical comments included “makes your life more enjoyable”,
“enjoyment”, “fun”, “future career”, “jobs, money, career”, and “making a living”.
The other main factors identified by non-Music students were relaxation and listening.
Typical comments in this category included “relaxing”, “eases stress”, “it relaxes me”,
“good to listen” and “to listen to”.
Music students were more likely to identify confidence and creativity, with comments
such as “building confidence”, “builds your confidence”, “it helps you release your
creativity”, and “helps people‟s creative skills”. Year nine students intending to enrol in
GCSE Music also identified “entertainment” in significant proportions. Females in
particular identified music‟s influence on personality, identity and style (see Table 52).
Typical comments included “what music you like shows personality”, “identity”,
“spirit” and “becoming a more well-rounded individual”.
Some students commented that music was good for “your mind” and “make(ing) me
reflect on my thoughts”. Music‟s ability to assist in regulating mood was also
mentioned (“some music can life your spirit”, “it‟s good for uplifting people‟s spirits
when they‟re down”, “help cheer you up and put you in a different mood”, “make‟s
people feel good”, “makes your life more enjoyable”), as was its contribution to “wellbeing” (“helps people to cope with life”). “Socialising” and “friends” were also
commonly identified (“making friends”, “developing social skills”, “meeting people”,
“bring people with similar interests together”).
127
Response
Business
Career
Concentration
Confidence
Creativity
Cultural Knowledge
Dancing
Developing the
Mind
Discussion
Displaying Ability
Enhancing Life
Enjoyment
Entertainment
Expression/Emotion
Fame
General Knowledge
Good Experience
Improving Mood
Interest
Learning
Leisure
Listening
Morale
Motivating
No Response
Nothing
Parties
Passion
Personality,
Identity, and Style
Playing/Performing
Politics
Relaxation
Romance
Satisfaction
Sense of Occasion
Singing
Skills
Socialising/Friends
Stimulating
Unsure
Well-Being
Working With
Others
Non-Music
Male
Female
Year
Year
Year
Year
9
10
9
10
3.5%
1.8%
17.5% 10.1% 14.3% 17.9%
1.8%
1.8%
1.4%
2.9%
2.9%
14.5%
1.8%
10.7%
1.8%
2.9%
1.8%
1.8%
1.8%
1.8%
21.4%
Music
Male
Female
Year
Year
Year
Year
9
10
9
10
21.4%
17.6%
14.3%
20.6%
2.9%
30.8%
15.4%
7.7%
7.7%
7.1%
26.1%
4.3%
8.7%
4.3%
4.3%
4.3%
4.3%
1.8%
21.1%
5.3%
3.5%
1.8%
1.8%
2.9%
30.4%
4.3%
10.1%
1.4%
4.3%
7%
11.6%
1.8%
12.3%
8.8%
1.4%
8.7%
23.2%
2.9%
2.9%
15.9%
1.8%
35.1%
5.3%
1.8%
12.3%
12.3%
3.6%
23.2%
3.6%
5.4%
1.8%
12.5%
1.8%
12.5%
7.1%
7.1%
21.4%
5.4%
5.4%
42.9%
5.9%
2.9%
26.5%
5.9%
5.9%
23.1%
3.6%
8.7%
14.3%
7.7%
7.7%
12.5%
1.8%
12.5%
19.6%
1.8%
8.9%
39.3%
1.8%
19.6%
3.6%
5.4%
3.6%
8.9%
8.7%
1.4%
1.8%
1.4%
3.6%
1.8%
5.8%
1.4%
17.4%
2.9%
1.4%
3.6%
3.6%
25%
23.2%
5.8%
10.7%
14.3%
4.3%
3.6%
14.3%
4.3%
26.1%
4.3%
4.3%
14.3%
21.4%
2.9%
5.9%
23.5%
7.7%
2.9%
7.7%
7.7%
5.9%
61.5%
7.1%
7.1%
7.7%
7.7%
11.8%
2.9%
11.8%
8.7%
8.7%
4.3%
8.7%
8.7%
17.4%
4.3%
21.7%
3.6%
4.3%
1.8%
3.5%
1.8%
14.3%
8.8%
21.4%
8.8%
5.9%
2.9%
7.7%
3.6%
3.5%
1.4%
13%
4.3%
3.6%
Table 52. Student Perceptions of what music is „good for‟.
Students also identified the contribution of Music to cultural knowledge (“helps you
learn the background culture”, “understanding people‟s different interpretations of
music”, “understanding different culture (through genre)”, “reflecting culture”). Other
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contributions of music identified by students included “artistic development”,
“hobbies”, “concentration skills”, “companies”, “to have an atmosphere around places”,
“determination”, “inspiration”, “fame”, and “broadening your views on music so you
are not biased”.
During the interviews students largely discussed music‟s role in regulating their mood
and as an outlet for expression. Several students also mentioned music‟s contribution to
their quality of life.
Interviewer: What is music good for?
Student 1:
Entertain people.
Student 2:
Communicate.
Student 3:
You can express yourself as well, so.
Student 4:
I reckon it makes you feel good.
Student 5:
Well actually like, music is like all „round the world init,
can play music right now (clicks fingers rhythmically),
that‟s music.
Student 1:
Yeah like it makes people happy.
Student 1:
It‟s good like, to show your emotions.
Student 2:
When you‟re stressed, and, yeah, to show your emotions,
depends, people listen to different kinds of music where
what mood they‟re in.
Student 3:
Let people know how you‟re feeling and stuff.
Student 1:
Expressing yourself.
Student 2:
Expression.
Student 1:
Expression, yeah.
Student 2:
Basically, if I‟ve had a hard day at school, pick up my
guitar, flick on the amp, play whatever, and I feel fine.
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Student 1:
I think it‟s kinda good for quite a lot of stuff… I think
music is part of your life anyway because it‟s
everywhere, to be honest, and I think people do tend to
rely on it quite a lot even if it doesn‟t seem obvious.
Student 1:
Music‟s peaceful… music related to a lot of people… it‟s
like a web going up man, I don‟t know how to put it
down, but whenever music is playing, like, you just
listen to it, you thinking “I‟m feeling this”.
Student 2:
I think it‟s just part of everyday life… I think most
people love music, you hear music everywhere… it‟s
part of everyone‟s life so I think it‟s good for… it makes
people feel good sometimes.
Student 3:
Whatever mood you‟re in there‟s a different type of
music for it so, for the bad mood…
Student 4:
Bad music.
Student 2:
The Blues.
Student 1:
When you‟re stressed out it calms you down, if you
listen to it, or sing or play it, and it‟s fun.
Student 2:
You could do something like, get a sense of satisfaction
out of it.
Student 3:
I just go into a different world when I play my music and
that, when I‟m making it and…
Student 2:
Yeah, when you get it right… can‟t describe it.
Student 4:
Getting it right and satisfaction.
Student 1:
Everything, music is good for everything, „cause I mean,
you got like pleasure, there like people, people tell their
story through the music.
130
Student 2:
Music is a way of expression
Student 1:
Everywhere, everything.
Student 3:
Music is something you don‟t forget to play isn‟t it, so
it‟s like, a talent like, stays with you.
Student 1:
It‟s like necessary in lots of people‟s lives and without
music, I dunno, be, grey.
Music as a hobby and as an enjoyable activity were also discussed.
Student 1:
It‟s also good to like, do in your spare time and everything, just
like, play.
Student 1:
I just think it‟s good to do something, „cause it‟s better than just
sitting around doing nothing.
Student 1:
You knows that you accomplished something in life.
Student 1:
Being able to get somewhere with something you‟re good at, and
it‟s fun.
Student 2:
It‟s fun as well, it‟s something everyone enjoys, don‟t care who
you are.
Student 1:
Use it at parties, for enjoyment.
A few students identified music‟s ability to transmit cultural values and information.
Student 1:
Understanding different cultures of music.
Student 1:
Like, well, countries, if you‟re going to like Africa and
stuff you know their, music, and what they do.
Student 1:
It‟s a good way to raise money like that Live Eight thing.
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Student 2:
Music can bring people together.
Student 1:
Yeah, raise awareness, things like that, you can kinda do
anything with it really.
Student 1:
I think there‟s lots of different reasons but sometimes it‟s
to send a message and sometimes it‟s to influence people
to do stuff.
Student 2:
I think it‟s like, to bring people together… it could be
like poor person, rich person, black person and a white
person and you couldn‟t tell the difference unless they
were singing or something like that so it‟s like, kinda
takes out all the racism, all the views like, the, yeah, that
stuff.
One student identified music‟s contribution to the development of personal attributes
and characteristics, another thought that music improved their coordination.
Student 1:
It‟s good for your personality as well „cause you can tell
the people who‟ve done music and the people that don‟t,
people who do music are sometimes a lot more creative
and stuff like that.
Student 1:
It‟s good for hand-eye coordination.
Interviewer: Have you noticed an improvement in your hand-eye
coordination?
Student 1:
Not particularly
Student 2:
Yes, I have.
Student 3:
Well, I don‟t know about my eye coordination, but
definitely my hand coordination.
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Government Policy
Students were asked to rate their level of agreement with a number of statements based
on the government policy documents reviewed. Overall, there was little difference
between the music and non-Music cohorts, although Music students agreed with most of
the statements in slightly higher proportions than non-Music students. However, nonMusic students agreed with the policy-based statements in significantly higher
proportions than they did the music education-based statements.
Education Equips You for Work and Prepares You to Succeed in the Economy and in
Society
Over half of all students agreed with this statement. However, Music students agreed in
slightly higher proportions than non-Music students. The non-Music students disagreed
with the statement more than the Music students (see Table 53).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
15.8%
1.8%
12.3%
8.9%
19.3%
21.4%
52.6%
67.9%
2.9%
3.6%
18.8%
25%
20.3%
10.7%
58%
60.7%
Music
Male
7.1%
7.1%
7.1%
78.6%
Female
17.6%
23.5%
58.8%
4.3%
30.4%
65.2%
7.7%
23.1%
69.2%
Table 53. Students‟ responses to the statement „Education Equips Your for Work and
Prepares You to Succeed in the Economy and in Society‟
In the Twenty-First Century, it Will be Important to Develop the Ability to Learn
Throughout Life
With the exception of the Year Nine males, all non-Music cohorts agreed with the
statement in slightly higher proportions than the Music students. However (with the
exception of the Year Nine females), a smaller proportion of Music students disagreed
with the statement (see Table 54).
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Year
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
9
10
Non-Music
Male
Female
12.3%
3.6%
21.1%
7.1%
15.8%
21.4%
50.9%
67.9%
2.9%
15.9%
16.1%
14.5%
23.2%
66.7%
60.7%
Music
Male
Female
14.3%
85.7%
15.4%
30.8%
53.8%
14.7%
38.2%
47.1%
4.3%
39.1%
56.5%
Table 54. Students‟ responses to the statement „In the Twenty-First Century, it will be
Important to Develop the Ability to Learn Throughout Life‟.
Strong Links Between Schools and Employers are Necessary to Prepare for Adult and
Working Life
With the exception of the Year Nine females, a greater proportion of Music students
compared to non-Music students agreed with the statement. There was little gender
difference (see Table 55).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
14%
3.6%
21.1%
12.5%
19.3%
28.6%
45.6%
55.4%
8.7%
36.2%
55.1%
17.9%
32.1%
50%
Music
Male
42.8%
57.1%
2.9%
8.8%
32.4%
55.9%
Female
15.4%
53.8%
30.8%
8.7%
21.7%
69.6%
Table 55. Students‟ responses to the statement „Strong Links Between Schools and
Employers are Necessary to Prepare for Adult and Working Life‟.
Education Helps to Improve Your Chances of Getting a Job and Increases your
Potential to Learn
The majority of students across all cohorts agreed with this statement. All music cohorts
apart from the Year Ten males had a greater percentage of students compared to nonMusic students in agreement with the statement. Music students were also less likely to
disagree with the statement (see Table 56).
134
Year
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
9
10
Non-Music
Male
Female
10.5%
3.6%
14%
8.9%
14%
8.9%
61.4%
78.6%
1.4%
11.6%
14.3%
8.7%
10.7%
78.3%
75%
Music
Male
Female
7.1%
7.1%
85.7%
15.4%
84.6%
8.8%
20.6%
70.6%
4.3%
13%
82.6%
Table 56. Students‟ responses to the statement „Education Helps to Improve Your
Chances of Getting a Job and Increases your Potential to Learn‟.
The Ability to Cope With Change will be Essential to Succeed in the Twenty-First
Century
A slightly higher proportion of Year Nine non-Music students compared to year Music
students agreed with the statement. The opposite was true for Year Ten; a slightly larger
proportion of Music students compared to non-Music students agreed with the
statement. Music students were less likely to disagree with the statement. There was
little gender difference other than the non-Music males who disagreed with the
statement slightly more than the non-Music females (see Table 57).
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
12.3%
3.6%
15.89%
5.4%
19.3%
33.9%
52.6%
57.1%
2.9%
14.5%
7.1%
27.5%
33.9%
55.1%
58.9%
Music
Male
Female
50%
50%
7.7%
38.5%
53.8%
8.8%
26.5%
64.7%
4.3%
34.8%
60.9%
Table 57. Students‟ responses to the statement „The Ability to Cope With Change will
be Essential to Succeed in the Twenty-First Century‟.
I am Motivated by the Need to Gain Skills and a Qualification
The Year Nine music cohorts agreed with this statement significantly more than the
other cohorts. Music students were slightly less likely to disagree with the statement
(see Table 58).
135
Year
9
10
Non-Music
Male
Female
12.3%
5.4%
14%
10.7%
15.8%
28.65
57.9%
55.4%
2.9%
14.5%
7.1%
27.5%
33.9%
55.1%
58.9%
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Music
Male
7.1%
Female
7.7%
7.7%
84.6%
7.1%
85.7%
2.9%
5.9%
32.4%
58.8%
8.7%
26.1%
65.2%
Table 58. Students‟ responses to the statement „I am Motivated by the Need to Gain
Skills and a Qualification‟.
The Ability to Learn Throughout Life is Essential for a Successful Future
A greater percentage of Music students (with the exception of Year Ten males)
compared to non-Music students agreed with the statement. With the exception of Year
Ten males, Music students disagreed with the statement significantly less than the nonMusic students. The higher proportion of Year Ten non-Music males in agreement with
the statement compared to Year Ten non-Music females was the main gender difference
(see Table 59).
Year
9
10
Non-Music
Male
Female
10.5%
5.4%
19.3%
7.1%
8.8%
19.6%
61.4%
67.9%
2.9%
2.9%
16.1%
11.6%
21.4%
82.6%
62.5%
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Music
Male
7.1%
Female
14.3%
78.6%
23.1%
76.9%
11.8%
17.6%
70.6%
26.1%
73.9%
Table 59. Students‟ responses to the statement „The Ability to Learn Throughout Life is
Essential for a Successful Future‟.
Writing, Math‟s, Communication and Information Technology Skills are Important for
Success After you Leave School
A greater proportion of male Music students compared to male non-Music students
agreed with this statement. However, female non-Music students agreed with the
statement in slightly higher numbers than male Music students. Year nine students also
agreed with the statement more than Year Ten students (see Table 60).
136
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
14%
7.1%
12.3%
8.9%
15.8%
21.4%
57.9%
62.5%
5.8%
13%
19.6%
33.3%
28.6%
47.8%
51.8%
Music
Male
7.1%
Female
21.4%
71.4%
15.4%
23.1%
61.5%
14.7%
23.5%
61.8%
13%
43.5%
43.5%
Table 60. Students‟ responses to the statement „Writing, Maths, Communication and
Information Technology Skills are Important for Success After you Leave School‟.
I am More Motivated by the Satisfaction Gained from Taking Part in Education Than
the Need for Skills and Qualifications
Generally Music students were significantly more in agreement with this statement than
the non-Music students. The exception was the Year Nine female cohort, in which a
significantly higher percentage of non-Music students compared to Music students
agreed with the statement. Music students were less likely to disagree with the
statement. A greater percentage of non-Music females agreed with the statement.
However, this was reversed in the music cohort; a greater percentage of males agreed
with the statement (see Table 61)
Year
9
10
Response
No Response
Disagree
Neutral
Agree
No Response
Disagree
Neutral
Agree
Non-Music
Male
Female
17.5%
7.1%
24.6%
17.9%
26.3%
30.4%
31.6%
44.6%
1.4%
3.6%
27.5%
25%
43.5%
42.9%
27.5%
28.6%
Music
Male
7.1%
42.9%
50%
15.4%
61.5%
23.1%
Female
15.4%
61.5%
23.1%
4.3%
13%
43.5%
39.1%
Table 61. Students‟ responses to the statement „I am More Motivated by the
Satisfaction Gained from Taking Part in Education Than the Need for Skills and
Qualifications‟.
Students‟ Perception of the Purpose of Education
Students were asked in the interviews whether they believed education was more
important for gaining qualifications and skills related to future study or career, or for
137
more general developmental educational purposes. Responses were mixed. As the
following extracts demonstrate, some students believed the qualifications gained from
education were important, but also believed that education should aim to broaden their
experience and knowledge.
Student 1:
I think it‟s both, „cause without your GCSE‟s you can‟t get
into sixth form college, or a sixth form at another school,
or even sixth form here and without AS and A Levels if
you wanna go to uni you can‟t
Student 2:
I think yeah it‟s important for your education to go on and
get a job and qualifications but if you don‟t want those
particular qualifications it‟s just broaden interest, or your
mind.
Student 1:
I think it‟s better for, yeah I reckon it‟s better for like
making your brain bigger
Student 2:
Broadening your mind
Student 1:
Setting up for, setting up for the future
Student 2:
Skills really „cause um general knowledge will only get
you so far right, you have the sort of qualifications stuff
people will look at you better than if you say “I‟ve got a
lot of experience lalalala” „cause you can have a lot of
experience but you‟re not gonna get a job based on a lot of
experience, you get a job based on qualifications and stuff.
Interviewer: What do you reckon education is more about, getting
qualifications so you can go and study or get a job, or is it
more about broadening your mind and learning new
things, getting a good foundation for life?
Student 1:
I thought it‟s about learning new things
Student 2:
It‟s good to have a foundation so you, like, you‟ve got to
fall back on if you don‟t enjoy the subject then some
people have suggested, like, suggested you can do what
you want but you‟ve also got quite a bit of support to fall
138
back on if you‟ve got a qualification or something else, but
education‟s always good, you don‟t want to be stupid
The Intersection of music education, and Education as Preparation for
Work and Further Study
Several statements that were originally based on government policy were reworded so
that they referred to music education. The same was done for several statements
originally referring to music education. Students were asked to rate their level of
agreement with statements by indicating whether they agreed or disagreed with the
statement, or were neutral. The responses to these statements were cross-tabulated to
establish a comparison of the degree to which students agreed with both statements.
Education/Music Education Equips You to Succeed in the Economy and in Society
The largest groupings of non-Music students were centred on agreement with the policy
statement, and disagreement with or a neutral stance regarding the music statement.
Music students also had clusters of students in agreement with the first statement, but
neutral regarding the second. However, Music students were more likely to agree with
General Education Equips You for Work and Prepares
You for Success in the Wider Economy and Society
both statements than non-Music students (see Table 62).
Music Education Equips You for Work and Prepares You for
Success in the Wider Economy and Society
Non-Music
Music
No
No
Year
Disagree Neutral Agree
Gender
Response
Response
Response
Group
No Response 5.3%
7%
3.5%
7.1%
Disagree
1.8%
3.5% 5.3% 1.8%
7.1%
9
Neutral
3.5% 10.5% 5.3%
7.1%
Agree
3.5%
17.5% 25.6% 7%
7.1% 21.4% 50%
Male
No Response
1.4% 1.4%
Disagree
1.4%
11.6% 5.8%
8.8% 2.9% 5.9%
10
Neutral
4.3%
13% 2.9%
17.6% 5.9%
Agree
1.4%
26.1% 27.5% 2.9%
14.7% 23.5% 20.6%
No Response
Disagree
1.8%
5.4%
1.8%
7.7%
9
Neutral
3.6% 12.5% 5.4%
15.4% 7.7%
Agree
26.8% 33.9% 7.1%
30.8% 38.5%
Female
No Response
3.6%
Disagree
1.8%
10.7% 8.9% 3.6%
4.3%
10
Neutral
1.8%
3.6% 3.6% 1.8%
8.7% 21.7%
Agree
1.8%
37.5% 12.5% 8.9%
4.3% 43.5% 17.4%
education Equips You for Work and Prepares You for Success in the Wider Economy
and Society‟.
139
Strong Links Between Schools/School Music Departments and Employers are
Necessary to Prepare for Adult and Working Life
The main clusters of students in each cohort were based around agreement with both
statements, or agreement with policy statement but neutral regarding music education.
A higher percentage of Music students compared to non-Music students agreed with
both statements. Music students were also less likely to disagree with either statement
Strong Links Between Schools and Employers are Necessary to
Prepare for Adult and Working Life
(see Table 63).
Strong Links Between School Music Departments and Employers
are Necessary to Prepare for Adult and Working Life
Non-Music
Music
No
No
Year
Gender
Response
Response
Response
Group
No
7%
3.5%
3.5%
Response
Disagree 1.8%
9
7%
3.5% 8.8%
Neutral
7.1% 14.3% 21.4%
1.8%
14% 3.5%
Agree
7.1%
50%
1.8%
7%
10.5% 26.3%
Male
No
2.9%
Response
Disagree
5.8%
2.9%
5.9%
2.9%
10
Neutral
1.4%
5.8% 14.5% 14.5%
17.6% 14.7%
Agree
1.4%
7.2% 14.5% 31.9%
2.9%
5.9% 47.1%
No
1.8% 1.8%
Response
Disagree
5.4%
5.4% 1.8%
15.4%
9
Neutral
3.6%
3.6% 10.7% 10.7% 7.7%
23.1% 23.1%
Agree
1.8%
12.5% 21.4% 19.6%
30.8%
Female
No
Response
Disagree
5.4%
3.6% 8.9%
4.3%
4.3%
10
Neutral
7.1% 16.1% 8.9%
13% 8.7%
Agree
1.8%
8.9% 12.5% 26.8%
4.3% 21.7% 43.5%
Table 63. Cross-tabulation of responses to the statement that „Strong Links Between
Schools/School Music Departments and Employers are Necessary to Prepare for Adult
and Working Life‟.
Education/music education Helps to Improve Your Chances of Getting a Job and
Increases Your Potential To Learn
Non-Music students generally agreed with the policy statement, but disagreed with, or
were neutral regarding, the music education statement. A significant percentage of
Music students were also in agreement with the general statement whilst remaining
neutral regarding the music education statement. However, a significantly higher
percentage of Music students compared to non-Music students agreed with both
140
statements. Music students were also less likely to disagree with either statement (see
Table 64).
Education Helps to Improve Your Chances of Getting a Job and
Increases Your Potential To Learn
Music Education Helps to Improve Your Chances of Getting a Job
and Increases Your Potential To Learn
Non-Music
Music
No
No
Year
Gender
Response
Response
Response
Group
No
5.3%
5.3%
Response
Disagree
3.5%
5.3%
3.5% 1.8%
7.1%
9
Neutral
1.8%
1.8%
5.4% 5.3%
7.1%
Agree
5.3%
24.6% 19.3% 12.3%
14.3% 28.6% 42.9%
Male
No
1.4%
Response
Disagree
1.4%
5.8%
1.4% 2.9%
2.9%
5.9%
10
Neutral
2.9%
2.9% 2.9%
5.9% 11.8% 2.9%
Agree
39.1% 31.9% 7.2%
8.8% 17.6% 44.1%
No
1.8%
1.8%
Response
Disagree
5.4%
3.6%
9
Neutral
5.4%
3.6%
15.4%
Agree
1.8%
26.8% 41.1% 8.9%
15.4% 30.8% 38.5%
Female
No
Response
Disagree
7.1%
7.1%
4.3%
10
Neutral
3.6%
3.6% 3.6%
4.3%
8.7%
Agree
1.8%
21.4% 21.4% 10.7%
17.4% 39.1% 26.1%
education Helps to Improve Your Chances of Getting a Job and Increases Your
Potential To Learn‟.
The Ability to Cope With Change will be Essential to Succeed in the Twenty-First
Century/Learning Music Helps You to Develop the Capacity to Cope With Change
Non-Music students were largely clustered around agreement with the policy statement,
but disagreement or a neutral opinion regarding the music education statement. The
exception to this trend was the Year Nine male non-Music cohort, which had a
significant proportion of students in agreement with both statements. The music cohorts
had a significant proportion of students in agreement with the first statement, but neutral
regarding the second. Compared to the non-Music cohorts, significantly more Music
students were in agreement with both statements (see Table 65).
The Ability to Cope With Change will be Essential to Succeed in
the Twenty-First Century
141
Learning Music Helps You to Develop the Capacity to Cope With
Change
Non-Music
Music
No
No
Year
Gender
Response
Response
Response
Group
No
3.5%
1.8%
Response
7%
Disagree
1.8%
10.5%
3.5%
9
Neutral
7%
8.8% 3.5%
7.1% 28.6% 14.3%
Agree
1.8%
12.3% 19.3% 19.3%
14.3% 35.7%
Male
No
2.9%
Response
Disagree
8.7%
2.9% 2.9%
8.8%
10
Neutral
11.6% 15.9%
2.9%
5.9%
8.8% 8.8%
Agree
1.4%
27.5% 18.8% 7.2%
2.9%
8.8% 23.5% 29.4%
No
1.8%
Response
Disagree
1.8%
1.8%
1.8%
7.7%
9
Neutral
16.1% 8.9% 8.9%
7.7% 15.4% 15.4%
Agree
17.9% 26.8% 12.5%
7.7% 30.8% 15.4%
Female
No
Response
Disagree
1.8%
5.4%
4.3%
10
Neutral
17.9% 12.5% 3.6%
17.4% 8.7% 8.7%
Agree
39.3% 12.5% 7.1%
17.4% 21.7% 21.7%
Table 65. Cross-tabulation of responses to the statement that „The Ability to Cope With
Change will be Essential to Succeed in the Twenty-First Century/Learning Music Helps
You to Develop the Capacity to Cope With Change‟
I am Motivated by the Need to Gain Skills and a Qualification/Music Should be Studied
to Gain a Qualification
The cross-tabulation shows a similar spread of responses in each cohort to the previous
statements; students tended to agree with the general education statement, and disagree
or remain neutral regarding the music education statement. This trend was more
pronounced in the non-Music cohorts. The female Year Nine cohort intending to enrol
in GCSE Music which returned a significantly higher number of responses in agreement
with the general statement but neutral regarding the music education statement was the
exception. Music students tended to agree with both statements more than non-Music
students. This was particularly so in the male cohorts. The percentage of students in the
female music cohorts in agreement with both statements was more consistent with the
non-Music cohort responses. However, Music students were less likely to be neutral or
disagree to with either or both of the statements (see Table 66).
I am Motivated by the Need to Gain Skills and a Qualification
142
Music Should be Studied to Gain a Qualification
Non-Music
Music
No
No
Year
Gender
Response
Response
Response
Group
No
3.5%
3.5%
7.1%
Response 5.3%
Disagree
1.8%
3.5%
3.5% 5.3%
9
Neutral
8.8%
5.3% 1.8%
7.1%
Agree
1.8%
19.3% 21.1% 15.8%
21.4% 14.3% 50%
Male
No
2.9%
2.9%
Response
Disagree
7.2%
2.9%
5.9%
10
Neutral
5.8%
7.2% 5.8%
11.8% 11.8% 8.8%
Agree
1.4%
37.7% 15.9% 13%
17.6% 5.9% 35.3%
No
1.8%
3.6%
Response
Disagree
3.6%
3.6% 3.6%
7.7%
9
Neutral
1.8%
10.7% 14.3% 1.8%
7.7%
Agree
19.6% 21.4% 14.3%
15.4% 53.8% 15.4%
Female
No
Response
Disagree
3.6%
5.4% 5.4%
4.3%
4.3%
10
Neutral
14.3% 5.4% 3.6%
13%
8.7% 4.3%
Agree
5.4%
25% 19.6% 12.5%
21.7% 21.7% 21.7%
Table 66. Cross-tabulation of responses to the statements that „I am Motivated by the
Need to Gain Skills and a Qualification‟ and „Music Should be Studied to Gain a
Qualification‟.
Education Should Help Develop Self-Growth, Self-Knowledge, and Self-Esteem/Music
Education Helps to Develop Self-Growth, Self-Knowledge and Self-Esteem
Music students agreed with both statements in significantly greater proportions than
non-Music students. Further, Music students were less likely to disagree with either or
both of the statements. Year ten non-Music students were more likely to agree with the
general statement, but remain neutral or disagree with the music education statement.
However, whilst over half of the Year Nine non-Music students agreed with the general
statement, their responses to the music education statement were more evenly spread
(see Table 67).
Education Should Help Develop Self-Growth, Self-Knowledge, and
Self-Esteem Education
143
Music Education Helps to Develop Self-Growth, Self-Knowledge and
Self-Esteem
Non-Music
Music
No
No
Year
Gender
Response
Response
Response
Group
No
7%
3.5%
1.8%
7.1%
Response
Disagree
3.5%
8.8%
3.5% 1.8%
9
Neutral
5.3% 10.5%
7.1%
Agree
12.3% 22.8% 19.3%
28.6% 57.1%
Male
No
Response
Disagree
7.2%
4.3%
2.9%
2.9%
10
Neutral
8.7% 14.5%
2.9%
8.8% 23.5%
Agree
1.4%
23.2% 18.8% 20.3%
8.8% 17.6% 32.4%
No
1.8% 1.8%
Response
Disagree
1.8%
10.7% 1.8% 3.6%
9
Neutral
10.7% 8.9% 3.6%
7.7% 15.4% 15.4%
Agree
17.9% 30.4% 7.1%
7.7%
7.7% 46.2%
Female
No
Response
Disagree
1.8%
1.8% 3.6%
10
Neutral
16.1% 14.3% 5.4%
13% 21.7%
Agree
21.4% 21.4% 14.3%
17.4% 47.8%
Table 67. Cross-tabulation of responses to the statements that „Education Should Help
Develop Self-Growth, Self-Knowledge, and Self-Esteem‟ and „music education Helps
to Develop Self-Growth, Self-Knowledge and Self-Esteem‟.
The Ability to Learn Throughout Life is Essential for Successful Future/Music
Education Develops Your Ability to go on Learning Throughout Life
Similar to the previous cross-tabulation, the Year Nine non-Music students largely
agreed with the policy statement, but gave fairly evenly spread responses to the music
education statement. The Year Ten non-Music students also generally agreed with the
policy statement, but were more likely to be neutral regarding, or to disagree with, the
music education statement. Consistent with the other cross-tabulations, Music students
were more likely to agree, and less likely to disagree, with both statements. A greater
proportion of male Music students agreed with both statements compared to female
Music students. Only the Year Nine female music cohort had a significant group of
students who agreed with the general statement, but not the music statement (see Table
68).
The Ability to Learn Throughout Life is Essential for Successful
Future
144
Music Education Develops Your Ability to go on Learning
Throughout Life
Non-Music
Music
No
No
Year
Gender
Response
Response
Response
Group
No
3.5%
1.8%
7.1%
Response 5.4%
Disagree
1.8%
8.8%
3.5% 5.3%
9
Neutral
1.8%
3.5% 3.5%
7.1% 7.1%
Agree
1.8%
21.1% 22.8% 15.8%
14.3% 64.3%
Male
No
1.4%
1.4%
Response
Disagree
1.4%
1.4%
2.9%
5.9% 2.9%
10
Neutral
2.9%
5.8% 2.9%
2.9%
5.9%
8.8%
Agree
34.8%
29% 18.8%
5.9% 23.5% 41.2%
No
3.6%
Response
Disagree
7.1%
9
Neutral
5.4%
8.9% 5.4%
7.7% 15.4%
Agree
3.6%
25%
30.4% 8.9%
23.1% 7.7% 46.2%
Female
No
Response
Disagree
3.6%
7.1% 5.4%
10
Neutral
10.7% 8.9% 1.8%
4.3% 17.4% 4.3%
Agree
3.6%
32.1% 17.9% 8.9%
8.7% 39.1% 26.1%
Table 68. Cross-tabulation of responses to the statement that „The Ability to Learn
Throughout Life is Essential for Successful Future‟ and „music education Develops
Your Ability to go on Learning Throughout Life‟.
Writing, Maths, Communication and Information Technology Skills are Important for
Success After You Leave School/Music Helps You to Develop Critical Thinking,
Reading, Writing, Math‟s and Communication and Information Technology Skills
Non-Music students generally agreed with the policy statement, but took a neutral
stance or disagreed with the music education statement. The Year Nine female music
cohort reflected a similar pattern. Both Year Nine music cohorts had a significant
proportion of students in agreement with the policy statement but not the music
education statement. The most significant cohort of non-Music students to agree with
both statements was the Year Nine male cohort. The Year Ten music cohorts tended to
agree with both statements. However, the Year Ten female music cohort also had a
significant proportion of students who took a neutral stance for both statements. In
common with the other cross-tabulations, Music students were less likely than nonMusic students to disagree with either or both of the statements (see Table 69).
Writing, Maths, Communication and Information Technology
Skills are Important for Success After You Leave School
145
Music Helps You to Develop Critical Thinking, Reading, Writing, Maths and
Communication and Information Technology Skills
Non-Music
No
Year
Gender
Response
Response
Group
No
5.3%
Response
Disagree
1.8%
9
Neutral
Agree
Male
No
Response
Disagree
10
Neutral
Agree
No
Response
Disagree
9
Neutral
Agree
1.8%
Female
No
Response
Disagree
3.6%
10
Neutral
1.8%
Agree
1.8%
Music
No
Response
7%
1.8%
8.8%
7%
26.3%
1.8%
5.3% 3.5%
8.8% 22.8%
7.1%
21.4%
7.1%
14.3%
14.3% 35.7%
2.9%
2.9%
8.7%
17.4%
27.5%
4.3%
13% 2.9%
11.6% 8.7%
5.9%
5.9%
11.8%
2.9% 5.9%
8.8% 8.8%
17.6% 32.4%
3.6%
3.6%
7.1%
5.4%
19.6%
1.8%
12.5% 3.6%
25% 16.1%
15.4%
23.1%
7.7% 15.4%
30.8% 7.7%
5.4%
12.5%
32.1%
3.6% 7.1%
10.7% 3.6%
8.9% 8.9%
8.7%
13%
8.7%
4.3%
30.4%
8.7% 26.1%
Table 69. Cross-tabulation of responses to the statement that „Writing, Math‟s,
Communication and Information Technology Skills are Important for Success After
You Leave School‟ and „Music Helps You to Develop Critical Thinking, Reading,
Writing, Math‟s and Communication and Information Technology Skills‟.
The Importance of Music to Students’ Future Careers/Study
To help gauge the role of music in career/study choices the questionnaire asked students
to describe the main importance of music to their future career or study. In all cohorts
except the Year Ten female non-Music cohort a significant proportion of students did
not respond to the question. Further, a significant proportion of non-Music cohort
students believed that music had no importance to their future career or study. Mostly
these students responded “none” or “nothing”. However, a couple did elaborate, “none
really, I‟d just love to have it as a strong part of my life” and “not very important, not
many qualifications in it, can‟t get you somewhere in life”.
Despite the high no response and no importance counts, students in all cohorts
(particularly non-Music students and female Music students) did identify leisure as an
role for music within the context of their future careers or study. Typical responses
146
identifying music‟s role as a leisure activity included “just listening to it to help me
think and relax”, “not very important, maybe I‟ll do it for leisure”, “a hobby to do in
spare time”, “something to listen to when driving or working”, “listening to music will
help me unwind on a difficult day”, “for relaxation, to calm down”, and “music for me
will be a pleasure, not job”.
Year Ten Music students (particularly males) were looking to follow a career/study
pathway that involved music, “it will mean I can play in a rock band so it is very
important”, “I want to be a DJ or producer”, “I may become a music teacher”, “to play
in an orchestra and to perform”, and “I would need the right qualifications and some
experience in sound recording” were some of the responses to the question. Three
students identified a contribution of music to their future careers that was not specific to
a music related career, “it is important as it will help me be creative in a career”, “help
me to be more creative”, “music would obviously be essential in going to music college,
but hopefully it would look good on your C.V. as an art subject”.
The Year Nine Music students thought that music‟s contribution to their future career or
study was a broadening of their general knowledge, “better understanding of the world‟s
music and cultures”, “makes me a more likable person who is educated”, “knowledge
and understanding”. Other factors identified were: using music as motivation “it may
help… motivate me to work”, keeping options open “leaves your options open”, “the
main importance is to keep on with my keyboard in case my career options don‟t work
out”, “gives more career options” and unsure (see Table 70).
Factor/Year Group
General Knowledge
Music Skills May be
Important in Intended
Career/Study
Keep Options Open
Leisure
Motivation
No Response
None
Unsure
Non-Music
Male
Female
Year
Year
Year
Year
9
10
9
10
1.8%
5.3%
10.1%
19.3%
1.8%
45.6%
26.3%
3.5%
39.1%
4.3%
10.1%
36.2%
1.4%
8.9%
1.8%
17.9%
33.9%
30.4%
7.1%
Music
Male
Female
Year
Year
Year
Year
9
10
9
10
57.1% 2.9% 23.1%
5.4%
37.5%
3.6%
3.6%
50%
1.8%
52.9%
7.1%
7.1%
28.6%
39.1%
11.8%
30.8%
17.4%
17.6%
11.8%
2.9%
23.1%
7.7%
15.4%
34.8%
8.7%
Table 70. The importance of music to students‟ future career or study.
147
In the interviews students were asked if they thought there was anything that they learnt
in music that could be transferred to other areas, or that would be attractive to
employers in general. Several students thought that there was nothing that they learnt in
music that employers might consider useful or that could be transferred to other areas.
Student 1:
Depends what you do, if you‟re gonna work in
engineering it‟s not exactly useful is it.
Student 2:
not for employment, you don‟t sit in an office playing
guitar, or on a building site init.
Student 1:
If you‟re talking on the telephone they‟re not going to be
bothered.
One student was concerned that employers (reflecting the views expressed by other
students that music was a „doss‟) might view music as an easy course, “depends if they
know what it‟s about, „cause they might think „oh, music, that‟s easy‟.
However, many students did identify characteristics that they thought they learnt in
music that could be attractive to employers, or transferred to other areas. Confidence
and teamwork skills were the most common.
Student 1:
Well, like, music gives you a lot of confidence doesn‟t it,
like performing and stuff like that and obviously…
employers look for somebody with a bit of confidence,
some jobs I guess, maybe a street cleaner wouldn‟t be so.
Student 2:
You could sing on the job.
Student 1:
You get a lot more confidence through performing and
that so you can use that in different aspects of life like
talking to people and that.
Student 2:
Suppose when you know, when you‟re playing an
instrument or whatever, you just jam with other people,
you begin to understand how well the people react and
148
you form like a bond, so you understand kinda
teamwork, and you know, it‟s not just all about you.
Student 3:
I reckon it‟d help because of teamwork and you won‟t be
shy around people, be able to be yourself more.
Student 1:
Work as like a group to do like, do a task
Student 2:
Cooperation
Student 3:
Learn to interact with others.
Student 1:
You get like, teamwork, you learn teamwork skills in
music and, do stuff as a group.
Student 2:
Probably, teamwork again… it can help with, like
composing the piece, and showing the group like how to
play it, and that can… get your leader skills up.
Creativity was also identified as a useful attribute that music helps to develop.
Student 1:
Can make you feel um, like, tell the employer that you‟re
creative.
Student 2:
Music allows you to kinda make your own stuff and if
employers see that then they might think you can handle
anything „cause you learned to make music.
Student 3:
Could mean you‟re creative at work.
Some students discussed the ways in which music demonstrated personal
characteristics including self-motivation, organisation, and the ability to learn.
Student 1:
It could help in a way, „cause like, y‟ know, music can
define like a person‟s character.
Student 2:
And like you could look at it and say this person‟s done
really well in music so they‟re dedicated to things they
like… they really go for it if they like it and if they like
my job they‟ll be the best person to employ.
149
Student 1:
It shows a contrast between like your, that you don‟t do
just one type of thing you do a whole sort of stuff like if
you do music and say you do biology… then it shows
like a difference so you‟re not just like, a boring person.
Student 1:
They might look at it like you work hard at something in
your own time, and you don‟t mind doing things.
Student 1:
Working as a team, you know how to like…
Student 2:
And to push yourself
Student 1:
…do things and organise things in certain ways, so I
reckon that‟d help in any sort of job.
Student 1:
They know that you have like a social life…and you
have extra skills.
Student 2:
I think it shows you‟re not straight laced and boring.
Student 3:
Yeah, it shows you take an interest in things… Music,
R.S., stuff like that, they look for like other stuff so
they‟re not just a straight person, and they like, can do
other things that they might need.
Student 4:
Sometimes it can be even like, like the thing where you
get into university or not, or like college, especially if it‟s
like an art college, if they put on a performance every
year, and there‟s you and another candidate but you‟ve
taken music and they know you‟re interested in it they
might choose you over the other candidate.
Student 3:
Yeah, and that‟s how they separate, if like you‟ve all got
the Pick up quickly.
Student 1:
Yeah, and can do things.
Student 3:
Quite confident.
Student 1:
Creative as well.
Student 4:
If you can stand up and play an instrument in front of
somebody you can give a speech, basically what you‟re
doing, just through your instrument.
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Students’ Perceptions of What Music is Best Suited to: Skills,
Qualifications and Preparation for Work or Enhancing
Quality of Life
Both non-Music and music cohorts gave similar responses, with at least half of each
cohort (expect the Year Ten female GCSE Music students) answering that music was
better suited to quality of life. The Year Ten female GCSE cohort had a larger
proportion of „neither‟ responses. Generally, Music students were slightly more likely to
believe that music was better suited to enhancing their career or future study (see Table
71).
Year
9
10
Response
No Response
Lifestyle
Neither
Career
No Response
Lifestyle
Neither
Career
Non-Music
Male
Female
8.8%
52.6%
66.1%
26.3%
23.2%
12.3%
10.7%
1.4%
1.8%
58%
50%
29%
26.8%
11.6%
21.4%
Music
Male
Female
50%
21.4%
28.6%
11.8%
52.9%
20.6%
14.7%
53.8%
30.8%
15.4%
43.5%
52.2%
4.3%
Table 71. Students‟ perceptions of whether music is better suited to career or lifestyle.
When asked whether the music they learnt in school was better suited to enhancing life
or career or future study there was less consensus between the cohorts. The largest
proportions of non-Music students responded „neither‟. The non-Music males thought
school music was more orientated to career/future study, the females towards lifestyle.
The Music student responses were more varied. The Year Nine male cohort was evenly
split between career and lifestyle. The Year Nine music females largely thought
„neither‟, followed by career. Year ten female GCSE Music students mainly responded
career, as did the year the GCSE Music male cohort, which also returned an identical
proportion of „neither‟ responses (see Table 72).
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Year
9
10
Response
No Response
Lifestyle
Neither
Career
No Response
Lifestyle
Neither
Career
Non-Music
Male
Female
14%
5.4%
19.3%
25%
36.8%
46.4%
29.8%
23.2%
2.9%
11.6%
26.8%
44.9%
50%
40.6%
23.2%
Music
Male
Female
35.7%
28.6%
35.7%
5.9%
11.8%
41.2%
41.2%
7.7%
61.5%
30.8%
8.7%
17.4%
17.4%
56.5%
Table 72. Students‟ perceptions of whether school music is better suited to career or
lifestyle.
In the interviews students generally thought that music was better suited to enhancing
quality of life than career prospects.
Student 1:
If you enjoy it, then it sort of enhances what you are and
stuff.
Student 2:
I think, lifestyle would be more, it would change that
more than career „cause if you‟re good at music you
don‟t necessarily want to have a job later on, but if you
enjoy music you could play music with friends or
whatever.
Student 1:
Kinda lifestyle, but job as well „cause you could be in a
studio or something.
Student 1:
I‟d say lifestyle „cause I reckon work and career as a
musician is a lifestyle anyway.
The Importance of Music to Students’ Future Careers/Study
To help gauge the role of music in career/study choices the questionnaire asked students
to describe the main importance of music to their future career or study. In all cohorts
except the Year Ten female non-Music cohort a significant proportion of students did
not respond to the question. Further, a significant proportion of non-Music cohort
students believed that music had no importance to their future career or study. Mostly
these students responded “none” or “nothing”. However, a couple did elaborate, “none
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really, I‟d just love to have it as a strong part of my life” and “not very important, not
many qualifications in it, can‟t get you somewhere in life”.
Despite the high no response and no importance counts, students in all cohorts
(particularly non-Music students and female Music students) did identify leisure as an
important role for music within the context of their future careers or study. Typical
responses identifying music‟s role as a leisure activity included “just listening to it to
help me think and relax”, “not very important, maybe I‟ll do it for leisure”, “a hobby to
do in spare time”, “something to listen to when driving or working”, “listening to music
will help me unwind on a difficult day”, “for relaxation, to calm down”, and “music for
me will be a pleasure, not job”.
Year ten Music students (particularly males) were looking to follow a career/study
pathway that involved music, “it will mean I can play in a rock band so it is very
important”, “I want to be a DJ or producer”, “I may become a music teacher”, “to play
in an orchestra and to perform”, and “I would need the right qualifications and some
experience in sound recording”. Three students identified a contribution of music to
their future careers that was not specific to a music related career, “it is important as it
will help me be creative in a career”, “help me to be more creative”, “music would
obviously be essential in going to music college, but hopefully it would look good on
your C.V. as an art subject”.
The Year Nine Music students thought that music‟s contribution to their future career or
study was a broadening of their general knowledge, “better understanding of the world‟s
music and cultures”, “makes me a more likable person who is educated”, “knowledge
and understanding”. Other factors identified were: using music as motivation “it may
help… motivate me to work”, keeping options open “leaves your options open”, “the
main importance is to keep on with my keyboard in case my career options don‟t work
out”, “gives more career options” and unsure (see Table 73).
Non-Music
Music
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Factor/Year Group
General Knowledge
Music Skills May be
Important in Intended
Career/Study
Keep Options Open
Leisure
Motivation
No Response
None
Unsure
Male
Year
Year
9
10
Female
Year
Year
9
10
1.8%
5.3%
10.1%
8.9%
19.3%
1.8%
45.6%
26.3%
3.5%
39.1%
4.3%
10.1%
36.2%
1.4%
1.8%
17.9%
33.9%
30.4%
7.1%
Male
Year
Year
9
10
57.1% 2.9%
5.4%
37.5%
3.6%
3.6%
50%
1.8%
Female
Year
Year
9
10
23.1%
52.9%
7.1%
7.1%
28.6%
39.1%
11.8%
30.8%
17.4%
17.6%
11.8%
2.9%
23.1%
7.7%
15.4%
34.8%
8.7%
Table 73. The importance of music to students‟ future career or study.
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CHAPTER FIVE
Discussions, Conclusions and Further Research
This study was designed to provide an overview of an area in which limited research
was found, with the intention of identifying more specific future avenues of research.
The data gathering focussed on establishing any link between participation in music and
enrolment or enrolment intentions, the relevance of school music to students, and the
reasons why students enrol or do not enrol in GCSE Music.
Participation in Music
Lamont et al. (2003) portrayed a widespread perception that participation in secondary
school music was problematic. The results of this study reflected that opinion; only a
small percentage of students continued beyond compulsory music education. O‟Neill
(2001a) found that the length of involvement with performing groups is linked to the
continuation of instrumental learning. Although this study did not specifically consider
participation in instrumental tuition, the link drawn by O‟Neill (2001a) between
participation and continuation was reflected in the results. There was a relationship
between students‟ participation and their GCSE Music enrolment or enrolment
intentions. Students who rated current participation levels more highly were more likely
to be enrolled in, or be intending to enrol in, GCSE Music. The higher participation
levels of GCSE Music students can be explained by virtue of their continuation with
music beyond compulsory education. However, the Year Nine students (all of whom
participated in music lessons) who gave higher participation level ratings were also
more likely to be intending to enrol in GCSE Music, confirming the link.
Students who had a high threshold of current participation were more likely to believe
that their future participation level would either remain the same, or increase. The
opposite was the case for students with lower current levels of participation. The
students enrolled or intending to enrol in GCSE Music not only had higher levels of
current participation than non-Music students, but also anticipated higher future
participation levels. This suggests that on some level, music education is fulfilling its
aim of enabling students to be musically active in their wider lives. Listening, singing
and dancing were the most common musical activities in which students across all
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cohorts participated, reflecting the findings by Finney (2003) that singing, dancing and
listening were common out of school musical activities.
Age appeared to have little influence on participation. Students enrolled or intending to
enrol in GCSE Music (with higher participation levels) began learning music at only a
slightly later age than non-Music students.
Influences on Enrolment
Harland et al. (2000a) found that the most common reasons for GCSE choices were
personal identity, ability, and relationship to future career or employment pathways.
Similarly, in this study, interest in music, and ability, were the strongest internal
influences on enrolment intentions. However, career related influences such as
intentions to work in the music industry were not major influences. These results
support the findings of Harland et. al (2000a) and Lord and Harland (2000) that the
most common reasons for GCSE subject choices were ability, and relevance to future
career/employment. Students also applied these factors to decisions about enrolling in
GCSE Music, demonstrating that GCSE Music is subject to similar considerations to
other subjects.
Enjoyment
Lord and Harland (2000) identified enjoyment as an important factor in subject choices.
Similarly, the reasons given for enrolling in GCSE Music (by both music and nonMusic students) were commonly based around enjoyment and ability levels. Of the
reasons given for not enrolling in music, lack of enjoyment or confidence and ability
were the most common, reflecting the reasons given by Harland et al. (2000a) for not
enrolling in GCSE Music.
When the greater enrolment influence of enjoyment of music during KS3 for students
enrolled (or intending to enrol) in GCSE Music is contrasted with non-Music students‟
rating of the influence of enjoyment at KS3 on enrolment, it is evident that the students
who experienced greater enjoyment of music in KS3 were more likely to be enrolled (or
be intending to enrol) in GCSE Music. Supporting evidence can be observed in the
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explanations of non-Music students as to why enjoyment during KS3 was not
influential. The most common responses were that KS3 Music was unenjoyable, or that
the students lacked interest in music.
What is not evident, especially given the significant proportion of students who cited
lack of interest as a reason for not enrolling in GCSE Music, is whether students‟ lack
of interest was due to a lack of enjoyment in KS3 music lessons, or whether they were
genuinely disinterested in music. Students (particularly Music students) who did
identify enjoyment as being influential on their enrolment decisions commonly gave the
reason that their enjoyment of music during KS3 and their enrolment decisions were
linked, or just that they enjoyed music during KS3 This suggests that the greater a
student‟s enjoyment of KS3 music, the more likely they are to enrol, or consider
enrolling, in GCSE Music. Given that GCSE Music is not an important qualification or
subject for most students‟ career/study pathways, the evidence indicates that, in spite of
the emphasis placed on careers and work-related skills and qualifications in the wider
educational context, such factors in the decision-making process can be overridden by
enjoyment of music in KS3. The more students enjoy music education in KS3, the less
important career-orientated factors become when deciding to enrol or not enrol in GCSE
Music. The implication for teachers is that offering (practical) activities that students
enjoy and find relevant is likely to have an positive effect on GCSE Music enrolment
levels.
Musical Ability
Kehrberg (1989) considered students‟ self-appraisal of ability and skills to be strongly
related to their level of participation in school music. Harland et al. (2000a) found that
ability was one of the most common reasons for GCSE subject choice, whilst Lord and
Harland (2000) established that lack of ability was a common reasons for not enrolling
in GCSE Music. Ability was a significant consideration for the students in this study,
particularly for non-Music students.
Instrumental ability was an important consideration for Music students when making
GCSE Music enrolment decisions. Instrumental ability was less important for nonMusic students. However, non-Music students did think that beginning to learn a
musical instrument at an earlier age would have made them more likely to enrol.
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Highlighting the importance of instrumental ability, the Year Nine students thought that
learning an instrument would increase their interest in enrolling in GCSE Music.
Therefore, particularly in light of non-Music students‟ perception of a lack of ability as
a major reason not to take GCSE Music, and the Year Nine‟s assertion that a greater
ability level may change their minds about not enrolling, it is evident that the ability to
play music and enjoyment of lessons are linked.
Interestingly, in this study non-Music students rated ability noticeably higher as a
reason to enrol compared with Music students, whose main consideration was
enjoyment. In contrast, Music students‟ ability (whilst a significant influence) was
distinctly less influential than enjoyment. That non-Music students think others enrol in
GCSE Music because they are musically able, and that those who enrol in music do so
mainly for enjoyment, indicates that musical ability is a pre-cursor to enjoyment. It can
be inferred from the results that, given Music students generally higher levels of
enjoyment,
participation,
and
instrumental
ability
(and
non-Music
students
corresponding lower levels), instrument ability and confidence were important
components in enhancing Music students‟ enjoyment.
Combining this consideration with the findings that instrumental ability was a
significantly more important enrolment factor for Music students than non-Music, and
that a greater level of ability was the factor most likely to change Year Nine students‟
minds about not enrolling in GCSE Music, it is evident that the students had a tacit
understanding that higher levels of ability lead to greater levels of enjoyment in music.
Lack of ability is an obstacle to participation, and therefore, enjoyment. Further support
can be found in the Year Nine non-Music students‟ assertions that higher perceptions of
ability and/or confidence would be the factors most likely to change their minds about
not enrolling in GCSE Music. The comments made by students seeking better access to
instrumental lessons, as an activity not on offer through school, also supports this
assertion. It can be inferred that improving students confidence in their ability to
effectively take part in practical music would also improve GCSE Music enrolment
levels.
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Relationship of Music to Careers and Work
The relevance of Music to future careers or study was more important to non-Music
students than Music students. Whilst this suggests a greater careers focus amongst nonMusic students than Music students, it is more likely that the less students enjoyed
music or felt unable to participate effectively, the more important career or future study
considerations became. Students lacking enjoyment or ability may have sought a more
utilitarian justification for taking the GCSE Music, and failing to find one, enrolled in
other subjects. Within the wider educational context, students did not view music as an
important work-related subject. Music‟s general lack of relevance for work emphasises
the importance of enjoyment, participation in practical music making, and perceptions
of ability as factors that determine students‟ GCSE Music enrolment intentions.
Other Influences
Harland et al. (2000a) also established that one of the common reasons for not enrolling
in GCSE subjects was timetable clashes with other subjects.. However, in this study,
only a small percentage of students cited timetable clashes as a reason for not enrolling
in music.
Year Nine males identified the perception of Music as a „bludge‟ or a „doss‟ as an
influence to enrol in GCSE Music. However, this influence was not reflected in the
other cohorts, and may be due to inaccurate responses by students in the Year Nine male
cohort.
The greatest external influence on music enrolment intentions came from those in most
contact with the students: parents and classroom music teachers. Some students
identified their perceptions as their greatest enrolment influence, reinforcing the
importance of students‟ experience of music in school in influencing their decisions.
Careers counsellors were generally not influential for Music students, reflecting either a
lack of importance of career in their decisions to enrol in music, or a lack of influence
on the careers counsellors‟ part. Year Nines (males in particular) were more likely to be
influenced by a careers counsellor when making their enrolment decisions. The only
evidence in the results from this study as to why that might have been the case can be
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found in male Music students‟ greater emphasis on musical careers as the reason for
enrolling in GCSE Music.
The Relevance of Music Education to Students
Of the activities provided by schools that students wanted to participate in, opportunities
to play and perform were the most popular. Further, students wanted their schools to
provide more opportunities to play or perform. The typical responses quoted in the
results section (such as “keyboard lessons”, “learn to play the violin”, “individual drum
lessons”) demonstrate that students principally sought greater access to playing and
learning instruments through instrumental lessons. Although all of the schools involved
in the study did have provision for instrumental lessons, the results indicate that
students felt access was limited or restricted, or did not offer the instruments they
wanted to learn. Although there is no evidence from the current study, the economics of
education may play a role in this situation whereby, to ensure profitability, a certain
number of students may be required before lessons on a particular instrument will begin.
Students also sought more opportunities to perform their own music with their bands.
Students‟ highlighting of practical music making (and learning) opportunities reflect
Elliott‟s (1990) emphasis on learning how „to music‟ (to „live‟ a musical culture
students must participate in or make a musical culture) and Regelski‟s (1999) assertion
that music deserved to be made and enjoyed in as many forms and by as many people as
possible.
Of interest is the small cohort of Year Nine females who identified their enjoyment of
music during KS3 as influential, but elaborated by revealing that music in KS3 was
unenjoyable. Presumably, their lack of enjoyment was influential in that it swayed them
away from enrolling in GCSE Music. However, these were students that were intending
to enrol in GCSE Music. The comments by the students that “I like music but the school
doesn‟t inspire me to take it as a GCSE because it‟s boring” and, “I don‟t particularly
enjoy music in school even though I play the French Horn”, demonstrate that their lack
of enjoyment in KS3 was overridden by other influences to enrol. Unfortunately, not
every student has access to music making out of school that might inspire them to
persevere with music beyond their compulsory education, placing greater importance on
meaningful and quality musical experiences during the KS3 phase of education.
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Students‟ comments regarding access to practical music-making activities reflect the
statistical results regarding the frequency with which their school provided musical
activities that they wanted to participate in. Although students enrolled, or intending to
enrol, in GCSE Music gave a higher frequency of „sometimes‟ or „always‟ responses
than non-Music students, the proportion of students who responded in this way (with
the exception of the Year Nine male cohort) was relatively small. It can be inferred that
schools were not providing students (particularly students not enrolled or intending to
enrol in GCSE Music) with activities that they wanted to participate in.
In conjunction with the high percentage of students who thought their school did not
provide any activities in which they wanted to participate was a significant proportion
of students who did not think there were any additional musical activities that they
would like to participate in that their school could provide. It is possible that a number
of these students had no interest or desire to participate in music at all. However, these
results could equally indicate that students were not aware of the different ways in
which people can participate in music, beyond what was offered by their school. Given
students‟ interview comments about the repetitive nature of lessons, involving just
keyboard or percussion playing, it may also indicate that the classroom format presented
a narrow view of participation in music. As the trend was more prevalent in Year Ten
than in Year Nine, the types of musical activities that students wanted to participate in
may have diverged from what was offered at school as they matured. This is supported
by the higher preference for musical activities out of school among the Year Ten
students.
The importance of music in general, compared to school music in students‟ lives,
mirrors their preference for out-of-school music compared to school music. Music in
general was significantly more important than school music, reflecting the conclusion
by Wright (2002) that the majority of students “attached a great deal of importance to
music in their lives but little or no importance to it as a subject” (p240). Similarly,
Stalhammer (2000) considered that when students “talk about the school's or the adult
world's values of musical experience and knowledge, then music is separated from
personal feelings and social togetherness” (p41). This mismatch was reflected by the
responses of those students who elaborated on why school music was not important; “I
don‟t think it‟s important… because the music we listen to in class is not what I listen to
161
out of school”, “the music in school is boring… The equipment wasn‟t very good and
we never got to do our own work and express ourselves”. If students believed school
music to be important it was generally because it improved their knowledge of music
rather than being, as the music education literature suggested it should be,
transformative, creative, enriching or relevant.
Whilst improving knowledge of music is an excellent reason to enrol in GCSE Music,
given the low enrolment rates and high percentage of students who did not think the
subject had any importance at all, it is clearly not enough to convince students to do so.
However, students‟ comments provide insight into ways in which music can be relevant,
in turn providing music educators with insight into the sorts of experiences valued by
students in music education. Comments such as “it helps me in the writing process… it
opens my playing up”, “improved band songs”, “helped me to work in a group and by
myself to produce a piece of work” are centred around creative processes. Although
there is no direct evidence from this study, it is possible that engagement in creative
music making is responsible for “help(ing)…to become more confident”, “build(ing)
confidence”, “feeling different emotions and caring”, “make(ing) me more confident,
believing in myself and wanting to succeed”. Taking into account the conclusion by
Harland et al. (2000a) that GCSE Music registered a more limited range of student
perceived outcomes than Art and Drama, it would be interesting to compare the creative
opportunities offered by GCSE Music and other (more popular) arts subjects such as
Drama and Art to ascertain and compare the importance and centrality of creativity in
each subject, and its effect on perceptions of relevance.
These findings support the assertion by North, Hargreaves and O‟Neill (2000) that the
central importance of music to the lives and identity of many teens develops outside of
the classroom, and suggests that school music is out of touch with the needs of many
students. Wright (2002) similarly maintained that the majority of students described
music as moderate to very important in their lives, but gave an inverse response to
music education. Wright concluded that the status of school music had little relevance to
students‟ attachments to music out of school. Similarly, Regelski (2005) maintained that
„school music‟ and „real music‟ existed at considerable distance. Reflections of these
positions can be seen in students‟ requests for activities such as “battle of the bands,
gigs”, “rock festival”, and “gigs for bands”.
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Students were asked if school music should reflect real-life music making, and if it did
reflect real-life music making. With the exception of the Year Nine female non-Music
cohort, more students agreed than disagreed that school music should reflect real-life
music making. However, most responses were negative or neutral regarding whether or
not school music did reflect real-life music making.
When the types of activities that students enjoyed taking part in are considered, it is
evident that they are largely based around playing and reflect „real‟ music making.
Activities such as “using practice rooms to practice with my band”, “learn(ing) to play
an instrument”, “making up own music”, “making and writing music”, “recording
music” and “making tunes in the DJ area” are all directly relevant to, and identifiable
with, musical activities that students could access outside of school.
Non-Music students‟ low participation levels (with their low levels of enjoyment)
indicates that meaningful participation in musical activities is linked to enjoyment, and
therefore, enrolment. Non-Music students‟ comments offer confirmation: “don‟t find
music interesting in school”, “I found it kind of boring, not very interesting”, “I do not
enjoy the music that is done at school”, “because if we don‟t enjoy what we are doing
and find it uninteresting, then we‟d get bored and wouldn‟t take as much interest in it‟.
Some students identified poor behaviour in music classes, or the perception of music as
a “doss subject”, as preventing meaningful engagement in music.
Conversely, Music students enrolled because it was an enjoyable and stimulating
subject; “it‟s more enjoyable than lots of the other subjects… you don‟t just have to sit
at a desk and write all the time”, “enjoyed the practicals and the topics to be learning
about seemed good”, “more practical, not as boring as others”, “lots of practical lessons,
composition”. Central to these comments is practical work. The importance of practical
work is highlighted by the majority of Music students who agreed with the statement
“music as a practical activity (making music) should be central to music education”.
Non-Music students‟ responses were fairly evenly divided between agreeing and
disagreeing with the statement (but slightly weighted towards agreement), reflecting a
less satisfying involvement in practical music due to the perceived lack of ability or
confidence often given as a reason not to enrol in GCSE Music. Greater ability in
practical music making provides better outcomes and increases enjoyment and
relevance for students, which in turn is likely to increase students‟ interest in the subject
163
and the likelihood of them enrolling in GCSE Music. To extend this proposition, and
consistent with the music education literature, music largely becomes relevant for
students through playing, performing, and creating (doing) music. When the activities
provided (or not provided) by schools that students want to participate in are taken into
consideration, the central importance of practical music making to students is clearly
demonstrated.
The reasons given by students for studying music display a bias towards recreation,
rather than qualifications or work/career choices. More students agreed than disagreed
(Music students in particular) that music should be studied for leisure, out of interest, as
„relaxation‟ away from the main subjects, and to develop the self. Students evidently
believed that music should be studied for reasons more closely associated with their
quality of life than their future study or career prospects. However, most students did
not choose to study music, and a significant proportion of non-Music students believed
that others studied GCSE Music because they were interested in pursuing a musical
career. This suggests two possibilities; that GCSE Music is commonly perceived as
being career orientated (perhaps encouraged by the wider qualifications/career driven
context of KS4 education), or, that within the context of KS4 education, students accept
that subject choices should be driven by career or study pathways and disregard Music.
As the results indicate that students believe Music should be enrolled in out of interest
or enjoyment (rather than career) it is reasonable to conclude that, contrary to the aims
of music education rationale, GCSE Music is perceived by students as a career/work
orientated subject. Given the high percentage of students that agreed with the
government work-related rationale statements, the perception of GCSE Music as
career/work orientated may have been influenced by the wider educational context,
which also highlights the importance of meaningful and quality musical experiences
during the KS3 phase of education.
Music students generally believed that music was important to their overall education,
and believed that their friends, parents, and school also held the same opinion. As these
students found Music relevant and enjoyable this is not a surprising finding. However,
for most of the student population (who did not enrol, or were not intending to enrol, in
GCSE Music), Music was not considered an important part of education. Music
students‟ reasons for enrolling, and the fact that a higher percentage believed Music to
164
be important to overall education, indicate that active and meaningful participation in
Music increases relevance.
Of interest are students‟ perceptions of the importance attached to music education by
government. In this instance the opinions of Music and non-Music students converged.
The majority believed that government considered music to be unimportant to their
overall education. Given that government sets the agenda in the wider educational
context, the perceived importance attached to music by government could be an
influential factor in the importance attached to music by students, their friends and
family.
It is evident that GCSE Music lacks relevance for the majority of students, be it through
the types of activities on offer (or not on offer), its relation to music out of school, the
enjoyment (or lack of) that students gain from Music lessons, or students‟ perceptions of
the ability levels required to take the subject. The high percentage of students
(particularly from the non-Music cohorts) that did not respond to the questions in the
questionnaire, or answered “none” or “nothing” supports the conclusion by Harland et
al. (2000a) that Music attracted the highest proportion of “no impact” responses out of
all of the other arts subjects.
However, this study did establish that, for those enrolled or intending to enrol, GCSE
Music was relevant in immediate and powerful ways. Reflecting the emphases in the
music education literature, Music students found relevance in composing, performing,
and learning ideas that they recognised could be useful in the music they participated in
out of school. Music students were also significantly more likely to recognise and
understand the ways in which participation in music helped to develop personal
attributes such as confidence, social skills, creativity, self-expression, motivation, and
mood regulation. The challenge is to extend the ways in which Music students find
relevance in music education to all students.
The Rationales for Education
Music education exists within a wider educational context that influences both students‟
choices and their educational priorities. Government policy (via the school system)
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places an increasingly strong emphasis on the skills and knowledge thought to enhance
work and career related competencies and material well-being. Against this wider
context for education, music education emphasises enhancing experience and, more
broadly, the ability to transform life. Whilst the two rationales of education have points
of convergence, they differ in direction and basis.
The questionnaires and interviews sought to establish the extent to which students
perceptions of music education, and education in general, were congruent with the
rationales stated in the music education literature and the UK government policy
documents.
Music Education
The literature on rationales for music education is varied. However, there are common
themes; that music education should be transforming, that it should improve quality of
life, that it should promote music as central to a life well-lived, that it helps to develop
identity, self-knowledge and self-growth, that it promotes a sense of community and self
worth, and that participation in music enhances aspects of life outside of music, such as
developing critical thinking, confidence and self-discipline. The questionnaire and
interviews also sought to gauge the extent to which the ways that students valued music
education reflected the rationales outlined in the literature.
Music is woven into the fabric of society in most parts of the world (Tolbert, 2001).
Humans appear to have an innate drive to make and enjoy music, and seem predisposed
to making music with certain universal features. McDermott and Hauser (2005)
proposed that some innate machinery motivates the production and appreciation of
music. Hargreaves, Marshall and North (2003) considered music to have cognitive,
emotional and social functions in everyday life. Interview comments from some
students such as “ everyone likes a type of music”, “music‟s one of those everyday
things” and “it‟s… necessary in lots of people‟s lives and without music, I dunno, be,
grey” reflected these positions.
Additionally, over two thirds of the students involved in this study thought that music
was important in their lives, and approximately four fifths regularly listened to music.
However, the percentage of students that believed school music was important in their
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lives was significantly lower, and participation levels in practical music activities such
as singing, dancing, composing, and playing were significantly lower among non-Music
students than Music students.
Bowman (2005b) stated that meaning in music is tied to use. Students in this study
sought activities that involved music making, and found music relevant and stimulating
through active engagement in making music. Interview comments in response to
questions about what music is „good for‟ reflected the importance and effect of
participation in practical music making; “it‟s good to… do in your spare time… just like
play”, “I just go into a different world when I play my music… when I‟m making it”,
“it‟s just good to… do something else”, “I just think it‟s good to do something, „cause
it‟s better than just sitting around doing nothing”, “if I‟ve had a hard day at school, pick
up my guitar, flick on the amp, play whatever, and I feel fine”. Further, those who had
higher participation levels, or greater instrumental ability, were more likely to be
enrolled in GCSE Music. Students who did not find music relevant were generally not
enrolled, or were not intending to enrol, in GCSE Music. Music became more
meaningful through active participation.
Regelski (2000) suggested that what music is „good for‟ should be at the centre of music
education. Music education should empower learners to learn „how to live‟ through
music and musical activity. Colwell and Wing (2004) suggested that music education,
by improving musical competence, should contribute to an inspired quality of living. An
education in music should carry over into students‟ lives in important and desirable
ways (Regelski, 1999). The major role of music education is to enhance life (Koopman,
2005; Jorgensen, 2003a). In addition to the above interview quotations, other comments
from the interviews and questionnaires indicated that a few students (mainly those
enrolled, or intending to enrol, in music) were aware of the contribution of music to
quality of life, or a life well-lived; “I reckon it makes you feel good”, “it‟s a good thing
the world needs”. The following quotations illuminate the satisfaction gained from
quality engagement with music making; “being able to get somewhere with something
you‟re good at”, “get a sense of satisfaction out of it”, “getting it right and satisfaction”.
Implicit in these comments is the intrinsic motivation and satisfaction derived from
taking part in quality musical activity, and they reinforce the point that students found
music education to be most relevant and stimulating through active engagement in
music-making.
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Bowman (2005b) considered music education to be meaningful only to the extent that it
becomes integral to people‟s identity and ways of being in the world. If, as Hargreaves
and North (1999) suggest, music provides a means for people to define their identity,
then it follows that an education in music should offer the same opportunity. A small
percentage of students (higher among the Music cohorts, and females generally)
identified the important contribution of music to the development of personal attributes
such as confidence, motivation, and identity. Comments such as music “make(s) me
reflect on my thoughts”, helps to “(become) a more well-rounded individual” and
“makes people feel good, helps people to cope with life”, “music can define like a
person‟s character”, “it‟s good for your personality” and “people tell their story through
music” indicate that there was some recognition of the influence of music on identity
and ways of being in the world. Students also identified the role of music in identity
related factors such as expression of emotion and creativity. Comments such as “it helps
you release your creativity” and “expressing yourself” were fairly common responses to
interview questions about what opportunities students thought that music offered.
Discussion in the interviews revealed that the opportunity to be creative and expressive
was important, “‟cause we can do what we want… they give us like a basic outline…
but as far as that‟s concerned we can do what we want using our own instruments”, “I
fell in love with it… it‟s the sound… once it clicks, once you get everything… and you
can start making up your own music as well, that was the point”.
Despite students identifying the importance of music as a means of expression and
creativity, for most, the importance of school music did not reflect the importance of
music in their lives. Reflecting findings by Harland et. al (2000b) that music was
distinct from the other arts in that it was the only subject where the acquisition of
technical skills was considered to be the primary outcome, students found Music to be
important to the extent that it improved their musical knowledge. The significant
proportions of (particularly non-Music) students who thought that others enrolled in
Music due to ability or career intentions, and the high proportion of students who did
not enrol due to a lack of ability, reflects the perceived emphasis on technical skills.
Counterbalancing the emphasis on skills and ability was the importance of enjoyment, a
common reason for enrolment. Music students (particularly females) thought that school
music was important because of the enjoyment they gained from participating in the
subject. However, male Music students (reflecting the greater emphasis on careers in the
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male Music cohorts) were more likely to focus on the subject‟s potential to develop
their career aspirations. A large percentage of students did not identify the ways in
which school music was important in their lives. This was particularly so for non-Music
students, and suggests that for many, there was little to be gained from participating in
music education.
The ways in which school music enhanced students‟ lives reflected the ways in which
school music was important in students‟ lives. Improving musical knowledge was the
main way in which Music enhanced students‟ lives. Enjoyment was also important.
Beyond the development of musical skills and enjoyment, there was little reflection of
the music literature in most students‟ responses on significance of school music in their
lives. However, for female Music students, the contribution of music to enhancing
personal attributes was a significant way (after improving their musical knowledge) in
which music enhanced their lives. Interestingly, the results for this question did not
reflect the emphasis Music males placed on career development in the question
regarding the importance of school music, suggesting that females do not regard the
development of career potential as enhancing their lives.
Jorgensen (2002) highlighted the intrinsic value of music making. Whilst most students
did not identify themselves as being motivated by the intrinsic satisfaction of making
music, just over half of the females enrolled or intending to enrol in music did agree that
the intrinsic satisfaction of making music was motivating. Further, the majority of males
enrolled or intending to enrol in GCSE Music also agreed with the statement. Males
enrolled or intending to enrol in GCSE Music were more motivated by being part of a
music community than any other cohort. Non-Music students mostly disagreed or were
neutral. These results indicate that those participating in music were more aware of the
satisfaction gained from participating in music and being involved in a musical
community. Two students in particular identified the importance of music in creating a
sense of community, but from different angles. One student expanded on how it helped
to improve his standing within his community, “it‟s the social life as well, I feel as if the
social life‟s gone up a lot, you know you meet a lot of new people, you get on better
with teachers, you know I feel is just a much friendlier atmosphere”.
The other
discussed how music can bring people together and help to dissolve difference by
meeting on equal terms as musicians in an ensemble, “I think it‟s like, to bring people
together, you could be in music, you could be like poor person, rich person, black
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person and a white person and you couldn‟t tell the difference… so it‟s like, kinda takes
out all the racism, all the views like”.
The majority of non-Music students gave neutral or negative responses to the
proposition that performing music is a unique way of knowing, being and doing, whilst
a significantly larger proportion of Music students agreed with the statement. Further,
few Music students disagreed. In contradiction, students in both music and non-Music
cohorts agreed in greater proportions that musical experiences are unique. Whilst music
education may help students to recognise that musical experiences are unique, most
students are not motivated to take the subject in KS4. Interestingly, Music students in
Year Ten were less likely to agree with the statements about performing music and
musical experiences than students in Year Nine intending to enrol in GCSE Music.
This, compared to non-Music students, who were more likely to disagree in Year Nine,
and to agree or be neutral in Year Ten, suggests that students not enrolled in GCSE
Music are gaining positive musical experiences in ways that Music students are not. A
music curriculum that reflects students‟ musical interests outside of school may
encourage greater enrolment levels in GCSE Music.
In common with the other statements, Music students were more likely than non-Music
students to believe that music helped to shape their understanding of the world around
them, and that music makes a unique contribution to human existence. Also in common
with the other statements, Music students were far more likely to agree with these
statements in Year Nine than in Year Ten. Whilst Year Ten non-Music students were
also more likely to disagree and less likely to agree with these statements than Year
Nine students, the difference was far less dramatic. Compared to the relatively stable
proportions of responses from Year Nine and Ten non-Music students, this suggests that
at the least enrolment in GCSE Music changes students‟ perception of the effects of
participation in music.
Elliott (1995) suggested that the primary values of music education should be the
primary vales of music; self-growth, self-knowledge, and optimal experience. For this
one statement, there was a slight increase in the proportions of Music and non-Music
students who agreed (and corresponding decrease in those who disagreed) between Year
Nine and Ten. Contradictorily, students in both Music and non-Music cohorts were less
likely to agree in Year Ten than Year Nine that music helped to form identity and
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character. Significantly more Year Nine than Year Ten Music students agreed with the
statement, adding weight to the possibility that enrolment in GCSE Music may alter
students‟ perception of the effect of participation in music.
Harland et.al. (2000b) established that the majority of students did not identify any
effects from music education that transferred to other contexts such as learning in other
subjects. The statistical results of this study support this finding. Music students were
slightly more likely to believe that music enriched other areas of study than non-Music
students. However, the largest proportions of students in each cohort disagreed or were
neutral.
Overall, Music students agreed with the music education rationale statements to a
greater extent than non-Music students. However, there was also a significant overall
discrepancy between Year Nine and Ten Music student ratings, in which the Year Tens
were (often significantly) less likely to agree with the rationale statement. In general,
males also significantly agreed with the statements more than females. The single
exception was the higher percentage of females who agreed with Elliott‟s (1995)
assertion that music education helped to develop self-growth, self-esteem and selfknowledge. Students with higher participation levels and instrumental experience in
music were more likely to agree with the rationale statements, or to identify some of the
outcomes that the music education literature suggests music education should deliver.
Enrolment was higher among those who had access to quality engagement in musical
activity, reinforcing the basic premise in the music education literature that such
engagement is intrinsically motivating, and contributes to an improved quality of life
and sense of community. For those not enrolled, or not intending to enrol, it would seem
that their music education had not met Regelski‟s (1998) proposition that it should
encourage and enable students to want and be able to put music „into action‟ in
enhancing or benefiting their lives.
The students‟ responses in the questionnaires and interviews did provide some insight
into why, for many, music education (particularly beyond the compulsory years) was
not an attractive prospect. The most common response in the questionnaires was that
music in school was unenjoyable. The interviews shed some light on why this may have
been the case.
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The questionnaire results identified students‟ perceived musical ability as one of the
most influential factors on their enrolment decisions. In the interviews students also
identified and discussed the importance of musical ability. Some students found KS3
music unenjoyable because they struggled with the theoretical concepts, or, more
commonly, did not feel able to play an instrument to a sufficient degree of proficiency.
On the other hand, students enrolled or intending to enrol in GCSE Music identified the
importance of their musical ability as an influence on their decision. They also
identified a lack of ability in others as a reason contributing to a lack of enjoyment.
Year Nine students commonly identified greater ability as a factor that might change
their minds about not enrolling in GCSE Music. In one interview students went further
and suggested reasons why others found music unenjoyable due to a perceived lack of
ability.
Student 1:
„Cause they‟re lazy.
Student 2:
And they‟re not confident.
Student 3:
Impatient because they can‟t learn
Student 1:
Or stick to it. They think “Oh, I‟m going to play this
instrument”, and then give up like after a month.
Student 3:
„Cause they can‟t do it straight away.
Instrumental ability was clearly a significant factor in many students GCSE Music
enrolment decisions. For others, the sorts of activities and types of music studied were
not relevant. Several students identified the perception of Music as a „doss‟ or „bludge‟,
and (the possibly consequent) disruptive behaviour as a negative influence that
prevented successful completion of work. One student attributed the motivation to
continue with music in school solely to participation in music outside of school.
However, such a mitigating experience is not available for the many students who do
not have the opportunity or inclination to participate in music outside of school.
Enjoyment of music in KS3 is at the heart of retention difficulties in GCSE Music. If
students‟ only experience of music making is through school, if that experience is not
enjoyable or satisfying, and they have no occasion to experience otherwise outside of
school, it follows that they do not want to continue beyond compulsory education.
Further, one of the main factors that could dramatically improve students‟ experience of
music (a higher level of instrumental ability through greater access to instrumental
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lessons) appears to be elusive. Interestingly, less than a third of non-Music students
agreed that practical music making should be central to music education, compared to
the majority of Music students who agreed with the statement. This may reflect lower
perceived levels of ability that led to a less satisfying interaction with practical music
making, and therefore lower opinion of its importance.
The responses of the small percentage of students who decided to continue their
education in music demonstrate that the rationales underpinning music education are
effective and resonate with students, and that music education can be worthwhile.
However, the dissatisfaction of many students identified in this study and in others, and
the reasons given by students for their dissatisfaction, suggests underlying difficulties in
teaching music in a modern school context. In the compulsory years large class sizes
and the small amount of time allocated to music lessons reduces the amount of
individual attention available to students, which in turn contributes to students‟
perceptions of inability. The availability of resources such as access to instruments and
instrumental lessons and the widely differing tastes of students make it difficult for the
styles of music studied to be relevant to most students most of the time. That most of
those who do find some of the relevance and intrinsic motivation that the rationales of
music education seek to offer do continue with Music into post-compulsory education,
and enjoy it more than in compulsory education, supports this supposition.
Government Rationales and Policy
Students were asked to respond to statements taken from government policy. During the
interviews the general purpose of education and the sorts of skills gained from
participation in music that employers may value were discussed. Students identified the
importance of education in helping to gain skills for work and later in life.
Individuals will need to engage in life-long learning to enhance their employability and
skills (DfEE, 1998). Over two thirds of all students agreed that the ability to learn
throughout life was essential to a successful future. Music students were generally more
likely to agree and less likely to disagree with this statement than non-Music students.
Fewer students agreed with the statement that in the twenty-first century it was
important to develop the ability to learn throughout life. Perhaps for students well
acquainted with the concept of life-long learning and its importance, the ability to learn
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throughout life was implicitly accepted. Over half of all students agreed that the ability
to cope with change is essential to succeed in the twenty-first century. The subject
selection process and progression to post-compulsory education may help define
students‟ thoughts on this matter.
Students will need to be able to cope with changing economic and social demands, and
to be able to make sense of the rapid transformation of the world (Tomlinson, 2004;
Department for Education and Employment, 1998). The UK government maintains that
without a grounding in basic education and the right skills and knowledge for
employment students have little prospect of making the most of themselves in life or
work (DfES, 2005b). Similarly, over half of all students agreed that education equipped
them for work and prepared them for success in the economy and in society.
The government considers those with skills and qualifications as the most likely to find
regular employment. Conversely, those without are more likely to move into benefits
(DfES, HM Treasury, DWP & DTI, 2003). Education has been shown to have an
unambiguous positive effect on earnings (Harmon, Oosterbeek & Walker, 2000), as
more highly educated people are more productive and can therefore earn more (DfES,
HM Treasury, DWP & DTI, 2004; DfEE, 1998; DfES, 2003f). Therefore, education
plays a crucial role in preparing students for work and employability (Davies, 2002).
The modern economy puts a premium on skills, knowledge and understanding without
which individuals face uncertain futures and marginalisation in society (DfEE, Social
Security & HM Treausry, 2001). The majority of students agreed that education helped
to improve their chances of getting a job and increased their earning potential.
Nevertheless, as a general trend, significantly fewer (but over half of the students)
agreed that strong links between schools and employers were necessary to prepare for
adult and working life. However, UK the government maintains that it is unacceptable
to “tolerate an artificial divide between the world of education and the world of work”
(DfES, 2003g, p29). Government argues that building education-business links creates a
more enterprising society and delivers essential benefits to all students such as an easier
transition from education to work and increasing the relevance of education.
Government policy states that a “solid basis in the skills of communication, application
of number and information technology is essential if young people are to complete
effectively in the labour markets of the twenty-first century” (DfES, 2003b, p105). Over
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half of all students agreed that writing, mathematics, communication and information
technology skills were important for success after they left school.
The emphasis on qualifications in education is based on the belief that without a
respected and recognised qualification students are unlikely to gain employment or be
able to change with the changing contexts of work throughout their lives. Given the
widespread promotion of the importance of qualifications and their utility, students
should be motivated to enrol in and gain qualifications. Just over half of Year Nine and
Ten non-Music students agreed that they were motivated by the need to gain skills and a
qualification. Reflecting the post-compulsory policy emphasis, Year Ten students were
more likely to be motivated by skills and qualifications. However, students in Year Nine
were more motivated by the satisfaction gained from taking part in education than the
need for skills and qualifications.
Generally, students agreed with, or were at least neutral regarding, the government
policy statements. The evidence demonstrates that students accepted the emphasis
placed on the role of education in preparing them for work. As students in Year Ten
were generally more motivated by skills and qualifications than the satisfaction of
taking part in education that Year Nines, if would appear that they are more aware of
the importance placed on education‟s role in preparing them for work. However, Year
Nine students were more motivated by the satisfaction gained from taking part in
education, further underscoring the importance of KS3 music in developing students‟
opinions and perceptions of music education.
Music students were less likely to disagree, and more likely to be neutral or to agree
with the policy statements than non-Music students. This general trend, together with
Music students‟ greater awareness of the contribution of music education to their lives
suggests that students who enrolled in music may have been more aware of the effects
and outcomes of education than students who did not enrol.
Intersection of Music Education and Government Rationales
There are points of convergence between the two rationales of education. However, they
differ in direction and basis. To meet McCarthy‟s (2000) challenge to access why
students continue (or do not continue) to participate in music making, it is important to
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understand the ways in which they relate to music education, taking into account the
wider context and differing emphases for education. Of fundamental importance is an
understanding of how students relate to the economic imperative behind secondary
education (particularly during the 14-19 phase), and the degree to which they relate to
rationales behind music education.
Responses in the questionnaire indicated that most students thought that music in
general was better suited to enhancing life or lifestyle than career. Interestingly, nonMusic students were more likely to answer lifestyle than Music students, more of whom
thought that music was better suited to enhancing their career prospects. Students asked
in the interviews whether they thought that music was better suited to enhancing life and
lifestyle, or career, predominantly responded lifestyle. Given students‟ perception of
music in general, it is interesting that less than a quarter of all students thought that
school music was better suited to enhancing lifestyle. There were significantly more
students (particularly in the Music cohort) who answered career, and significantly more
students overall who gave a neutral response. This may be due in part to the emphasis
placed on skills and qualifications in the wider educational context, or may equally be
due to the lack of enjoyment that many students derived from music in school, despite
the widely held opinion that music as a subject should be taken out of interest and for
enjoyment.
Even though many students thought GCSE Music was better suited to enhancing career,
the largest proportions of non-Music students agreed that education equipped them for
work and success in the wider economy and society, but did not agree that music
education did the same. This perception may be a contributing factor to the low GCSE
Music enrolment rates. Music students were more likely to agree with both statements.
Music students who took part in the interviews identified several traits that they thought
music helped to develop that employers might desire. These included confidence,
creativity, communication skills, and teamwork. Some students thought that a
qualification in music could send signals to prospective employers about their character,
reflecting the view of Harland et. al (2000a) that from employers‟ perspectives,
involvement in music helped to develop more rounded people. Despite the fact that
most students thought Music should be enrolled in for enjoyment, some were able to
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identify ways in which the subject contributed to the wider educational context of workrelated skills.
Responses to the statements that education, and music education, helped to improve
employability and earning potential revealed a similar pattern to the other statements, in
which Music students were more likely to agree with both statements. This pattern
reflects Music students‟ higher level of interest in musical careers. The post-compulsory
education policy‟s emphasis on school-business links was reflected in the pattern of
responses to the statements that strong links between schools/school music departments
and employers were necessary to prepare for adult and working life. The largest
proportions of students in both music and non-Music cohorts agreed with both
statements. Similarly, reflecting the higher level of interest in musical careers amongst
the music cohorts, Music students were nearly unanimous in their agreement with both
statements.
The majority of non-Music students who thought they were motivated by the need to
gain skills and qualifications did not think that Music should be studied to gain a
qualification. Conversely, Music students (particularly males) motivated by the need to
gain skills and qualifications were more likely to agree, reflecting the emphasis on skills
and qualifications in the wider educational context.
A similar pattern emerged in response to the statements that the ability to cope with
change is essential to success and that learning music helps to develop the capacity to
cope with change. The responses regarding the importance of life-long learning and
music‟s ability to develop life-long learning followed the same pattern. Of interest is the
difference in both these cross-tabulations between Year Nine students not intending to
enrol in Music and Year Ten non-Music students. Significantly more Year Tens agreed
with the policy statement but not the music statement. Involvement in music education
seemed to increase the likelihood that students would perceive some benefits. However,
the difference in responses between the Year Nine and Ten non-Music cohorts suggests
that once they withdrew from music education they revised their opinions. Supporting
this supposition is the response pattern to the statements that education/music education
should develop self-growth, self-knowledge, and self-esteem. In common with the
previous two statements non-Music students in Year Ten were more likely to agree with
the general statement but not the music statement than non-Music students in Year
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Nine. Again, reflecting their greater interest in the subject, Music students were
significantly more likely to agree with both statements.
The evidence is conflicting. Students thought that others enrolled in music because they
enjoyed it or were good at it and thought that music should be taken out of interest
rather than to enhance career/work prospects. Some students identified the GCSE
qualification in music as the reason why they enrolled in the course. More commonly,
students enrolled mainly because they enjoyed or were interested in music. Taking both
career and enjoyment into account was also a common response. Students identified the
importance of GCSE qualifications in preparation for work or further study, supporting
the conclusion that students placed greater emphasis on skills and qualifications in KS4.
However, they also thought it was important to enrol in subjects they enjoyed.
School music was generally viewed as better suited towards enhancing music-related
career than life in general. When taking into account the cross-tabulations, Music
students were significantly more likely to agree with the music version of the policy
statements, demonstrating an awareness of musical career options if not music career
aspirations. Correspondingly, non-Music students or students not intending to enrol in
music, who form the majority in each year group, generally agreed with the music
version of the policy statements, further confirming the perception of GCSE Music as
being better suited to career or work. These students appeared to reason that music
should be studied for the reasons put forward in the rationales for music education, but
found music education to be unenjoyable or considered it to be too narrowly focussed
on enhancing career prospects. However, they also recognised that some students were
good at music and enjoyed it. Despite the perceptions of school music as being better
suited to career/work than enhancing life and the wider skills/qualifications context of
education, enjoyment and ability were common reasons for enrolling in Music. NonMusic students identified with the rationales behind music education, but most did not
think that they were evident in practice. The small percentage of students who thought
otherwise was significantly more likely to be enrolled in GCSE Music. Whilst Music
students were clearly more music-career focussed than non-Music students, it is not
clear to what extent they were influenced by their interest in music compared to the
wider educational context. However, for non-Music students, the lack of relevance to
their future career or study pathways was more of an issue. This was perhaps heightened
by their lack of enjoyment and perceived lack of ability, or by the perception that GCSE
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Music, contrary to the rationale for music education, was too focussed on musical
careers or further study prospects.
Summary
The wider educational context places an emphasis on education as preparation for
working in order to equip the UK for the new age with new and better skills,
knowledge, and understanding (DfEE, 1998). The knowledge driven economy demands
ever-higher levels of knowledge, skills and flexibility in the workforce (Tomlinson,
2004). This emphasis is derived from perceptions in that market that students will need
to be able to cope with changing economic and social demands and be able to make
sense of the rapid transformation of the world (Tomlinson, 2004; DfEE, 1998). Students
will require broad knowledge, transferable skills (such as interpersonal, analytical,
problem solving, organisational, and learning skills) and specific training (Tomlinson,
2004).
On the other hand, music education rationale emphasises the enrichment of experience
(thereby enriching life). The value of musical knowledge is seen as lying in its ability to
enhance musical experience. Music education rationale emphasises the student‟s role as
a creator, and should empower students to be intentionally musically active. Therefore,
students need choice, control and responsibility. On that basis, participation in Music is
relevant, contextual, and motivated by the intrinsic satisfaction of making music and of
being part of a musical community. It is not only a potent means of attracting students
in a largely economically based context for education, but also a powerful (and
potentially liberating) alternative to the economic influences and imperatives found in
education and life.
Despite the importance given in the literature to music education as an enhancing and
transformative experience, the majority of students did not continue to participate in
music education beyond the compulsory years. The most common reason cited was lack
of enjoyment. However, students who did enjoy Music in the compulsory years were
often enrolled or intending to enrol in GCSE Music. These students also displayed
higher current and future participation thresholds, supporting McCarthy‟s (2000)
assertion that students are motivated by the intrinsic satisfaction of making music and
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being a part of a musical community. Non-Music students also commonly identified a
lack of instrumental ability as a main reason for not enrolling in GCSE Music. Together
with students‟ confirmation that a greater level of instrumental skill would increase the
likelihood of them enrolling in GCSE Music, it is evident that the students with higher
instrumental ability (and therefore participation levels) derived greater satisfaction from
music education. In this study, participation positively affected students‟ perception of
music education. Reflecting this, of the activities not provided by schools that students
wanted access to, instrumental lessons were the most common, further underlining the
importance of instrumental ability in students‟ enjoyment of music. Given that the
activities that students found relevant were based around practical music-making, an
expansion or structuring of practical musical activities to assist students to improve their
instrumental skills should increase enjoyment and impact positively on GCSE Music
enrolment levels. The students who did not enjoy Music in KS3 but chose to enrol in
GCSE Music, based on their enjoyment of music outside of school, demonstrate the
centrality of enjoyment in enrolment decisions.
Both music and non-Music cohorts identified the importance of enjoyment levels when
deciding to enrol or not to enrol in music. In both cohorts, enjoyment was the main
reason why students thought others enrolled in music, and lack of enjoyment one of the
main reasons why others did not. Students with higher levels of ability displayed greater
levels of enjoyment. The level of enjoyment students experienced related to the
importance they attached to music education. For non-Music students, a large
proportion of whom identified lack of enjoyment as the reason for not enrolling, Music
was not an important subject. On the other hand, Music students, who reported
significantly higher levels of enjoyment, identified music as an important subject.
Students found music relevant when it was enjoyable. For the students who did enjoy
music, practical music making and creative opportunities were of central importance.
This reflects Cross‟ (2001) assertion that the evolutionary purpose of music lies in its
role as a consequence free means of social interaction. Students sought opportunities for
practical engagement with music making through access to lessons and performance
opportunities for their bands (which in the case of bands performing their own
compositions, also provides a creative outlet). When students did not find music
education relevant, it was largely due to a lack of enjoyment. Some students also
identified a lack of relevance or utility to their career or further study pathways.
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Sloboda‟s (2001) stated that consensus in music education was not holding, where
neither school management or government could articulate a shared vision of the value
of music that was stronger than students‟ own lived experience. Reflecting this, students
found music out of school to be significantly more important than school music, and
most students did not feel that school music reflected real-life music making.
Importantly, more students agreed than disagreed that music education should reflect
real-life music making.
Music was not a relevant subject for most students. However, it is important to
recognise that for the small percentage of students for whom music education was
relevant (mainly Music students), it was relevant in the ways the literature suggested it
should be. If there were a flaw, it would not seem to be with the rationale, but with the
delivery or the conditions in which the delivery of music education must take place.
Expanding students‟ opportunity and ability to make music and be creative, thereby
providing enjoyment and motivation, should increase students‟ perceptions of
relevance. Increase participation and retention of students from KS3 into GCSE Music
should follow. The challenge, therefore, is to identify ways of extending to most
students the types of experiences promoted by the music education rationale.
The most common influences on enrolment were internal influences such as perceptions
of ability and enjoyment (or lack of). Against the prevailing bias of the wider
educational context, career related considerations did not exert any major influence for
most students. Reflecting the lower level of importance of career considerations, careers
counsellors were also not influential for most students. Those in most contact with
students (parents and teachers) exerted the greatest external enrolment influence.
Interestingly, both Music and non-Music cohorts thought that the government did not
regard music as an important part of their education, reflecting Lamont et al. (2003)
who argued that teachers felt that the music curriculum was valued by those in close
association with schools, but lacked any real validation from government. Given the
emphasis from government on skills and qualifications, and students‟ agreement that
music should be studied more for enjoyment or interest, it is not surprising that they
should identify the mismatch between the two rationales. Although most students
believe the main reasons to enrol in Music were based around enjoyment, ability and
interest, GCSE Music was perceived as being weighted more towards career and skills.
181
In the wider context, in which students generally believed that education equipped them
for work and success in the economy, non-Music students did not believe that music
education could help meet the same ends.
If music education is perceived as more orientated towards career, it becomes a less
attractive option for those not interested in a musical career as it cannot develop workrelated skills more relevant to the individual student‟s aspirations as effectively as other
subjects. Reflecting their interest in music, Music students were more interested in
musical careers and were more likely to agree with the statements regarding music
education‟s ability to develop work related skills. In some subjects (Eg. Mathematics,
English), a relevant careers or work-based focus for most students may provide a
counterbalance against any lack of enjoyment. The lack of any such opportunity in
GCSE Music does not indicate that one should be found, but rather highlights and
increases the importance of enjoyment and relevance in KS3 Music.
Most students either agreed with, or had no opinion regarding the government policy
statements. If a neutral stance is accepted as tacit agreement, then the majority of
students accepted the importance of the emphasis placed by government on postcompulsory education as preparation for work or further study leading to employment.
Despite this and the strong emphasis on work-related skills and qualifications in the
wider educational context, students across all cohorts generally agreed that Music was a
subject better suited to enhancing life and lifestyle than career options (unless it was a
music career). Music was perceived as being more work orientated in KS4 (possibly due
in part to the government‟s promotion of KS4 as preparation for employment), and was
therefore possible less accessible or appealing to most students. Music education
appears to be suffering from both the wider educational context and students‟
unenjoyable experience of music in KS3. A reduction in the perceived bias towards
preparation for musical careers or work, in favour of a renewed emphasis on practical
music making and creativity (the experiences identified by students as being relevant,
enjoyable, and different from other subjects), and better access to instrumental lessons
may improve students‟ experience of music education as a transformative and
enhancing experience and lead to an increase in KS4 retention rates.
182
Further Research
In a market context the student is construed and constructed as a consumer of education.
Most students do not choose music education having found it unenjoyable or too hard; it
is left „on the shelf‟. Further research is required to ascertain the underlying reasons as
to why music is perceived as too hard or unenjoyable, and the steps that can be taken to
effect change.
Given the high percentage of students that found music unenjoyable, more research is
needed to establish whether there is a significant proportion of students who are
genuinely not interested in learning music, or whether there are reasons why they find it
unenjoyable that can be addressed. Assuming that music education rationale is not
flawed, and that therefore more students should be interested in enrolling beyond
compulsory education, is the obstacle to enrolment associated with the delivery of
music education, or the conditions in which the delivery of music education must take
place? Research is also needed to investigate the factors that influence enjoyment: the
role of teachers, students‟ perceptions of ability (particularly relating to their selfidentity as a musician), the types of activities undertaken in class, and the ways in which
the behaviour of other students (in particular disruptive behaviour) impacts on the music
lessons.
The results of this study have added weight to the assertions by Wright (2002), North et
al. (2000), Hargreaves et. al (2003) and Stalhammar (2000) that students preferred outof-school music to school music. The students in this study also felt that whilst music in
school should reflect real-life music making it often did not. Further research is required
into the ways (and extent) to which school music crosses over into students‟ experience
of music out of school. To what extent do students (especially those not continuing with
Music) draw on the experiences and knowledge gained from their music lessons in their
out-of-school musical activity? Are students aware of the ways in which the skills and
concepts they learn in class can be used to enhance their music making out of class? If
not, in what ways can this be made apparent?
Further research is also required regarding the types of musical activities students want
or like to participate in. Leong (2003) described a new breed of consumer who produces
183
and consumes customised products for their own services. This trend affects students‟
perception of the relevance of music education to their own experience, and therefore
the ways in which they view the musical activities in which they take part. Not only was
there a significant proportion of students who thought that there were no musical
activities provided by their school in which they wanted to participate, but there was
also a significant proportion of students who did not think there were any musical
activities not provided by their school in which they would like to participate. Similarly,
are these students genuinely not interested in participating in music, or are they unaware
of the many ways in which people can participate in music? Further, if they are
unaware, what steps can be taken to remedy the situation?
Given that Music does appear to suffer from a perceived bias towards preparation for
work, what can be done to either counteract or capitalise on the situation? Why do some
students think that enrolling in music education keeps their options open or be of
assistance if other options fall through? In what ways does an education in music
provide extra career options? Further, taking into consideration Bresler‟s (1998b)
assertion that basic skills can be tackled directly rather than through the indirect route of
the arts, is there anything unique that music education offers, or could offer, that
students may view as a worthy contribution to their career intentions?
The activities that students found relevant and motivating in this study involved
practical music making and creative opportunities. In light of this, and the finding by
Harland et. al (2000b) that music attracted the highest proportion of no impact responses
from students and registered a more limited range of outcomes than the other arts
subjects, it would be illustrative to establish the creative opportunities offered by GCSE
Music and other, more popular arts subjects such as Drama and Art. In ascertaining and
comparing students‟ perception of the importance and centrality of creativity in each of
the arts subjects, its importance to students and its effects on perceptions of relevance
will become more apparent.
184
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Appendix A
Letter to Headteachers
14/03/05
Re: Research into enrolment in GCSE and A Level Music
Dear
,
I am currently undertaking research into why students choose (or do not choose) to
enrol in Music after the subject becomes optional at Year Ten as part of a Masters in
Music Education. I would very much like to involve you and your school. The research
is taking place across the XXXX Area with LEA support and the results will be
disseminated through the area at the completion of the project. Of particular interest to
me is how students view participation in Music Education in the context of government
policy for education.
The data gathering component of my research involves a straight forward questionnaire
and interview for GCSE and A Level Music students and a random sample of year 9 and
non-music students in years 10 and 12. I would like to conduct the questionnaires and
interviews at a time convenient to your school, possibly in the beginning of April.
I am hoping you will be sufficiently interested in the outcome of this research to want to
take part, and to allow me access to your register of year 9, 10 and 12 students for the
purposes of random sampling. The basic methodology is outlined below:
Surveys:
Year Nine:
Random Sample - intention to study Music.
Year Ten:
GCSE Music Students - those who enrolled in music
Random Sample - those who did not enrol in Music
Year Eleven: GCSE Music Students – intentions to carry on into A Level
Year Twelve: A Level Music Students – those who enrolled in music
Random Sample – those who did not enrol in Music
208
Interviews
Short Focus Group Interviews from the cohorts above post questionnaire.
As a teacher I understand how important time is, and, should your school agree to take
part, will do my utmost to ensure that involvement in this project will not increase
workload or create any extra stress. You can telephone me at work on XXXX XXXX
XXX (direct line), or email me minewt@student.uwa.edu.au if have any further
questions or would like to take part. I have also written to the Head of Music in your
school, outlining the project.
I hope that will find this project of interest and look forward to hearing from you.
Yours sincerely,
Michael Newton
MMusEd Student
University of Western Australia
209
Appendix B
Initial Letter to Heads of Department
03/03/05
Re: Research - Why Students Choose to Study Music
Dear
,
I am currently undertaking research into why students choose (or do not choose) to
enrol in Music after the subject becomes optional at Year Ten as part of a Masters in
Music Education. I would very much like to involve you and your school. The research
is taking place across the XXXX Area with LEA support and the results will be
disseminated through the area at the completion of the project. Of particular interest to
me is how students view participation in Music Education in the context of government
policy for education.
The data gathering component of my research involves a straight forward questionnaire
for GCSE and some short interviews. I am hoping you will be sufficiently interested in
the outcome of this research to allow me access to your GCSE and A Level students to
conduct the questionnaires and interviews. The basic methodology is outlined below.
Students should be able to complete the questionnaire within half an hour and the
interviews should take no more than 20 minutes per group. I would like to conduct the
questionnaires and interviews at a time convenient to you, possibly in the beginning of
April.
Surveys:
Year Nine:
Random Sample - intention to study Music.
Year Ten:
GCSE Music Students - those who enrolled in music
Random Sample - those who did not enrol in Music
Year Eleven: GCSE Music Students – intentions to carry on into A Level
Year Twelve: A Level Music Students – those who enrolled in music
210
Random Sample – those who did not enrol in Music
Interviews
Short Focus Group Interviews from the cohorts above post questionnaire.
As a teacher I understand how busy you are, and, should you agree to take part, will do
my utmost to ensure that your involvement in this project will not increase your
questions or would like to take part.
Yours sincerely,
Michael Newton
MMusEd Student
211
Appendix C
Second Letter to Heads of Department
23/05/05
Re: Research - Why Students Choose to Study Music
Dear
,
I recently wrote to you asking if you would like to be involved in a research project
investigating why students choose to enrol in music post compulsory education. After
consultation, I have simplified the project and would again like to extend an invitation
to take part. I am hoping you will be sufficiently interested in the outcome of this
research to allow me access to your Year 9 students and Year 10 GCSE students to
conduct the questionnaires and interviews.
The research focuses on two year groups; Year 9 and 10. The data gathering component
of my research involves a straight forward questionnaire and some short group
interviews. To gather a representative overview of how Year 9‟s perceive GCSE Music
I will need a random sample of 1/3 of the year group to complete the questionnaire. I
will also need to interview a smaller random sample of year 9‟s. I would like to give the
same questionnaire and interview to your Year 10 GCSE students to determine why
they chose Music and what they hope to gain from the subject. For a balanced view, I
would also need to give the questionnaire to a random sample (1/3) of those Year 10‟s
who did not enrol in music. Ideally I need to interview some of these students as well.
Students should be able to complete the questionnaire within half an hour to forty
minutes and the interviews should take no more than 20-30 minutes per group. If you
are interested in taking part I would like to conduct the questionnaires and interviews at
the earliest convenient time.
Assuming that your school will allow me withdraw students from class to take part in
the questionnaires and/or interviews I envisage two main possibilities for conducting the
research:
212
I can supply you with the required number of questionnaires, and the names of those in
the random sample. The students who are part of the random sample could complete the
questionnaires during their Music lessons, or at a more convenient time. I would then
visit your school over a morning or afternoon to conduct the group interviews and
collect the questionnaires. This seems to offer the least disruption to other lessons, but
not necessarily to Music lessons.
Over a day I could visit your school and assist in the administering of the
questionnaires, and run the interviews at the same time.
As a teacher I understand how busy you are, and, should you agree to take part, will do
my utmost to ensure that your involvement in this project will not increase your
questions, or would like to discuss how best to be involved. I will be compiling the
results of the study for the LEA, and will be more than happy to pass them on to anyone
interested.
Yours sincerely,
Michael Newton
MMusEd Student
213
Appendix D
Parent/Guardian Letter
Dear Parent/Guardian,
Your son/daughter has been asked to take part in a survey about the ways in which they
perceive Music at school. The study focuses on year 9 and 10 students, and aims to give
schools a better understanding of how students perceive music. The research is being
conducted as part of a Master of Music Education thesis through the University of
Western Australia.
Should your child takes part they will need to complete a questionnaire and a short
group interview. While the results of the study will be published, the identities and
responses of all students, staff, and schools taking part will remain anonymous. I will
happy to forward the results to you should you be interested.
Please fill out the form below indicating your permission for your son/daughter to take
part and return it to your school Music Department as soon as possible. If you have any
queries please feel free to contact me on XXXX XXXX XXX (direct line).
Yours sincerely,
Michael Newton
MMusEd Student
______________________________________________________________________
Year 9 and 10 Student Perceptions of Music
I give permission for my son/daughter___________________________________ to
take part in the GCSE Music study. I understand that the results will be published and
that identities will remain anonymous
Signed:_______________________________ (Parent/Guardian) Date:
214
Appendix E
Questionnaire Statements and Their Sources
Participation Types: Non Participant, Dabbler, Amateur, Apprentice, Professional
(Gates, 1991)
Government Policy Statements:

Education equips you for work and prepares you to succeed in the
economy and society (DfES, 2004a; DfES, HM Treasury,
Department for Work and Pensions, DTI, 2003; DfES, 2002b;
DfES, 2005d);

In the 21st Century it will be important to develop the ability to
learn throughout life (DfEE, 1998; DfES, 2003; DfES, HM
Treasury, DWP & DTI, 2004; DfES, 2004b, DfES, 2002a);

Education helps to improve you chances of getting a job and
increases your potential to earn more (DfES, HM Treasury, DWP,
& DTI, 2003; DfES, 2002b; DfEE, 1998; DfES, 2003f);

The ability to cope with change will be essential to succeed in the
21st Century (DfEE, 1998; DfES, 2004b; DfES, 2005a);

The ability to learn throughout life is essential for a successful
future (DfEE, 1998; DfES, 2003b; DfES, HM Treasury, DWP
&nDTI, 2004; DfES, 2004b; DfES, 2002a);

Writing, maths, communication skills and information technology
skills are important for success after you leave school (DfES,
2004b; DfES, 2003g; DfES, 2002a;).
215
Music Education Rationale Statements:

Music education helps to develop self-growth, selfknowledge,a nd self-esteem (McCarthy and Goble, 2002;
Elliott, 1991; Elliott, 1995);

Musical experiences are unique (Elliott, 1995);

Music helps shape your understanding of the world
around you (Swanwick, 1999b; Trevarthen, 1999;
Stefanakis, 2005);

Music helps form your identity and character (Bowman,
2001; Bowman, 2005b; Elliott, 1991; Swanwick, 1996;
Laiho, 2004);

Music enriches what you study in other subjects
(Kelstrom, 1998; Jorgensen, 1995a);

School music should reflect real life music making
(Regelski, 1999; Regelski, 2004; Stalhammar, 2000;
Jorgensen, 2003b);

Performing music is a unique way of knowing, being and
doing (Bowman, 2000);

Music should be studied to help develop the self (Elliott,
1995);

Music should be studied as „relaxation‟ time away from
the main school subjects (Stalhammar, 2000);

I am motivated by the intrinsic satisfaction of making
music (McCarthy, 2000; Colwell, 2000);

I am motivated by being part of a musical community
(McCarthy, 2000);

Music as a practical activity (making music) should be
central to music education (Swanick, 1998; Swanwick,
1994; Regelski, 2000).
216
Appendix F
Year 10 GCSE Music Questionnaire
Thank you for taking part in this survey.
It is anonymous and the responses you make are confidential.
There is no need to put your name on this survey.
Your perspectives about music will help teachers design music courses that are
more relevant to your musical interests.
If you wish to discuss this survey or any of the issues raised you can contact me
(Michael Newton) by email: musicsurvey@coolgoose.com
217
Year 10 GCSE Music Student Survey
1.
How would you describe your current participation in music? (Please tick one)
□
non-participant (I do not actively participate in music, except for listening)
□
dabbler (I participate but without serious intentions)
□
amateur (I participate as a serious leisure activity)
□
apprentice (I participate as potential work, with the possibility of becoming a
professional)
2. In what way(s) do you think you will participate in music in the future? (Please tick one)
□
non-participant (I will not actively participate in music in any way, except for listening)
□
dabbler (I will participate, but without any serious intentions)
□
amateur (I will participate seriously as a leisure activity)
□
apprentice (I will participate as potential work, with a view to becoming a professional
musician)
□
professional (I will earn a living from working in the music industry)
For the following three questions, circle the most appropriate number.
3. How easy is it to find musical activities outside school that you want to participate in?
Very Hard
1
Equally
2
3
Very Easy
4
5
4. Do you prefer the music you do in school, the music you do out of school, or both
equally?
School Music
1
Equally
2
3
Out of School Music
4
5
5. Does your school provide the sort of music activities you want/like to participate in?
Never
1
Equally
2
3
Always
4
5
6. To what extent did your enjoyment of school music influence your decision to enrol in
GCSE music?
Not At All
1
A Great Deal
2
3
4
5
Please explain your rating:_______________________________________________________
______________________________________________________________________
218
7. Which musical activities provided by your school would you want/like to participate in?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
8. Which musical activities that you like to participate in are not provided by your school?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
9. How often do you participate in musical activities that are not organised by your
school?
1 = always (daily), 2 = often (a few times a week), 3 = sometimes (once a week), 4 = not often
(once or twice every two weeks), 5 = rarely (once a month), 6=never
□ Listen to music on my own
□ Listen to music with others
□ Make up my own music with a computer
□ Make up my own music without a
computer
□ Dance to music on my own
□ Play an instrument by myself
(eg. Practising)
□ Dance to music with others
□ Play an instrument with others (eg. In A
band)
□ Sing by myself (eg. Practising, with the radio) □ Discuss music with others
□ Sing with others (eg. With friends, in a choir) □Other(s)___________________________
10.Who do you believe had the four strongest influences on your decision to enrol in
GCSE Music? Please number in importance: 1= strongest, 2=second strongest etc. Leave an
item blank if you don‟t think there was any influence.
Influences to Enrol
Influences not to Enrol
□ Instrumental/Vocal Teacher
□ Class Music Teacher
□ Parent
□ Other Family Member
□ Family History
□ Friends
□ Careers Counsellor
□ Other_____________________________
□ Parent
□ Family History
□ Friends
□ Other___________________________
219
11.Which of the following are the four strongest influences on your decision to do GCSE
Music?
Please number in importance: 1= strongest, 2=second strongest etc. Leave an item blank if you
don‟t think there was any influence.
Influences to enrol
Influences not to enrol
□ Enjoyment of music in Lower School
□ Relationship with music teacher
□ Musical event (eg. concert/workshop)
□ Ability in music
□ Interest in music
□ Intention to work in the music industry
□ Needing the qualification for work
□ Perception of music as a bludge or doss
□ Importance of music in my life
□ Personal Ambition/Desire
□ Career/Further Study
□ Unable to due to timetable structure
□ Other______________________________
□ Not good enough at music
□ Lack of interest in music
□ No intention to work in music
□ No need for music qualifications
□ Music is not important in my life
□ Other____________________________
12. What are the three (3) main reasons why you believe GCSE Music was a good course
to enrol in?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
13. How old were you when you first started to learn music?____________
14. How important did your ability to play an instrument influence your decision to do
GCSE Music?
Not Important
1
Very Important
2
3
4
5
15. If everything works out in your favour, what do you see yourself doing in 5 years time
(eg. career/study)?_____________________________________________________________
______________________________________________________________________
______________________________________________________________________
220
Questions 16-18 relate to music in general.
16.In general, what do you believe music is better suited to: enhancing a person’s lifestyle,
or for enhancing work/career?
Lifestyle
1
Neither
2
3
Career
4
5
17.Describe the main importance of music to your future career or study
______________________________________________________________________
_______________________________________________________________________
______________________________________________________________________
18.Overall, how important is music in your life?
Not Important
1
Very Important
2
3
4
5
Questions 19-21 relate specifically to school music.
19.Is the music that you learn at school better suited to enhancing a person’s lifestyle or
work/career?
Lifestyle
1
Neither
2
3
Career
4
5
20.How important is the music you learn in school in your life?
Not Important
1
Very Important
2
3
4
5
21.Describe the main three ways you believe school music to be important in your life?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
22.In what main three ways do you believe school music enhances your lifestyle?
_________________________________________________________________________________
_______________________________________________________________________
______________________________________________________________________
221
23.How do these people or institutions regard the importance of music to your overall
school education? For each one circle the most appropriate.
Not Important
Extremely Important
Yourself
1
2
3
4
5
Friends
1
2
3
4
5
Parents
1
2
3
4
5
School
1
2
3
4
5
Government
1
2
3
4
5
Employers
1
2
3
4
5
24.How do these people or institutions regard the importance of music to your future
study or career? For each one circle the most appropriate number.
Not Important
Extremely Important
Yourself
1
2
3
4
5
Friends
1
2
3
4
5
Parents
1
2
3
4
5
School
1
2
3
4
5
Government
1
2
3
4
5
Employers
1
2
3
4
5
25.What do you think are the two main reasons why some students decide to do GCSE
Music?______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
26.What do you think are the two main reasons why other students decide not to do GCSE
Music?_______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
27.What
three
(3)
main
things
do
you
think
music
is
‘good
for’
in
life?__________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
222
28. Please indicate how much you agree or disagree with each of the following statements.
Please circle: 1= Strongly Disagree (SD), 2= Disagree, 3=Neutral (N), 4=Agree, 5=Strongly
Agree (SA)
The following statements are about General School Education.
SD
N
SA
• Education equips you for work and prepares you to succeed in the
economy and in society……………………………………………………... 1
2
3
4
5
• In the 21st century, it will be important to develop the ability learn
throughout life………………………………………………………………. 1
2
3
4
5
• Strong links between schools and employers are necessary to prepare for
adult and working life…………………………………………………….. ... 1
2
3
4
5
• Education helps to improve your chances of getting a job and increases
your potential to earn more………………………………………………….. 1
2
3
4
5
• The ability to cope with change will be essential to succeed in the twentyfirst century………………………………………………………………….. 1
2
3
4
5
• I am motivated by the need to gain skills and a qualification……………... 1
2
3
4
5
• I am more motivated by the satisfaction gained from taking part in
education than the need for skills and qualifications………………………... 1
2
3
4
5
• Education should help develop self-growth, self-knowledge, and selfesteem……………………………….………………………………………. 1
2
3
4
5
• The ability to learn throughout life is essential for a successful future…… 1
2
3
4
5
• Writing, maths, communication and IT skills are important for success
after you leave school………………………………………………………. 1
2
3
4
5
The following statements are about Music Education.
S
N
SA
• Music education helps to develop self-growth, self-knowledge, and selfesteem……………………………………………………………………..... 1
2
3
4
5
• Musical experiences are unique…………………………………………… 1
2
3
4
5
• Music helps shape your understanding of the world around you………….. 1
2
3
4
5
• Music helps form your identity and character…………………………….. 1
2
3
4
5
• Music enriches what you study in other subjects………………………….. 1
2
3
4
5
• School music should reflect real life music making………………………. 1
2
3
4
5
• School music does reflect real life music making…………………….…. 1
2
3
4
5
• Music makes a unique contribution to human existence………………….. 1
2
3
4
5
223
• Performing music is a unique way of knowing, being and
doing…………………………………………………………………... 1
2
3
4
5
• Music helps you to develop critical thinking, reading, writing,
maths, communication and IT skills………………………….............. 1
2
3
4
5
• Music education equips you for work and prepares you to succeed
in the wider economy and in society………………………………...... 1
2
3
4
5
• Music education develops your ability to go on learning throughout
life……………………………………………………………………... 1
2
3
4
5
• Music should be studied to gain a qualification. ……………............. 1
2
3
4
5
• Music should be studied for leisure………………………………..... 1
2
3
4
5
• Music should be studied out of interest……………………………... 1
2
3
4
5
• Music should be studied to help develop the self…………………… 1
2
3
4
5
• Music should be studied as „relaxation‟ time away from the main
school subjects………………………………………………………… 1
2
3
4
5
• Music is a serious subject in its own right…………………………... 1
2
3
4
5
• There should be strong links between school music departments and
music industry employers to prepare students for adult and working
life…………………………………………………………………….. 1
2
3
4
5
• Learning music helps you develop the capacity to cope with
change……............................................................................................ 1
2
3
4
5
• Learning music helps to improve your chances of getting a job and
increases your earnings. ………………………………………………. 1
2
3
4
5
• I am motivated by the intrinsic satisfaction of making music………. 1
2
3
4
5
• I am motivated by being part of a musical community……………... 1
2
3
4
5
• Music as a practical activity (making music) should be central to
music education………………………………………………..……... 1
2
3
4
5
224
Finally, please tell us something about yourself
Are you:
Male
Female
Please Circle
What is your ethnic origin? Please Circle
White
Black African Black Caribbean
Bangladeshi
Chinese
Black Other
Indian
Pakistani
Any Other Ethnic Group: ______________________________
Where do your parents/guardians work?
If either of them are not currently working please write down the last job they had.
If you are not sure, please leave the question blank.
Father
What kind of job do they do?
Mother
______________________ ________________________
What sort of business or
Organization or industry are the in? ______________________ ________________________
This survey is anonymous – you do not need to put your name on it
Thank you for your participation!
225
Appendix G
Year 10 Non-GCSE Questionnaire
226
Year 10 Non-GCSE Music Student Survey
1.
□
□
□
□
professional)
□
□
□
□
musician)
□
Very Hard
1
Equally
2
3
Very Easy
4
5
equally?
School Music
1
Equally
2
3
Out of School Music
4
5
Never
1
Equally
2
3
Always
4
5
GCSE music?
Not At All
1
A Great Deal
2
3
4
5
______________________________________________________________________
227
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
school?
computer
(eg. Practising)
band)
Influences to Enrol
□ Parent
□ Family History
□ Friends
□ Other_____________________________
□ Parent
□ Family History
□ Friends
□ Other___________________________
228
Music?
Influences to enrol
□ Other______________________________
□ Other____________________________
12. What are the three (3) main reasons why you believe GCSE Music was not a good
course to enrol in?________________________________________________________
______________________________________________________________________
______________________________________________________________________
14. How important did your ability to play an instrument influence your decision to do
GCSE Music?
Not Important
1
Very Important
2
3
4
5
(e.g. career/study)?____________________________________________________________
______________________________________________________________________
______________________________________________________________________
229
Lifestyle
1
Neither
2
3
Career
4
5
______________________________________________________________________
_______________________________________________________________________
______________________________________________________________________
Not Important
1
Very Important
2
3
4
5
work/career?
Lifestyle
1
Neither
2
3
Career
4
5
Not Important
1
Very Important
2
3
4
5
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
_________________________________________________________________________________
_______________________________________________________________________
______________________________________________________________________
230
school education? For each one circle the most appropriate.
Not Important
Extremely Important
Yourself
1
2
3
4
5
Friends
1
2
3
4
5
Parents
1
2
3
4
5
School
1
2
3
4
5
Government
1
2
3
4
5
Employers
1
2
3
4
5
study or career? For each one circle the most appropriate number.
Not Important
Extremely Important
Yourself
1
2
3
4
5
Friends
1
2
3
4
5
Parents
1
2
3
4
5
School
1
2
3
4
5
Government
1
2
3
4
5
Employers
1
2
3
4
5
25.What do you think are the two main reasons why some students decide to do GCSE
Music?______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Music?_______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
27.What
three
(3)
main
things
do
you
think
music
is
‘good
for’
in
life?__________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
231
Agree (SA)
SD
N
SA
economy and in society……………………………………………………... 1
2
3
4
5
throughout life………………………………………………………………. 1
2
3
4
5
• Strong links between schools and employers are necessary to prepare for
adult and working life…………………………………………………….. ... 1
2
3
4
5
• Education helps to improve your chances of getting a job and increases
your potential to earn more………………………………………………….. 1
2
3
4
5
• The ability to cope with change will be essential to succeed in the twentyfirst century………………………………………………………………….. 1
2
3
4
5
• I am motivated by the need to gain skills and a qualification……………... 1
2
3
4
5
education than the need for skills and qualifications………………………... 1
2
3
4
5
• Education should help develop self-growth, self-knowledge, and selfesteem……………………………….………………………………………. 1
2
3
4
5
• The ability to learn throughout life is essential for a successful future…… 1
2
3
4
5
• Writing, maths, communication and IT skills are important for success
after you leave school………………………………………………………. 1
2
3
4
5
S
N
SA
• Music education helps to develop self-growth, self-knowledge, and selfesteem……………………………………………………………………..... 1
2
3
4
5
• Musical experiences are unique…………………………………………… 1
2
3
4
5
• Music helps shape your understanding of the world around you………….. 1
2
3
4
5
• Music helps form your identity and character…………………………….. 1
2
3
4
5
• Music enriches what you study in other subjects………………………….. 1
2
3
4
5
• School music should reflect real life music making………………………. 1
2
3
4
5
• School music does reflect real life music making…………………….…. 1
2
3
4
5
• Music makes a unique contribution to human existence………………….. 1
2
3
4
5
232
• Performing music is a unique way of knowing, being and
doing…………………………………………………………………........... 1
2
3
4
5
• Music helps you to develop critical thinking, reading, writing, maths,
communication and IT skills………………………….................................. 1
2
3
4
5
• Music education equips you for work and prepares you to succeed in the
wider economy and in society………………………………........................ 1
2
3
4
5
life……………………………………………………………………........... 1
2
3
4
5
• Music should be studied to gain a qualification. ……………...................... 1
2
3
4
5
• Music should be studied for leisure……………………………….............. 1
2
3
4
5
• Music should be studied out of interest……………………………............ 1
2
3
4
5
• Music should be studied to help develop the self…………………………
1
2
3
4
5
• Music should be studied as „relaxation‟ time away from the main school
subjects……………………………………………………………………… 1
2
3
4
5
• Music is a serious subject in its own right…………………………............ 1
2
3
4
5
life…………………………………………………………………………… 1
2
3
4
5
change……..................................................................................................... 1
2
3
4
5
increases your earnings. …………………………………………………….. 1
2
3
4
5
• I am motivated by the intrinsic satisfaction of making music…………….. 1
2
3
4
5
• I am motivated by being part of a musical community……………............ 1
2
3
4
5
• Music as a practical activity (making music) should be central to music
education………………………………………………..……....................... 1
2
3
4
5
233
Are you:
Male
Female
Please Circle
White
Bangladeshi
Chinese
Black Other
Indian
Pakistani
Father
Mother
______________________ ________________________
234
Appendix H
Year 9 Questionnaire
235
Year 9 Music Student Survey
1.
□
□
□
□
professional)
□
□
□
□
musician)
□
Very Hard
1
Equally
2
3
Very Easy
4
5
equally?
School Music
1
Equally
2
3
Out of School Music
4
5
Never
1
Equally
2
3
Always
4
5
GCSE music?
Not At All
1
A Great Deal
2
3
4
5
______________________________________________________________________
236
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
school?
computer
(eg. Practising)
band)
Influences to Enrol
□ Parent
□ Family History
□ Friends
□ Other_____________________________
□ Parent
□ Family History
□ Friends
□ Other___________________________
237
Music?
Influences to enrol
□ Other______________________________
□ Other____________________________
(Go to question 13 if you are not intending to do Music)
12.If you are intending to do GCSE Music: What do you hope to gain from the course?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
What
might
change
your
mind
about
the
course?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
13.If you are not intending to do GCSE Music: What factors have influenced your decision
not to take the GCSE Music course?_______________________________________________
______________________________________________________________________
______________________________________________________________________
What might change your mind?___________________________________________________
______________________________________________________________________
238
______________________________________________________________________
15. How important is your ability to play an instrument in your decision to do or not do
GCSE Music?
Not Important
1
Very Important
2
3
4
5
If you learn an instrument skip the next question and go to Question 17.
16.If you are not learning an instrument: would learning an instrument make you more or
less likely to consider GCSE Music?
Less Likely
1
No Change
2
More Likely
3
4
5
17.Would you be more likely to do GCSE Music if you had started learning an instrument
earlier?
Less Likely
1
No Change
2
3
More Likely
4
5
(e.g. career/study)?____________________________________________________________
______________________________________________________________________
______________________________________________________________________
Lifestyle
1
Neither
2
3
Career
4
5
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Not Important
1
Very Important
2
3
4
5
239
work/career?
Lifestyle
Neither
1
2
Career
3
4
5
Not Important
Very Important
1
2
3
4
5
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
__________________________________________________________________________
______________________________________________________________________
______________________________________________________________________
school education? For each one, circle the most appropriate.
Not Important
Extremely Important
Yourself
1
2
3
4
5
Friends
1
2
3
4
5
Parents
1
2
3
4
5
School
1
2
3
4
5
Government
1
2
3
4
5
Employers
1
2
3
4
5
study or career? For each one, circle the most appropriate number.
Not Important
Extremely Important
Yourself
1
2
3
4
5
Friends
1
2
3
4
5
Parents
1
2
3
4
5
School
1
2
3
4
5
240
Government
1
2
3
4
5
Employers
1
2
3
4
5
28. What do you think are the two main reasons why some students decide to do GCSE
Music?_________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Music?_________________________________________________________________
______________________________________________________________________
______________________________________________________________________
30.What
three
(3)
main
things
do
you
think
music
is
‘good
for’
in
life?___________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Agree (SA)
SD
N
SA
economy and in society………………………………………………..
1
2
3
4
5
throughout life…………………………………………………………
1
2
3
4
5
• Strong links between schools and employers are necessary to
prepare for adult and working life……………………………………
1
2
3
4
5
• Education helps to improve your chances of getting a job and
increases your potential to earn more………………………………….
1
2
3
4
5
• The ability to cope with change will be essential to succeed in the
twenty-first century……………………………………………………
1
2
3
4
5
• I am motivated by the need to gain skills and a qualification………..
1
2
3
4
5
education than the need for skills and qualifications………………….
1
2
3
4
5
• Education should help develop self-growth, self-knowledge, and
self-esteem……………………………….…………………………….
1
2
3
4
5
241
• The ability to learn throughout life is essential for a successful
future………………………………………………………………….. 1
• Writing, maths, communication and IT skills are important for
success after you leave school……………………………………….. 1
2
3
4
5
2
3
4
5
• Music education helps to develop self-growth, self-knowledge, and
self-esteem…………………………………………………………….. 1
2
3
4
5
• Musical experiences are unique……………………………………... 1
2
3
4
5
• Music helps shape your understanding of the world around you…… 1
2
3
4
5
• Music helps form your identity and character………………………. 1
2
3
4
5
• Music enriches what you study in other subjects…………………… 1
2
3
4
5
• School music should reflect real life music making………………… 1
2
3
4
5
• School music does reflect real life music making…………………... 1
2
3
4
5
• Music makes a unique contribution to human existence……………. 1
2
3
4
5
• Performing music is a unique way of knowing, being and doing….... 1
2
3
4
5
• Music helps you to develop critical thinking, reading, writing,
maths, communication and IT skills………………………….............. 1
2
3
4
5
• Music education equips you for work and prepares you to succeed
in the wider economy and in society………………………………...... 1
2
3
4
5
life……………………………………………………………………... 1
2
3
4
5
• Music should be studied to gain a qualification. ……………............. 1
2
3
4
5
• Music should be studied for leisure………………………………..... 1
2
3
4
5
• Music should be studied out of interest……………………………... 1
2
3
4
5
• Music should be studied to help develop the self…………………… 1
2
3
4
5
• Music should be studied as „relaxation‟ time away from the main
school subjects………………………………………………………… 1
2
3
4
5
• Music is a serious subject in its own right…………………………... 1
2
3
4
5
life…………………………………………………………………….. 1
2
3
4
5
2
3
4
5
2
3
4
5
change……............................................................................................ 1
increases your earnings. ………………………………………………. 1
242
• I am motivated by the intrinsic satisfaction of making music……….
1
2
3
4
5
• I am motivated by being part of a musical community……………...
1
2
3
4
5
• Music as a practical activity (making music) should be central to
music education………………………………………………..…….....
1
2
3
4
5
Are you:
Male
Female
Please Circle
White
Black Other
Indian
Pakistani
Bangladeshi
Chinese
Father
Mother
______________________ ________________________
243
Appendix I
School A – Year 9 Interview 1
I: What do you think of music as a subject? What do you reckon?
S1: „S ok.
I: Can you expand?
S1: Ah, not really.
I: Not really? Just ok. Yeah, what do you reckon? (To S2)
S2: I find it fun to play music, but I don‟t play an instrument or anything.
I: So, would you say you enjoy music?
S2: Yeah.
I: What do you find enjoyable about it?
S2: Um, just fun to muck around with things, see what you can do with it.
I: (To S3) What do you think?
S3: Don‟t like it.
I: You don‟t? That‟s alright. Why don‟t you like it?
S3: Boring.
I: Ok. Tell me what‟s boring about it?
S3: Everything.
I: Such as? Give me a few examples.
S3: The teacher. (Pause)
I: Just the teacher?
S3: MmmHmm.
I: Anything else?
S3: Dunno.
I: What about the, like the stuff that you do in music, the activities and work that you
do?
S3: Crap.
I: What‟s crap about it?
S3: Just not even fun, not even good music.
I: So you don‟t like the sort of music that you study. If you studied music that you did
like do you think you‟d enjoy it more?
S3: Mmm.
I: (To S4) what do you think about music?
243
244
S4: I like it.
I: Yeah? Why‟s that?
S4: „Cause I don‟t do any work.
(Group laughs)
I: So do you like the fact that you don‟t do any work, or do you actually enjoy music?
S4: Ah, probably more the fact that I don‟t do any work.
I: Ok, so, if you did actually do some work in music do you think you‟d enjoy it?
S4: Err, I‟m not really a musical person, obviously, I probably would, but.
I: That‟s interesting, what makes you say that you‟re not a musical person?
S4: Just, I like listening to music, but I don‟t like, I‟m not sort of, I‟m not really
interested in playing instruments, stuff like that.
I: And having said you‟re not really a musical person but you probably would enjoy it,
do you think you‟d enjoy it if you did the work?
S4: Err, dunno really, just, if I was interested in it I‟d enjoy it more but, since I‟m not, I
still enjoy it „cause I don‟t so any work.
I: You‟re obviously into music, what do you like about it? (To S5)
S5: Um, I dunno, you get something out of it, rather than like just writing something
down on paper, you get something out of playing a instrument, like playing a piece of
music or something.
I: What do you get out of it, out of playing an instrument?
S5: I enjoy it, something to do.
I: MmmHmm.
S5: And, it‟s something to show people that you can do, like, if you can do a sport it‟s
like, showing people, playing music is like showing people that you can do it.
I: Cool, so you like the practical side of it, being able to actually do something and get
a product at the end of it?
S5: Yeah.
I: Do you like it? (To S1)
S1: „S alright, all you do is play around with instruments, don‟t do any writing or stuff.
I: Would you prefer to do more writing or…
S1: Nah, I‟d rather just go on instruments instead of doing writing.
I: Yeah. What do you get out of music? Do you get anything out of music?
S1: Not really.
I: Not really? Why do you think that?
S1: Don‟t find it interesting.
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I: Why don‟t you find it interesting?
S1: (Pause)
I: Any particular reason?
S1: (Pause)
I: This man here didn‟t particularly like it because of the sort of music that you study,
other people haven‟t liked it because there‟s too much theory involved, stuff like that,
any ideas?
S1: Just the music we‟re doing.
I: Ok. What do you think about music? (To S6)
S6: Don‟t like it.
I: Why‟s that?
S6: Don‟t like the activities.
I: Don‟t like the teachers?
S6: No the activities, what music we do.
I: What um, activities don‟t you like?
S6: Just the ones we do, just gotta learn a piece of music in like five lessons.
I: What sort of music activities do you like?
S6: All of them.
I: That you like or don‟t like?
S6: Don‟t like.
I: Ok, are there any that you like?
S6: No.
I: No? (Laughs) Ok. When you‟re thinking about choosing subjects for year ten, what
do you think about, do you sort of go more for stuff that you‟re interested in, do you go
for stuff that you‟re good at, or stuff that will help you get a job or get you into further
study?
S6: Stuff that I‟m interested in, and like.
I: That you like, do you consider career when you‟re choosing subjects?
S6: Mmm.
I: Which way do you lean, more towards career or more towards interest?
S6: Dunno, bit of both.
I: Bit of both. (To S4) what about you, what do you think about when you choose your
subjects?
S4: Career.
I: Do you think about what you‟re interested in?
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S4: Neh.
I: Not really? You do? How much?
S4: Not a lot, but, I do.
I: So getting a subject that‟s going to get you into a career or further study‟s more
important?
S4: Mmm.
I: What do you reckon? (To S5)
S5: Um, I‟m those that I know I‟ll going to get a good grade in, like, I‟m gonna get like
a good GCSE so that I can do what I want when I leave school.
S3: I do um, I do things to get a career in and out of interest equally so that I can at least
enjoy what I‟m doing, with what I choose.
S1: Take stuff like that I‟m good at.
I: That you‟re good at. Do you think about the career, what sort of career you‟re going
to go into?
S1: Dunno.
I: Dunno? Just stuff that you‟re good at?
S1: Yeah.
S2: Um, just stuff that I‟m interested in.
I: Say that again sorry?
S2: Mostly stuff that I‟m interested in.
I: Yeah, and do you try to line what you‟re interested in with what you want to do when
you leave school or…
S2: Err, yeah.
S7: Career, „cause you‟ve got more options when you‟re older then.
I: MmmHmm. Um, a lot of people say both, what you‟re interested in and the sort of
career that you want to go into, do any of you see that there‟s potentially a career in
music? Have any of you ever considered that?
(Pause)
I: Yeah? And if you have considered it, well, if you have considered it and thought
“yeah, there is an opportunity” would you choose music?
S5: Um, it depends what comes at me when I leave school, like, if there‟s an
opportunity then yeah, I‟d take it.
I: Yeah. What about people who aren‟t interested in a career in music, but are
interested in music, if you were one of those people would you choose music just
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because you were interested in it, or if you were considering both interest and career
that you might not choose it? Which one‟s more important?
S3: Career.
I: Career. It‟s like if you‟re interested in PE but don‟t see a career in it, would you still
choose the subject? What do you reckon?
S1: Career.
I: What do you think?
S7: Career.
I: Anyone lean more towards interest? (Pause) No? Ok. Why do you think some people
choose to do music then?
(Pause)
S6: Just „cause they‟re interested in it.
I: Just because they‟re interested in it, yeah.
S3: And maybe they find it fun to do and they like, do it with their friends and that.
I: So, a little bit more of a social thing.
S3: Yeah.
I: Do you consider that when you‟re making choices for subjects, what you‟re friends
are doing? (Pause) No? What do you reckon? (To S1)
S1: „Cause they find it fun.
I: „Cause they find it fun.
S5: Yeah same.
S2: Maybe „cause they know they can make something out of it when they leave school.
S7: Want to carry it on in further education.
I: When you‟re making your subject choices, who influences you to do or not do a
subject, like when I was at school my parents would say “there‟s no point doing that,
these ones are good to do”, so they were a big influence in what I chose to do, who do
you think influences you in your subject choices?
S4: Parents and friends.
S2: Just parents.
S1: Myself.
I: Yourself? Yeah.
S6: Yeah, myself.
S3: Myself and my mates.
S7: Myself.
S5: Myself.
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I: What about your teachers? Do they have an influence?
S1 and S6: No.
S5: Yeah some of mine do.
I: Some of them do, yeah. What do you think education in general is more important for,
getting a good education and broadening your mind or getting a job?
(Pause)
S7: Probably a job.
I: Mainly for a job. What do you reckon?
S3: Good for job.
I: Anyone thing differently?
S4: Probably for both.
I: Both, yeah. Um, let‟s just go back to music for a moment, what sort of activities do
you like doing in music? What do you get into?
S4: Practical.
I: Practical stuff? Anything particularly in practical?
S4: Not really, just, doing anything really, just making, music.
I: If you did stuff in music that you enjoyed would you be more likely to choose it as a
subject in year ten?
S1: MmmHmm.
S7: Yeah.
I: And um, not many of you are learning an instrument are you? Just one. If you started
learning an instrument earlier do you think you‟d be more likely to do music?
S6: Yeah.
S2: Yeah.
I: Why‟s that do you reckon?
S4: Well if you‟ve got, depends, if you‟ve got an interest in it then do it, if you haven‟t,
do something else.
I: Ok. Thanks for that.
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Appendix J
School A – Year 9 Interview 2
I: Do you enjoy music?
S1: Yeah.
I: What do you like about it?
S1: Um, just like the practical work and stuff.
I: What sort of practical work do you like?
S1: Um, when you get to play the instruments and then, um, like, learn to play different
songs and stuff.
I: What about composition and theory and stuff like that?
S1: The theory gets a bit boring after a while, but it‟s ok, and compositions is like kinda
of difficult „cause you have to think of your own notes and your own tunes and
everything.
I: When you‟re choosing your subjects for year ten what do you think about? What‟s
important?
S1: Whether I like them, „cause if you don‟t, I just think there‟s no point doing
something you don‟t like „cause it‟s boring.
I: Do you think about work or career or future study when you choose your subjects?
S1: Not really. You do a little bit, but not very much.
I: You lean more to what you‟re interested in.
S1: Yeah.
I: Um, what do you think education is more important for, getting qualifications so you
can get a job or go into further study or careers or more for broadening your mind…
S1: Probably all of them.
I: Equally?
S1: Yeah.
I: When you‟re choosing your subjects, who influences you?
S1: My parents a little bit, and my teachers a bit. „Cause like, I chose art and my art
teacher has been recommending me for, to do art for GCSE since like year eight, so, it
did like influence my view, a bit, but I like art so.
I: Why do you think people enrol in music for GCSE?
S1: Um, some people because they like it, some people because they just think it‟s like
an easy way out, you do no work or anything.
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I: Why do you think some people don‟t enrol in music?
S1: Because some people just find it boring, „cause if you don‟t have any interest in
music, they just find it boring, sitting there lesson after lesson doing nothing, trying to
think.
I: Is there any part of music that you find boring?
S1: Not really, (pause) some of the writing and theory work can be a bit boring.
I: Do you do any music outside of school?
S1: Not really, I play my flute a little bit at home, and I play keyboard a little bit.
I: If you were still learning the flute do you think you‟d be more inclined to do music…
S1: Probably.
I: …or do you think it wouldn‟t really matter?
S1: Probably wouldn‟t matter „cause I learnt music anyway, but, I think for most people
that, whether they play an instrument or not does, like, influences whether they take
music.
I: Alright, cool. Thanks.
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Appendix K
School A – GCSE Music Interview 1
I: What made you take up music for GCSE?
S1: For the fun of it really.
S2: My mum said I had to do IT instead and I said „that‟s not fair, I‟m taking music”.
(Group laughs)
I: Why did you want to do music?
S2: Because I enjoy it, it‟s, it‟s fun, interesting.
I: Why did your mum want you to do IT?
S2: Because she thought it would help me, in later life, and I said “it wouldn‟t”.
I: In what sort of way?
S2: Um, just if I was stuck in an office all day and needed to use computers, although
she didn‟t take into, um, respect, that computer technology‟s always changing, so it‟s
difficult to learn IT now and then, upgrade all the stuff.
I: So who do you think was right, you or your mum?
S2: Me.
(Group laughs)
I: You were saying because it‟s fun, what do you find fun about it?
S1: Playing different instruments.
I: Cool.
S3: I just like doing it, y‟ like, y‟ just like, you just play what you want and there‟s no
one telling you what‟s right or wrong, you can just like express yourself, learn
I: So it‟s a creativity thing.
S3: Yeah.
S4: It‟s just more enjoyable than lots of the other subjects that we had for options
I: Why do toy find it more enjoyable?
S4: Because you just have to sit at the desk and write all the time.
S5: Um, yeah, it was better option than history and I thought it would be better to um,
do something creative than to sit in a classroom and learn about wars and stuff.
I: Why do you reckon it‟s a better option that history?
S5: Cause it‟s more fun and if I‟m doing something that‟s challenging it will keep
amused and entertained, whereas if I was in history or something I just wouldn‟t do any
work because I was bored.
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I: What‟s more fun about it? A couple of you mentioned that. Why‟s it more fun than
other subjects?
S5: „Cause we can do what we want, „cause they give us like a basic outline of what
they want us to do, but as far as that‟s concerned we can do what we want using our
own instruments and whatever we want.
I: So it‟s a creativity thing, being able to express yourself and ideas.
All students: Yeah.
I: When you‟re choosing subjects, who influences you in your decisions?
S1: Myself.
I: Nobody else?
S2: I s‟pose my parents had something to do with it but at the end of the day it was
down to me.
S3: Yeah same as me, I chose it and my parents like, they told me what they thought I
should do but I just kept it what I wanted to do.
S4: Yeah I chose what I wanted to do and then my parents just agreed with it.
S6: Um, my mum told me what she wanted to do, but I filled it in and handed it in and
here I am.
(Group laughs)
I: What did she say about that?
S6: She doesn‟t know.
I: She still doesn‟t know?
S6: No.
I: So she thinks instead of music you‟re doing…?
S6: No, she knows what options I‟m doing, I just, she didn‟t, she thought she had to
sign it and stuff and I just told she didn‟t have to and I‟d already handed it in and she
didn‟t need to worry about it.
I: Ok. Why do you think other people enrol in music, apart from yourselves? (Pause) no
ideas? (Pause) Why do you think people don‟t enrol in music?
S6: „Cause they think it‟s too hard .
I: Too hard in what sort of way?
S6: Like with the coursework and stuff, like…
S3: Yeah, usually not music terms and…
S6: …yeah like, even though we‟ve had since Christmas until half term to do it, with all
of the recording like and getting all of the basic ideas written down and doing
everything it‟s quite a lot of work but…
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S3: And coursework as well.
S6: That was the course prac, but yeah.
S1: And to just keep on with music it‟s like there‟s such a big music industry out there.
S6: Yeah.
S1: So the chances of just like…
S6: Hitting it big.
S1: …doing it as a living, are so small.
S2: I think some people just enjoy listening to music, they don‟t enjoy creating their
own music.
I: When you were deciding to do music, did you take career into account?
S3: I did a lot.
S4: Yeah, quite a lot.
I: So, are you looking for a career in music?
S3: I definitely am.
S1: I‟m not really sure yet, I might.
S6: I‟m not, but I enjoy it as a subject, it‟s something so like, relax you.
S5: Yeah, I don‟t think I‟ll take it any further than GCSE, I just enjoy it.
I: Cool, so you‟re just doing it out of interest?
S6: Yeah.
I: (To S2) Are you doing career, interest or both?
S2: Kind of career because GCSE music is a basis to do music tech in AS and A Level
to go to theatre tech and stuff like that „cause I need to be able to record and, make up
on the spot, and things like that.
I: Yeah. When you make your subject choices do you consider career a lot or do you
just go for what you‟re interested in?
S6: My career choice, um, was based on compulsory options which was science so my
three choices that I could have didn‟t really come into my career, it was just subjects
that I enjoyed and I thought I would enjoy.
I: What were thinking when you were taking options, were you leaning career-wise or
interest-wise or…
S4: Just what I enjoyed at school so far.
I: Yeah, were you thinking about career when you chose your options?
S1: I don‟t know.
I: Or were you thinking more about what you were interested in?
S1: What interested in.
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S3: The other two subjects I chose I wasn‟t really, I was a bit interested in but I like,
music was mainly just career „cause I wanna just stay with music the rest of my life.
I: What about your other subjects?
S3: Ah, they were history and business communication, I wasn‟t really into, well it was
my dad that wanted me to do business but I wasn‟t really too keen on it but, yeah, I just
want to have something to do with music like when I‟m older.
S5: Um, I wanted to be a geography teacher and then I got bored of geography (group
laughs) so I don‟t want to do it any more, and then art and music were kind of career
orientated, but I don‟t know.
I: Why do you think music‟s a good subject to enrol in?
S1: „S fun.
S2: It‟s um, it‟s an interesting area, topic to learn.
S3: It‟s full of so much new stuff and you learn something new every time like, you
have lesson.
S4: It‟s different from all the other subjects you can take.
S1: Yeah no writing, I hate writing.
I: Why‟s it different?
S1: You can always do what you want, well it‟s not like really do, like spend ten
minutes talk, being spoken to at the beginning and then like, most of the lessons it‟s
practical apart from lessons we have to do theory, but that‟s normally only at the
beginning of the topic, and all the rest is like just practicing and making up
compositions around that style.
I: What do you think your education‟s most important for, getting qualifications so you
can go on and study or get a job, or is it more general stuff like broadening your mind,
new experiences…?
S1: I think it‟s both, cause without your GCSE‟s you can‟t get into a sixth form college
or a sixth form at another school or even in sixth form here and without AS and A
Levels if you wanna go to uni you can‟t.
I: What do you guys think?
S6: I think yeah it‟s important for your education to go on and get a job and
qualifications but if you don‟t want those particular qualifications it‟s just broaden
interest, or your mind.
I: Ok.
S3: I think it‟s just, I‟m just using like my music lessons just to improve my knowledge
for music really.
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I: Ok. Anything else you can think of? (Pause) Thanks for that.
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Appendix L
School A – GCSE Interview 2
I: Why did you do music GCSE?
S1: Dunno.
S2: „Cause I play an instrument.
S3: „Cause all the year elevens that do at were like “yeah, it‟s really good, take it”
S4: I don‟t actually know why I took music, „cause I‟m pretty rubbish at it.
I: You don‟t know why?
S4: Nope, I‟m gonna fail it so.
I: Well, what attracted you to it?
S5: Interesting.
S1: Music.
S4: Nah, it‟s alright, I do like music, I listen to music all the time.
S1: I like music.
S4: Listen to music, don‟t play it.
I: Why‟d you choose music? (To S6)
S6: Because I play an instrument and I thought it‟d be good, but I still might be wrong.
S2: Music, is wicked.
S6: Nah, just. I‟m not very good with music like, notes and everything, yeah, that‟s the
only thing that‟s like shocked me a bit about the course, „cause I thought it wouldn‟t be
as much, like music, I thought it would sort be more playing, something like that.
I: Why‟d you do music?
S3: „Cause the year elevens persuaded me, and just cause I play an instrument and I find
all the work quite easy and I didn‟t know, other stuff.
I: What did the year elevens say that made you think “yeah, it sounds good?”
S3: It was good.
I: Anything in particular?
S3: Not really, well they were just like yeah it‟s really interesting and find out, more
stuff.
I: Why‟d you do music?
S7: Um, creative skills and learning more, „cause I didn‟t know how to make anything
up before, well did, but not really much, so.
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S8: Ah, just „cause I knew I could play an instrument so I knew I could get an alright
GCSE.
I: When you‟re making subject choices do you consider career, future study, stuff like
that or mainly just stuff that you‟re interested in?
S5: Both really.
S7: Bit of both.
I: Equally or do you lean one way or the other?
S7: Equally for me.
Most Students: Yeah.
S8: Ah, I‟d probably go towards what I like.
I: Who influences your decisions to do subjects?
S1: Myself.
S2: Hmm.
I: What about your teachers, your parents, people like that?
S8: Not really.
S5: My brother.
I: Your brother? How did he influence you?
S5: „Cause he took it.
I: „Cause he did music?
S5: Yeah, and he got a lot better when he took it.
I: Who influenced your decision? (To S7)
S7: Myself.
I: Just yourself?
S7: Yep.
I: Um, do you think music‟s a good subject to have, for your future career and stuff like
that?
S2: Mmm, depends on what you‟re doing.
S5: Yeah.
I: Obviously if you‟re going into the music industry it‟ll help, but just for general
employment do you think it‟s a good subject to have?
S1: Umm.
S4: No, depends what you do, if you‟re gonna work in engineering it‟s exactly useful is
it.
S2: Mmm.
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S1: Not for employment, you don‟t sit in an office playing guitar, or on a building site
init.
I:; Do you think there‟s any skills that you learn in music that you can transfer to other
areas of life?
S5: Listening skills.
I: Anything else?
S7: Learning to write down notes.
S2; There‟s like all the technical side of it as well.
S3: Isn‟t that music tech?
S2: Yes.
I: What about the non-technical stuff?
(Pause)
S8: Work as like a group to like, do a task.
S1: Cooperation.
S6: Learn to interact with others.
(Pause)
I: Why do you think it was a good course to enrol in?
S1: Tell the truth I don‟t think it‟s that good a course.
I: So you‟ve changed your mind since you enrolled?
S1: Not really, I knew it was going to be all classical and writing down, listening and
everything, but there‟s nothing. I‟m not really like…
S3: Haven‟t learned anything.
S1: … yeah, haven‟t really learnt that much, maybe „cause I don‟t really listen but…
S2: Yeah, maybe.
S1: Yeah, I just don‟t think it‟s that good of a course.
I: What were you hoping to get out of it that you haven‟t?
S1: I dunno, I just took it, „cause I wanna get like a music GCSE „cause I wouldn‟t
mind doing something in, like, a future career, with music, but I don‟t really see myself,
like, doing anything with classical music or anything like that.
S3: Yeah, it‟s pretty much pointless what we do like.
I: Do you see that you might learn anything that you could transfer to other types of
music? Or, are there not connections there?
S1: No we just, I swear all we‟ve learnt about is later romantic and how you can tell the
difference between…
S8: Yeah, orchestral landmarks, I swear we done that about ten times.
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S6: The only, the only use to us is if we become music teachers.
S1: Yeah, or if somebody plays a tape and says “is this classical or late romantic?”
S6: We‟ll give you a quid if you know it.
I: Is anybody else thinking about a career in music?
(Pause)
S7: Don‟t know.
S2: Not now, but I was looking into like music and films and TV.
S5: Music technology, like, using desks and stuff.
S1: Mmm.
I: With your general education, what do you think it‟s more important for, career, going
into further study, getting a job, that kind of thing, or do you think it‟s more important
for general knowledge, broadening your mind, new experiences, that sort of thing?
S1: Probably career, „cause if you‟re like trying to get general knowledge music isn‟t
exactly, if you‟re doing general knowledge you don‟t need to know how to tell the
difference between late romantic and classical and all that.
I: What do you guys think?
S7: Can you explain the question?
I: Your education, should it be more orientated towards qualifications for work/future
study or towards more general experiences…
S6: Career.
I: … Broadening your mind.
S7: I think it, what the actual lesson is it about like.
I: No, your general education.
S7: I reckons the lessons more about general education but I think it should be more
about careers, more interesting stuff.
I: Why do you think people decide not to do music?
S7: Can‟t read music.
S2: A lot of people don‟t want to take it if they don‟t took, play an instrument.
I: MmmHmm.
S3: It‟s pretty complex, music.
S8: Some people think it‟s like pointless, that it won‟t lead to anything.
I: Why do you think they think it‟s pointless?
S5: Because they don‟t want to do anything with music.
S8: Or like if they…
S2: If they want to go down a business side, that‟s all.
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S8: If they wanna be in a, be, like, wanna be a in a band some of them don‟t like see the
point in it „cause you don‟t exactly need a GCSE to play in a band.
S2: Well also you‟ve got like grades.
Other Students: What?
S2: „Cause like grade eight or something in piano that‟s like the same as a GCSE.
S1: Is it?
S2: Something like that.
S4: Crazy.
I: Why do you think people don‟t do music?
S6: Pardon?
S6: Um, I think a lot of people think it‟s hard or complex for them.
S3: Most people that don‟t do it, if they play an instrument like a guitar or something,
all you really learn about is classical and stuff so they just think that it‟s not like
anything, there‟s no point in bothering.
I: What do you think music‟s good for?
S1: Old people.
I: It‟s good for old people?
S1: Yeah, because it‟s not like modern music, it‟s old music.
S2: We have done modern music as well.
S1: 1960‟s.
I: So, in general, you think music‟s just good for old people?
S4: No.
S1: Well, it can be for younger people if they want to listen to that music but, don‟t
really want, „cause it‟s boring after too long a while.
I: What about music in general, like the stuff that you listen to, what is music good for?
What can you do with it?
S2: Entertain people.
S5: Communicate.
S7: Interact with others.
S1: You can get money from it.
S6: Money and everything.
I: What‟s everything?
(Pause)
S4: Music.
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(Pause)
I: You mainly seem to think it‟s good for entertainment?
S6: Yeah, it‟s good, and it‟s good just to like, do something else.
S1: You can express yourself as well, so.
S2: Yeah.
S8: I reckon it makes you feel good.
Other Students: Yeah.
S7: It‟s a good thing the world needs.
S2: Yeah.
S3: Well it does actually like, music is like all „round the world init, can play music
right now (clicks fingers) that‟s music…
S2: Yeah like it makes people happy…
S3: … piece a piss.
S2: …or sad.
I: Ok, thanks a lot.
S3: No problem.
S2: Thank you.
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Appendix M
School A – Non-GCSE Music Interview 1
I: Ok. Why did you decide not to do music?
S1: Not really musically gifted.
S2: I just didn‟t really like this school‟s music department and how they taught it.
I: What didn‟t you like about it?
S2: I don‟t know, it was all about, didn‟t seem to really, I don‟t know, they just didn‟t
teach you much I guess, and they just kinda let you get on with it
I: What do you mean by not teach you much, not teach you much in terms of theory
things, or not teach you much you were interested in, can you explain?
S2: I really don‟t know, I just didn‟t think it was a particular, I didn‟t see the point to be
honest because I don‟t like to be made to play things, and I never liked to be taught by
instruments, and if they just tell you to play a certain thing I just got a bit bored instead
of being able to just improvise and things.
I: S3, why don‟t you do music?
S3: Didn‟t really take an interest.
I: Why was that?
S3: I knew what I wanted and I chose what I wanted. I ain‟t really the kinda person that
plays music, I just like to know about where are all the beats and stuff. I used to play an
instrument but I stopped that when I got into year six. Got bored of it.
I: When you said you knew what you wanted and didn„t want, what were you looking for
when you chose your subjects?
S3: Something to help me in my career, my future, and drawing and stuff, and I just
liked what I chose, and chose it from there.
I: MmmHmm.
S3: I didn‟t really like music.
I: Why didn‟t you choose music? (To S4)
S4: Um, because. I can‟t compose music, I can play it „cause I play the piano, but I
can‟t make stuff up, find it hard.
I: So, your decision not to is more “I don‟t feel that I can do, that, I‟m not quite good
enough at it”?
S4: Yeah.
I: Does career come into it at all?
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S4: Ah, I don‟t really want to be anything with music so I guess that did come into it.
I: MmmHmm.
S5: Um, I didn‟t, I learnt to play keyboard or whatever when I was younger, I found it
really hard, I just stopped... (Student drowned out by noisy class outside)
I: Say that again, sorry?
S5: Um, I played keyboard when I was younger and found it too hard so I stopped.
I: Yeah. So what was it that made you think music wasn‟t a subject you wanted to do?
(Pause)
I: Was it had nothing to do with career, wasn‟t interested in it, friends weren‟t doing it,
too hard?
S5: Um, wasn‟t really interested in a career and it was too hard.
I: MmmHmm. Why didn‟t you do music? (To S6)
S6: Um, I, I think that I didn‟t choose it because I enjoyed other subjects more than
music so I chose them, but I don‟t think I saw a career with myself with music, so, I just
didn‟t do it.
S7: Didn‟t really find it that interesting, just, prefer things like drawing and stuff.
I: What don‟t you find interesting about music?
S7: Just, um, the learning part of it, I like making stuff up on the guitar, I just like
learning about notes and stuff like that.
I: So, the more theoretical side?
S7: Yeah.
I: When you‟re making your choices, is thinking about career or further study, is that
important, do you consider that?
S3: Yeah.
I: You do?
S5: Yeah.
I: How much? Which way do you lean? Do you lean more towards “I need this subject
for a career so I‟m going to choose it” or do you lean more towards “I‟m interested in
this subject, don‟t necessarily need it for career or study”?
S2: Both.
S3: Careers, init.
S6; Mine was split fifty-fifty, down the middle, cause I enjoy what I took but I also
thought it would be like relevant for my career, what I wanted to do.
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S5: „Cause I didn‟t know what I wanted to do in year nine, I chose my options, I just
chose them for, um, I dunno, for what I really enjoy, but actually I‟ve got a better idea
of what I want to do so I‟ll be able to choose them, for next year.
I: What did you think about when you were choosing subjects for GCSE?
S6: I chose the ones that I liked and that I could do, I didn‟t think, I didn‟t have a clue
what I want to do, I just chose the ones I enjoy and the ones I could do. Music wasn‟t
one of them.
I: Why was that?
S6: We were like, each week you‟d be told to compose a piece of music and that was it.
You‟d be left to you, and, that was it, you didn‟t have anything, or you‟d have to listen
to a piece of music and pick out the instruments you could hear, and it wasn‟t,
interesting, (Pause) didn‟t choose music.
I: (To S7) You looked like you were going to say something else, something about
career.
S7: (Student mumbles, inaudible)
I: When you were choosing subjects, were you thinking more about work and career
and study, or more about what you were interested in?
S7: More on my career and stuff, „cause I don‟t find music that exciting because I just
had, bad time in music, I didn‟t get along with the teachers or nothing, I thought “nah,
I‟m not gonna take it”.
I: Anyone think more about what they were interested in?
(Pause)
I: No? (Pause) so mainly career choice. Do you think education in general is more
about broadening your mind, learning stuff, or more about getting qualifications?
S3: Getting qualifications
I: (To S1) What do you reckon?
S1: Both.
S4: Both.
S7: Both.
I: Both, cool. If you‟d started learning an instrument earlier, would you have been more
likely to take up music?
S5: Probably.
S1: I would.
I: Yeah?
S6: No.
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I: One more thing, when you‟re choosing subjects, who are the main influences on what
you decide to do or don‟t decide to do?
S4: If you have like older brothers or sister and you hear what they have to say „bout
like geography or whatever, then you might be put off or you might want to take it
because of them, so they can influence you.
S7: I did, I just chose what I chose when I went through the years, what I found more
better than other subjects and what I liked the best.
I: Did anyone try to influence you? Like when I was choosing subjects my parents said
“there‟s no point doing that, no point doing that” and so on.
(Pause)
I: No? (Pause). What about your class teachers, do they put pressure on to take a
subject?
S1: Not pressure so much but sometimes you wanna take a subject where you like a
teacher.
S2: Yeah.
S1: Because they teach it well and you just think that way you‟ll do well with it.
S5: They don‟t tell you to choose it.
S1: They don‟t tell you to choose it, no.
S3: They point out all the good bits about doing their subject and all the bad bits about
doing everyone else‟s.
S1: Yeah.
S3: They don‟t put immense pressure on you to choose their subject.
I: So is liking the teacher an important influence when taking a subject?
S4: Yeah.
I: Anything else? (Pause). Ok, thanks guys.
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Appendix N
School B – Year 9 Interview 1
I: When you‟re making your subject choices what do you think about, what do you take
into consideration?
S1: You enjoy them.
I: Yeah?
S2: Basically the same, enjoyment.
I: Mmm.
S3: I mostly enjoy it but like, maybe a career in it.
I: Ok.
S4: Ah, same as her.
I: Yeah.
S5: Definitely want a career in music, and, dunno, getting there.
I: Cool, when you were choosing your other subjects what did you consider, mainly
interest and enjoyment or did you consider career or a bit of both?
S2: Career, definitely career.
S1: Both.
S4: Both.
I: Both, yeah. So if you consider career for your other subjects why didn‟t you think
about that for…
S2: Well I did kind of, well yeah, I mainly did it „cause I love playing the guitar.
I: Ok, so with music it was not so much the career that was important, it was the fact
that you enjoy it?
S1, S2: Yeah.
I: (To S5) What about you?
S5: Um, I did both career and enjoying the lesson, the one that I picked anyway, cause I
do I.T. and music so like doing the music, I do that at home like studio and stuff.
I: Yeah. Who influences you when you choose your subjects? Like, when I was at school
my parents had a fairly big say in what I did and didn‟t do.
S1: Me.
I: Just you?
S1: Yep.
S4: Yeah.
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S2: Yeah, just me as well.
I: What about teachers, careers councillors, anyone like that?
S2: We don‟t see a careers councillor.
S3: What do you mean?
I: Well, do they influence by saying “yeah, that‟s a good subject to do” or...
S3: Oh, my mum says “yeah, that‟s a good subject” like „cause when I take music she
said “yeah, „cause you can sing” and stuff like that.
I: Ok, um, why do you think people don‟t enrol in music?
S2: Don‟t?
I: Yeah.
S5: „Cause they‟re lazy.
S2: And they‟re not confident.
S3: And if they can‟t do it, if they don‟t think they can sing or play an instrument.
S1: Impatient because they can‟t learn.
S5: Or stick to it. They think “oh I‟m going to play this instrument”, and then give up
like after a month.
S1: „Cause they can‟t do it straight away.
All Students: Yeah.
I: Do you think how much you enjoy music in years seven, eight and nine makes a
difference?
S5: Do you mean at school?
I: Yep.
S1: Not really.
I: Why‟s that?
S5: I do, I think it might put some people off…
S1: „Cause they enjoy it already.
S5: …„cause it‟s really, I mean, the lessons, like, I don‟t really want to like, play
keyboards or xylophones, it‟s not really any use to me, so I just play my, bring my
guitar in and sit in one of those rooms and just play that, instead of actually doing what
sir wants us to do.
I: Ok. What do you think you‟re going to get out of a music qualification?
S3: Band. Better one than I got now.
S4: Same.
I: What do you want to get out of a music qualification?
S2: Don‟t know.
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S5: Something similar, I don‟t know (pause), improving, music skills.
S2: Mmm, improving.
I: Ok, um, do you think if you‟re going for a job, not including the music industry „cause
obviously music‟s a good subject to have, do you think other employers would look at
music and say “yeah, that‟s a good GCSE to have”?
S1: Yeah.
S3: Hmm.
I: Why do you think that?
S5: Depends on the job.
S1: „Cause I think, „cause you‟re, you‟ve um, learn an instrument or something you can
learn stuff, and that, you‟re like, not, you‟re like not impatient…
S5: Pick up quickly.
S1: Yeah, and can do things.
S3: Quite confident.
S2: Oh yeah.
S3: Probably.
I: (To S4) Why do you think it‟s good to have?
S4: Um.
S1: Creative as well.
S4: You can just, it‟s sort of there for you init, it‟s, dunno, I dunno how to explain it, but
yeah, what they said.
I: Do you think you learn some skills, and stuff that you can transfer to other jobs…
I: …rather than just music skills? What sort of things?
S5: If you can stand up and play an instrument in front of somebody you can give a
speech, basically what you‟re doing, just through your instrument.
S2: You could be a teacher, music teacher.
(Another student knocks and enters)
S6: Sorry I‟m late, I um…
I: That‟s alright.
S3: We‟re doing an interview.
S6: I went down there, stupid boy.
(Group laughs)
I: That‟s cool, why do, sorry, what do you think that you get out of it that you can
transfer?
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S4: Um, you got, you can have skills to, um, you can talk to people, um, you can
(Pause) write music, if you ever wanted to write music for some reason, and stuff.
I: If you think about your overall education, everything, is it better for career, study, job
purposes or is it better for general stuff, general experiences, broadening your mind,
finding out new things, or a mix of both?
S1: Both.
S3: Both.
S6: Probably both.
S4: Both.
I: What do you think music‟s good for? Not the subject, but music in general, what‟s it
good for?
S2: Oh, when you‟re stressed out it calms you down, if you listen to it, or sing it or play
it, and it‟s fun.
S5: Very enjoyable.
S5: Yeah, you could do something like, get a sense of satisfaction out of it.
S2: Yeah.
S4: Yeah, I just go into a different world when I play my music and that, when I‟m
making it and…
S5: Yeah, when you get it right.
S4: Just sorta, yeah.
S5: Can‟t describe it.
I: (To S1) What about you?
S1: About the same, getting it right and satisfaction.
I: What do you think music‟s good for?
S3: Same as what S1 said.
I: Anything else you want to add?
S5: No, not really.
S4: What was the question again?
I: Anything else you‟d like to say? If not we‟re done. Good. Thanks.
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Appendix O
School B – Year 9 Interview 2
I: Anyone here play an instrument?
S1: I play the violin.
I: Cool, how long for?
S1: Since I was six.
I: Anyone else?
S2: Same.
I: How long for?
S2: Um, year four.
I: That‟s about, ten, nine or ten?
S2: Something like that.
I: Are you going to do GCSE music?
S2: Nah.
I: You‟re not, why‟s that?
S2: I just don‟t want to.
I: Why not?
S2: Just seems too hard
I: What seems really hard about it?
S2: The idea that you have to do all that stuff for your exams and things.
I: What sort of stuff?
S2: You have to um, like, first you have to do like three performances, then ensemble,
one by yourself, then you have to write stuff, I don‟t like doing that.
I: Ok, are you going to do GCSE? (to S3)
S3: Nah.
I: Why‟s that?
S3: Um, because, um, I‟m sort of doing violin as a sort of hobby kinda thing, I‟m not
really, I‟ve got too many other things I want to do.
I: Any of you here thinking of doing GCSE music?
S4: Yeah.
I: You are, why are you going to do it?
S4: Ah, because it seems fun and I‟d like to learn an instrument.
I: So you don‟t play an instrument now?
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S4: No, I used to know how to play the guitar but I forgot every time.
(Groups laughs)
I: If you were learning an instrument, would you be more likely to do music?
S5: Yeah.
I: You would be, what about you? (to S6)
S6: I don‟t play no instruments. I don‟t like school music, prefer my own music.
I: Why don‟t you like school music?
S6: „Cause it‟s boring and I don‟t wanna learn about it and I wanna learn
about…(inaudible, dinner lady drags desk across the room).
I: What do you want to learn about?
S6: Dancing music. I wanna be, I wanna learn about some old tunes that, never gonna
come „round to my age again.
I: If you were learning an instrument would you be more likely to do GCSE music?
(dinner lady drags table across floor)
S7: Pardon?
I: If you were learning an instrument would you be more likely to do music?
S7: Yeah.
I: You would be? Ok. What do you think about when you‟re making your subject
choices, do you think about what you‟re interested in or stuff that you can use as a
career?
S6: Both.
S2: Just stuff you‟re interested in really.
S1: Both.
S4: Int, ah, interested.
S6: Well, I‟m both.
I: Who influences your choices, you, your parents, teachers?
S1: You.
S2: I swear we answered this in the thing.
S3: Me.
I: Yeah, I know
S1: We make the choices.
I: Do your parents have any say in it?
S6: No, mine never.
S2: Not in my case, no.
S3: Nah.
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I: What do you think music‟s good for, in general?
S3: Fun.
S6: Relates a persons feeling at a point in time.
I: (To S2) What do you think it‟s good for?
S2: Fun, pretty much.
S7: If you, if you wanna be famous in music then you… (trails off)
S5: Relaxing.
I: Relaxing? I what do you think (to S4)
S4: All sorts of things, depends really, doesn‟t it.
I: What sorts of things?
S4: Just relaxing, but if you want to be like a musician or whatever you have to do like
BTEC music to understand the industry and stuff like that, which was nearly cancelled
wasn‟t it, BTEC music, was it? (Pause) „Cause no one wanted to do it
I: If you were an employer would you look at GCSE music and think that‟s a good
qualification?
S2: Not really.
S6: Depends what business you‟re in.
S7: Hmm.
S6: „Cause if you‟re in music business it‟s obvious you have to have qualifications in
music, but if you‟re not in the music industry then you won‟t look at that kind of
qualification, you‟ll look at what skills a person has on that particular subject.
S3: You‟re always gonna, you‟re always gonna want to go for like more academic like
subjects and stuff like that „cause you‟re gonna think that they‟re smarter if they‟ve got
that sort of stuff.
I: Do you think you learn stuff in music that you can transfer to other subjects?
S6 and S7: No.
S2: Hell no.
S4: Concentration.
S2: Not really.
S6: No.
S2: You don‟t even learn that because everyone‟s out of control.
S6: Look how many people concentrate in music.
S2: Exactly! They concentrate on sleeping in music, that‟s about all.
S4: No but you have to read music, when you have to play music, you have to
concentrate.
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S7: Maybe listening skills in a way.
S6: Yeah but they‟re not really concentrating with messing around are they.
S1: Bashing chairs.
S4: You don‟t mess about when you‟re playing.
S2: It‟s not really, you‟re not learning…
I: Why do you say listening skills?
S7: Because music is a lot about sound, mostly, that‟s what I relate it to, I don‟t really
like the writing down the notes and stuff, I just like to play, um, practical.
S6: I like beats.
I: What do you think your education is most important for, getting qualifications and
skills or just getting good general knowledge?
S6: Setting up for, setting up for the future.
S4: Both.
S5: Skills really „cause um general knowledge will only get you so far right, you have
the sort of qualifications stuff people will look at you better than if you say “I‟ve got a
lot of experience lalalala” „cause you can have a lot of experience but you‟re not gonna
get a job based on a lot of experience, you get a job based on qualifications and stuff.
I: Why do you think people go music GCSE?
S6: Because they‟re interested in the subject, and they‟re good at playing music.
S2: They enjoy it.
S3: They enjoy it.
S4: Just good at it, yeah.
I: Why do you think they don‟t do GCSE?
S3: „Cause they find it boring.
S6: Because we don‟t find it interesting.
S4: Because they‟ve got no rhythm, they have no sense of rhythm.
S2: Or, and because of the lessons that we have, the lessons are never in control and
stuff like that.
S6: Exactly.
S2: They‟re really crappy lessons.
S6: Teachers, teachers don‟t control the class.
S1: Biggest part is to do with the teachers though.
S2: It‟s not even that, it‟s also subject as well, we‟re learning the same thing over and
over and over and over, it‟s like, forget it, I‟ve learnt this twice already, I‟m not going to
learn it again.
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S4: „Cause, my year seven teacher I liked Miss A…
S6: I didn‟t like her.
S2: Yeah, she left.
S4: …year eight teacher I hated, really hated…
S7: Who was your teacher again?
S4: …I liked her teaching.
S7: Who was your year eight teacher?
S4: Um, that woman.
S2: These teachers are going to know our voices.
S6: I don‟t care.
I: They wont hear the recording, don‟t worry.
S6: I don‟t care, I‟ll tell it to their face like that.
I: Um, so how important is your relationship with your teacher when you choose your
subjects?
S4: I think it‟s quite important for any subject.
S6: Not really.
S2: I don‟t think so „cause you‟re not sure which teacher you‟re gonna get.
S6: Yeah, not really, it‟s just the pure fact that the teacher does, can, keep, keep control
of the class then you‟re obviously gonna end up liking that subject, if the teacher can‟t
keep control of the class you‟re gonna be what‟s the point of me doing this subject
when I don‟t know nothing about it.
S2: That‟s like geography, our geography teacher‟s really good, she knows how to
control us and she‟s had us for three years.
S3: And I‟ve got her again.
S2: Yeah, yeah, I want her next year but we‟re not gonna get her, that‟s the problem, but
if you‟ve got basic knowledge and stuff like that.
S3: Depends what class you‟re in.
S2: Yes, exactly.
I: Behaviour‟s an issue in music?
S2: Yeah, no one wants to learn.
S3: I think it‟s in all lessons really, even in year ten.
S2: It‟s more a factor in music because people just don‟t care, „cause it‟s like I‟m not
going to do this when I grow up so why bother?
S1: They just slam their hands on things.
S2: That‟s the first thing in the beginning like, I‟m not gonna learn this.
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I: Why don‟t they care? Why do you think they don‟t care?
S2: „Cause they‟re not gonna learn it later and it‟s not like they‟re gonna do a job in it or
whatever, that‟s the first problem, then the second thing is that teachers seem to have
less control over students.
S2: I don‟t know.
S4: I think I…
S5: They‟re too busy doing other stuff, the teachers are too busy doing other stuff so
they don‟t like, what‟s it called, look after the kids.
(Lunch bell goes)
I: Alright. Thanks a lot.
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Appendix P
School B – GCSE Music Interview 3
I: Anyone here play an instrument?
S1: Yeah, piano and guitar.
I: How long for?
S1: Piano about half a year, guitar „bout two, two and a half years.
I: Ok, anyone else?
(Pause)
I: Are you thinking of doing music next year?
S1: Yep.
I: Why‟s that?
S2 (non-English speaker): It‟s alright, go on, because I won‟t understand.
(Group laughs)
S1: Well I find like, just generally music, I find like, I‟ve been doing guitar now and
piano for a long time, y‟ know, I enjoy it, and also y‟ know I enjoy the lessons and stuff
and y‟ know I feel that I‟m y‟know, good enough to do it and I just enjoy doing it. I can
see it as one of my, as a career when I‟m older so.
I: Yep, cool. What about you guys?
S3: Ah, I like to make beats.
I: Yeah.
S3: Yeah, I can see myself making beats in studios like that so.
I: (To S1) When you talk about doing it as a career, is that an important thing you think
about, when you‟re making subject choices?
S1: Yeah, „cause like, „y know, it can help influence what you do when you‟re older, it
can give the training to do what you want, not that can‟t do anything else that you didn‟t
choose, but it helps.
I: Yeah.
S4 giggles.
I: You‟re having a bit of a giggle! What do you think about when you choose your
subjects?
S4: I‟m just laughing at him.
I: Or do you not, do you just go “I‟ll have that one and that one and that one”?
S4: Yeah, I guess, subjects that I like.
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I: So, do you think about where it‟s going to go, whether you get a qualification from it,
or going to get a job or further study, or do you think “I like it so I‟ll do it”?
S4: I just choose it then, if I‟m good at it, I‟ll get a job.
I: Yeah. (To S5) How do you choose your subjects?
S5: I dunno, sit down and think about it, with my mum.
I: What influences your decision?
S5: If my mum doesn‟t want me to do it I‟m not allowed to do it.
I: Who influences, like parents, anybody else, who influences your subject choices?
S1: Um.
(Pause)
I: (To S2) Who influences you, your subject choices?
S2: Myself.
I: Just yourself?
S2: Well like… (Pause)
I: What about your teachers, anybody else?
S3: Yeah my teacher helped me pick my, me and my teacher helped me, basically I
wanted to do business studies but she said I couldn‟t do that so she made me pick
double drama.
I: Is that Miss A?
S3: Huh?
I: Was that Miss A?
S3: Nah, Miss B.
I: Um, what do you think music‟s good for, just in general?
S4: You can listen to it.
S5: Listen.
I: Listening.
S3: Music‟s peaceful, that‟s why a lot of people, and music related to a lot of people,
that‟s why a lot of people, it‟s a, it‟s like, it‟s a web, it‟s like a web going up man, it‟s a
web, I don‟t know how to put it down, but, whenever music is playing, like, you just,
you listen to it, you thinking “I‟m feeling this”.
I: (To S1) What do you reckon music‟s good for?
S1: Um, I think it‟s just part of everyday life „cause y‟know, virtually, I think most
people love music, you hear music everywhere, y‟know, it‟s part of everyone‟s life so I
think it‟s good for um, um, just like y‟know, it makes people feel good sometimes y‟
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know, um, it‟s a good way to raise money like that live eight thing.
I: Yeah.
S1: So, „y know.
S4: Good to impress chicks as well.
S1: (Laughs) Yeah.
S3: Music can bring people together.
S1: Yeah, raise awareness, things like that, you can kinda do anything with it really.
I: (To S5) What do you think music‟s good for?
S5: Whatever mood you‟re in there‟s a different type of music for it so, for the bad
mood…
S4: Bad music.
(Group laughs)
S1: The blues.
S5: Bad music.
I: Do you reckon music‟s better suited to life quality stuff or to work, qualification
things.
S5: Lifestyle.
S3: Um, I think both ways.
I: Both, why‟s that?
S3: „Cause there‟s two ways init, some people like listening to music, don‟t like playing
it, some people like playing it and listening to it.
S5: Some people like making it.
S3: Yeah, some people like making it, music just real to a lot of people y‟ know.
S1: Some music like, just kinda doesn‟t go with the culture and the career you choose,
like if you‟re a monk, you‟re not really going to listen to like heavy metal.
I: Why not?
S1: Dunno.
S4: „Cause it‟s not your style.
I: Do you think if you‟re an employer, obviously in the music industry, but for other
jobs, if you were an employer would you look at music and think that‟s a good subject
to have?
S3: Um, yeah.
S4: Shouldn‟t really affect it should it, like getting job if you can do music or not, it‟s
not.
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S1: It could help in a way, „cause, like, y‟ know, music can define like a person‟s
character.
S3: Hmm.
S1: And like you could look at it and say this person‟s done really well in music so
they‟re dedicated to things they like, y‟ know, and so if they, if they wanna do, wanna
do this job then you think like “oh, y‟know, this person, they really go for it if they like
it and if they like my job they‟ll be the best person to employ” so it can, but sometimes
y‟know, it‟s just kind of oh, he‟s good at doing this, but doesn‟t really care if he did
music or not.
I: Yeah. What do you reckon your education is more about, getting qualifications so you
can go and study or get a job, or is it more about broadening your mind and learning
new things, getting a good foundation for life?
S3: I thought it‟s about learning new things, and education.
S1: It‟s good to have a foundation so you, like, you‟ve got to fall back on if you don‟t
enjoy the subject then some people have, like, suggested you can do what you want but
you‟ve also quite a bit of support to fall back on if you‟ve got a qualification or
something else, but education‟s always good, you don‟t want to be stupid.
S4: True.
I: (To S5 and S2) What do you guys think?
(Group laughs)
I: Better for getting a job or…
S5: Better for like, getting a job.
I: Education is, yeah, what about you?
S2: If, if you do it do it for fun then job, do it for fun then work, making money having
fun so.
I: Why do you think people don‟t do GCSE music?
S4: Like, reason I‟m not doing it is can‟t read music or anything, think I‟d find it
difficult if can‟t play an instrument or anything.
I: Is playing an instrument important when you‟re choosing or not choosing GCSE
S1: Not really like.
S2: If you‟re bothered.
S5: If you‟re like, if you‟re bothered to learn then do it, but if you‟re not bother to learn
how to read notes and things then don‟t.
S4: You just find it a bit like, if you can read music already you would, I think you
would find music a bit easier.
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S1: Yeah, a lot of people find it hard, but then again a lot of people like go for the more
technical side of it like, like recording, producer, stuff like that, you don‟t have to learn
an instrument for that y‟know, you need some general knowledge about music but y‟
know apart from that it‟s all tech stuff mostly, but y‟ know, it‟s not important to learn an
instrument just if you want to do it.
I: Ok. Thanks for that.
S5: Is that it?
I: Yep. Thanks.
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Appendix Q
I: What made you take up music for a GCSE subject?
S1: Just liked it.
S2: Just liked it, yeah just like music.
S1: Since I was a little kid init, since I was a little kid, just like, wanted to do it.
I: Cool. Did anyone influence you to do music, like class teacher, instrumental music,
friends, family?
S1: Mum.
S2: Friends.
S1: My mum.
I: Your mum wanted you to do music?
S1: Huh?
I: Your mum wanted you to do music?
S1: Yeah, she encouraged me.
I: Anyone influence you not to do music?
(Pause)
I: Anyone say “nah, it‟s not a good subject, don‟t do it”?
S1: Not as far as I know.
S2: Nup, not that I know of.
I: Why do you think people enrol in music?
S2: „Cause they like it and they wanna get a GCSE grade or something.
S1: They wanna be professionals when they grow up.
I: Professional musicians?
S1: Yeah.
S2: They don‟t like it.
S1: They just think they can‟t do it.
S2: Or the only like listening to it.
I: So, how important is your ability to play an instrument when you‟re thinking about
taking music?
(Pause)
S1: Important.
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I: (To S2) Do you reckon it‟s important to be able to play and instrument if you‟re going
to do GCSE music?
S2: Yeah. „Cause there‟s no point in you doing the whole music course and then you
don‟t know how to play an instrument or do anything.
S1: Yeah.
I: What do you guys think you‟re going to do when you leave school?
S1: Um,
S2: Go to college.
S1: University.
I: What do you think you‟ll study?
S2: Pardon me?
I: What do you want to study?
S2: Music and business and drama.
S1: Um…
S2: And some politics.
S1: Drama, music and medicine.
I: And what sort of work do you want to do?
S1: Doctor.
S2; Yeah, businessman.
S1: Yeah doctor.
S2: Or a lawyer.
I: Do you think GCSE music will help you with the work you‟re going to do?
S2: Not sure.
S1: It‟s not, wouldn‟t really help me to be a doctor but it‟s something…
S2: That you can do.
S1: …good to just like, just that little extra thing to have, a talent.
S2: Talent.
I: Why do you think it‟s good to have that extra talent?
S2: Just in case, like something might happen.
S1: So you‟re flexible.
S2: It‟s good to know a lot of things.
I: Do you think an employer would look at a GCSE in music, start that again, is there
anything you learn in music that an employer might look for, skills or…
S2: Yeah, hand, hand movements like um, eye coordination, like hand-eye coordination
and that.
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I: Anything else, like if I was an employer and I was, thought, this guy‟s done a GCSE
in music, why‟s that a good thing?
S2: „Cause they like it for a doctor, you know how to work with your hands. If you‟re a
business you‟d know how to um, like (mumbles, inaudible) and that, so um, kinda
useful.
S1: Yeah.
I: What do you think music‟s better for, enhancing life or enhancing work and career?
S1: Both, both.
I: Yeah? How does, how does music enhance your work and career?
S1: „Cause you can make money off of it.
S2: You could get a professional, do all some things like that, or you can, you could hire
somebody that‟s good, musically, be like their agent or something.
S1: Be famous all „round the world.
I: What if you were working outside the, ah, entertainment industry? Do you think
music would enhance your career? If you‟re not working in music or the arts or drama
or something like that.
S2: It probably would because, say like as I said before, if you wanna be like, like a
doctor and you have music and you play the pianos and you play the guitars you know
how to work with your hands so it‟d be kinda useful to do music so you know how to
work with your hands.
I: How does it enhance your lifestyle?
S1: You get money.
S2: Knowing you have a talent that most people don‟t have.
S1: You‟re famous.
I: But not all of us get famous, if you‟re not famous does music enhance, make your life
better?
S2: Yeah, you knows that you accomplished something in life.
I: Bit of a broad question, what do you think music‟s good for in life, what‟s its
purpose?
S1: Music‟s purpose? People can enjoy music.
S2: People like music.
S1: Yeah.
I: Alright, thanks guys.
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Appendix R
I: Why did you choose to do music, just in general?
S1: Thought it‟d be easy.
S2: Like it.
I: Like it? Yeah.
S3: Thought it was fun.
S4: I fell in love with it.
(Group laughs)
S4: I started playing piano and then, it just happened.
S5: Same as me, I started off playing drums when I was seven, but, anyway.
I: So, why did you fall in love with it? What happened?
S4: It‟s the sound, it‟s, I don‟t know, it‟s first when I started playing the piano I didn‟t
really like it cause it‟s quite hard but once it clicks, once you get everything, and you
get the, and you can start making up your own music as well, that was the point.
I: So, who influences you to do music, or not to do? Like teachers, parents, friends?
S6: Friends.
I: To do it or to not do it?
S6: Nah to, if you wanna do it then you can do it if you want, if you like it then do it.
S4: To not do it.
I: Does anyone influence you not to do it?
S1: No.
S4: Yep my friends.
I: No? Your friends?
S4: Yeah.
I: Really? Like in what sort of way, what do they say?
S4: “That‟s not cool man, that‟s not cool, you should be out on the street with me,
should be with me man”. Yeah, like that.
I: Why‟s it not cool?
S4: Nah that‟s what they think, I think it‟s very cool, I think it‟s the coolest, cool out,
but, their minds are not open, when you, it‟s like, it‟s like a food you know, if you don‟t
try it you‟ll never know.
I: What do you reckon S5?
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S5: I agree, yeah.
I: Who influenced you to do music?
S5: My family. When I do music it just, it just helps „cause I write songs as well, it just
gets everything down on a piece of paper and make it good, show other people.
I: Anyone try to influence you not to do music?
S5: No.
I: Why do you think people do music?
S2: Addicted to it.
S1: They like the sound.
S5: It‟s a way really to express themselves.
I: A way to express themselves, yeah. Why else do people choose to do music?
S3: „Cause they like it.
I: Why do you think people don‟t so music?
S2: „Cause they‟re boring and sad.
S1: They can‟t.
S4: They‟re scared about what people might think.
S5: Maybe they‟re just not musically talented.
I: So do you think, is like your ability to play a musical instrument when you‟re
choosing music important or…
S4: Yeah.
S1: MmmHmm.
I: Or not?
S5: Very important.
S4: What, well, yeah, how good you are at an instrument?
I: MmmHmm.
S4: Yeah, well you can go into music you know not having any experience, that was
me, and look at me, I‟ve turned my whole life around.
I: Do you play an instrument? (To S3)
S3: No.
I: You don‟t.
S4: She does a little bit, she plays the shakers.
S3: And piano‟s alright.
I: So, when you were choosing to do music did you think about playing an instrument,
was that important?
S3: No.
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I: No? So, are you going to start learning an instrument or…
S3: I dunno yet, depends, on how I feel.
I: MmmHmm. Do you think music‟s better suited to a lifestyle thing, enhancing your
life, or better suited to career sort of thing, what you might study after school?
S4: I think it, it does take up a lot of your time, it‟s quite, you have to be quite dedicated
to, like um, if, like, you‟re good at, like, um, if music‟s more of a hobby to you, it‟ll be
a kinda of a bad idea to get into a career „cause you have to spend a lot of time
practicing on your own, you know, don‟t get any feeling, don‟t see any of the outside
world, it‟s not really like, it‟s not that social, if you know what I mean, practicing on
your own, release your music, everyone likes music, universally.
I: What are you going to do when you leave school?
S2: Probably still drum yeah, don‟t know.
I: What are you going to do? (To S1)
S1: Don‟t know yet.
S5: Gonna write music and the, give it, shop, if you know what I mean.
I: What are you going to do when you leave school? (To S3)
S3: Look after children.
I: Cool. What are you going to do (to S6)?
S6: Um, dunno, I might go to university and study wood, become a carpenter.
I: Yeah.
S4: Ah, um, ah, I‟m not sure if I‟m gonna do music, I don‟t, I don‟t think so, it‟s a
hobby.
I: Do you think ah, if you‟re going for a job to do you think a GCSE in music is a good
qualification to have?
S1: Depends what the job was.
I: Just, in general, not necessarily a music job.
S2: Not really.
S1: Nah, not really.
I: Like, do you think there‟s anything that you learn in music that an employer might
look at and think “there‟s a skill there that I want”, are there skills that you learn in
music that employers might want?
S4: It‟s quite a unique skill to have really, not much people can play like two
instruments or something like that, so they would think, you‟re different.
I: Do you think you learn anything in music that‟s good for, that would help you get a
job?
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(Pause)
S1: Only if it was to do with music.
I; Ok. Um, what do you think music‟s good for, just in general, like what‟s its purpose?
(Pause) Why does it exist?
S2: Cheer up people, be able to play instruments as well, and like, um, don‟t know how
to say it, like, what I said before.
S3: I think there‟s lots of different reasons but sometimes it‟s to send a message and
sometimes it‟s to influence people to do stuff and sort of…
S4: I think it‟s like, to bring people together, you could be in music, it could be like
poor person, rich person, black person and a white person and you couldn‟t tell the
difference unless they were singing or something like that so it‟s like, kinda takes out all
the racism, all the views like, the, yeah, that stuff.
(Bell goes)
I: Alright, thanks guys.
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Appendix S
I: What made you choose GCSE music?
S1: Interesting, interest in music.
S2: Um, just interest in music and like, my brother, „cause he‟s musician so, family
kinda thing.
S3: Um, I‟m interested in music for my future, yeah.
S4: Just wanted to do music in school and stuff y‟ know, not having to do things like
maths for a while.
I: So, what sort of people influence you when you choose to do music, people like
instrument teachers, class teachers, parent, family, friends?
S2: The instrument teachers kinda influence you „cause, like, they tell you that you, they
think you should go for it then that‟s gonna make you feel like you actually could fit.
S1: Yeah.
I: S6?
S5: I just thought myself, I want to do music.
S3: Yeah my class teacher as well, she said that I should do it.
I: Yeah.
S4: Um, myself, I dunno, just, I dunno.
I: Anyone try to influence you to not do music?
S4: Nah.
S5&S3: No.
S1: Oh the teachers did a bit, normal teachers, because they wanted me to do like
technology or something.
S6: I‟m not gonna say names yeah, but teacher, and, she said that it‟s too, „cause I do
drama as well, it‟s like, it‟s too, you‟re not doing anything else, it‟s like…
S2: The deputy.
S6: Stop hating.
S2: It is the deputy.
S6: Yeah.
I: So, she was trying to tell you that in terms of, like, why‟s it not good to do drama and
music?
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S6: „Cause like, say, it‟s too, it‟s like, it‟s like dramatic stuff, like too many arts stuff to
do, well it‟s like I‟m doing history and Spanish so that‟s like a lot of coursework, and
English and science and maths so as far as I‟m concerned it‟s my future, not hers, if you
want do music you shoulda done it.
S2: Yeah.
I: What do you want to do when you leave school?
S6: Um, well, I wouldn‟t mind going to college, maybe a media college or a drama
college, and maybe something in the media industry like acting or singing or.
I: So do you think doing GCSE music would be good for your career?
S6: Maybe.
I: What do you want to do? (To S2)
S2: (mumbles, inaudible)… in the, the arts
I: So a GCSE in music would be a good subject to have?
S2: Well yeah, does the notation and everything didn‟t have before, so would be handy
to have that.
I: S5?
S5: Yeah, the same, but definitely dancing or singing.
I: MmmHmm, so is a GCSE in music good for what you want to do as well?
S5: Yeah.
S4: Ah, I have no idea what I want to do, I want to go to like, college and stuff, don‟t
know what I‟m going to do, but ah, yeah, so.
I: Why do you think people do music?
S2: „Cause they enjoy it, really.
S5: They just want to make their own music as well.
S6: And maybe they just thought like, do something different apart from the other
normal subjects you do.
S4: Probably „cause it‟s like, as S6 says, different to all the other subjects, it‟s not like,
it‟s not repetitive, it‟s not, you can‟t anticipate anything.
I: Yeah. And why do you think people don‟t do music?
S1: „Cause they‟re idiots.
S5: „Cause they don‟t feel that they‟re good at it and they don‟t feel that it‟s a part of
their future, what they want to do.
S2: I think they might get bad influences from certain (Inaudible).
(Group laughs)
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S4: Just, maybe they don‟t play an instrument and they think have to play an instrument
to do music
S3: Or they think they‟re good enough already.
S6: Or maybe their parents are forcing them.
I: So, how important is being able to play an instrument in the decision to do music?
S4: It helps, but it‟s not like something you have to do, you could start GCSE not
knowing anything about music and you could still get an A, so long as you work hard
enough I guess.
I: Do you think music‟s better suited towards enhancing life or enhancing your work
and career?
S2: Both.
S4: Both yeah. Like different for different people.
I: In what sorts of ways does it enhance your life?
S2: increases your knowledge, if someone asks you a question you can say “oh cool”
cause you know the answer.
S6: yeah, if you went on like Weakest Link or something they ask you a question you
know.
I: yeah?
S6: it does, you could win.
I: In what other ways does it enhance your life?
S4: Creative, makes you more creative.
S4: Gives you a different outlook on things.
S1: Makes you sound better, told someone I did music GCSE, does sound better.
I: How do you think it enhances your study and work?
S2: „Cause on your CV you can like. GCSE A grade or whatever in music.
I: And do you think that‟s a qualifications that employers would look for?
S2: Well yeah, if it‟s in the music industry, I mean if you‟re gonna try an be a street
cleaner it wont really matter.
S6: It shows a contrast between like your, that you don‟t do just one type of thing you
do a whole sort of stuff like if you do music and say you do biology, like something,
then it shows like a difference so you‟re not just like, a boring person.
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I: Yeah, that‟s a good point. So, what do you think employers want, let me start that
question again. Do you think you learn anything in music that employers would look
for?
S4: Yeah.
I: Like what?
S4: Well, like, music gives you a lot of confidence doesn‟t it, like performing and stuff
like that and obviously and obviously employers look for somebody with a bit of
confidence, some jobs I guess, maybe a street cleaner wouldn‟t be so.
S5: You could sing while on the job.
S4: Exactly.
I: Anything else employers might look for that you learn in music?
S6: Some employers might not, they might be thinking it‟s not exactly what we‟re
looking for, but then again it depends what path you wanna go init, some people already
know what they wanna do so therefore music is more beneficial for them, beneficial to
them.
I: S3, what do you reckon?
S3: I think maybe that creativity can, show that you can, like, music and stuff.
I: This is a pretty broad general question, what do you think music‟s good for in life,
what‟s its general purpose?
S3: It‟s good like, to show your emotions.
S6: When you‟re stressed, and, yeah, to show your emotions, depends, people listen to
different kinds of music where what mood they‟re in.
S1: Yeah.
S6: And say, yeah, if you go to a party or something, you know, so, right, it‟s just good.
S2: Let people know how you‟re feeling and stuff.
S4: It‟s good for your personality as well „cause you can tell the people who‟ve done
music and the people that don‟t, people who do music are sometimes a lot more creative
and stuff like that whereas.
S6: You can give advice to like, younger, like old family members to young family
members who might be thinking of doing it in future, can give advice to them.
S5: Same. Ditto.
I: Alright, thanks a lot, it was good.
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Appendix T
I: We‟re talking about the reasons why you chose to do music
S1: Um, just like, making music and stuff.
S2: Yeah, well, (mumbles, inaudible) career and…
I: MmmHmm.
S3: Enjoy it.
I: And S4?
S4: It‟s good to do, I‟ve been doing it outside school for a while.
I: Is there anyone that influenced you to do music, or even influenced you not to do
music, parents, instrument teachers, class teachers, tutors?
S1: Ah, friends.
I: Friends?
S1: Yeah.
I: Was that an influence to do music or not to?
S1: To do.
I: To do. Why did you they influence you to do music?
S1: Um. (Pause)
I: Like in what sort of ways?
S1: Well they just talked me into it.
S5: Yeah, um, friends and stuff, „cause everyone in the school usually plays and
instrument, it‟s kind of, you don‟t feel pressured, you just like wanna be one, join with
them.
S3: Yeah, my um, mum kinda influenced me to music.
I: Yeah? Why was that?
S3: Ah, because she felt that she didn‟t play music when she was younger and wanted
me to either do a language or music. I was better at music than language though so.
S4: My brother and sister did it and they‟re doing well, doing bands and stuff so I
thought I could do it with my mates and stuff.
I: Were there any influences not to do music?
S1: No.
S4: Nup.
S2: No.
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I: No? Excellent. What are the main reasons why you think GCSE music‟s a good
course to do?
S1: „S fun.
S3: „S good facilities in the school.
I: Good facilities, cool.
S4: And it‟s something you can do, get in a band, get gigs and just, out there when
you‟re older.
I: So is that a lifestyle thing? Doing music gives you a more interesting life than you
might otherwise have had?
S4: Well, yeah.
S4: „Cause they can‟t, „cause they can‟t be bothered.
S2: Not interested.
I: Can‟t be bothered, not interested, yeah, anything else?
S4: Maybe they just find it hard…
S1: Yeah.
S4: …trying to read it, they just give up.
S2: Or they just don‟t think there‟s enough room in their courses, can‟t fit it in.
I: What are you intending to do when you leave school what sort of career ado you want
to go into?
S2: Ah, management, ah.
I: Do you think music would help you in any way with that?
S2: Not really no.
I: So you didn‟t take music as a career option?
S2: No, more of a leisure sort of thing.
I: Yep. You were saying you wanted to do something in music?
S5: Um yeah, I, uh, dunno, be in a band would be quite good, „cause could be fun, you
could do it with your friends and stuff, but it‟s not really, I‟d do it in spare time and
stuff, it‟s not really a career I‟d like to pursue.
I: What sort of career do you want to pursue?
S2: I wanna go to an art college and.
I: Do you think doing music might help you with that?
S2: Well, yeah, well, „cause you can get artistic kind of pieces of music that help you,
you just play in the background if you got a gallery and that.
I: MmmHmm. S4, what do you want to do?
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S4: I wanted to do ah, be an author or something like that, but I don‟t think it‟d help,
doing music‟s help me being an author but I think it‟ll give me something to do in my
spare time and give me more places tom go, meet new people and stuff.
I: S3, what do you want to do?
S3: Yeah, ah, I want to go to drama school, become an actress, or go into veterinary
work.
I: Do you think music would help you with either of those?
S3: Maybe drama „cause it‟s creative, got kinda the same, „tistic.
I: If you‟re going for a job, do you think the employer would look at a GCSE in music
and think it‟s a good subject to have? (Pause) Do you think there‟s any skills you learn
from music that are good for employment?
S1: Can make you feel um, like, tell the employer that you‟re creative.
I: Yeah (Pause) any other skills that you get out of music that employers might look for?
S4: they might look at it like you work hard at something in your own time, and you
don‟t mind doing things, if you wanna do „em you can do „em whenever you got your
spare time.
I: What do you reckon girls?
S3: Um, it allows you, music allows you to kinda make your own stuff and if employers
see that then they might think you can handle anything „cause you learned to make
music.
S5: Could mean you‟re creative at work and (Mumbles, inaudible) and help design,
computer studies as well, if you can use Cubase you know how to use a computer as
well.
I: Do you think music in general is better suited to enhancing your life or better suited
to work things?
S4: Makes your lifestyle better.
I: So you‟d say that‟s the main reason why you do music?
S1: Well it could be that work as well, but it‟s not really, I don‟t see it as the job that I
myself would go for like teaching or, or just like, it‟s not easy to be like a musician and
just join up and in all sorts of businesses like, but I‟m doing, that‟s the sort of thing I do
outside of school so, I‟m not, I might end up doing that, I‟m not sure.
I: This is a pretty broad and general question, but, what do you think music‟s good for?
What purpose does it serve?
S2: Enjoyment mainly.
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S1: Hmm.
S3: Allows to relax.
(Pause)
I: I think that‟s it, unless you‟ve got anything to add? (Pause) Alright, thanks for that.
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Appendix U
School B – Non-GCSE Music Interview 1
I: (To S1) I know you play the piano at home, does anyone else play and instrument?
Other Students: No.
I: Ever thought about taking one up? (Pause) No? S2, have you ever thought about
taking up an instrument?
S2: No.
I: Why did you take up the piano S1?
S1: Um, basically, I is, thought, it‟s only kinda, good, different bands play piano, I
thought I‟m gonna try and learn me music.
I: If you‟d taken up piano earlier do you reckon you would‟ve done GCSE?
S1: Yeah, definitely.
I: What about you guys, if you were learning and instrument do you think you‟d do it?
S3: I don‟t really think it‟s important
I: Yeah? Why‟s that?
S3: „Cause, it‟s not like jobs you need it for, so, if you enjoy it then do it if you want
but, not really gonna help you in school.
I: Is that important, being able to get a job out of a GCSE? Or a qualification that will
help you get a job?
S4: Yep.
S3: Yeah.
I: When you were choosing your subjects did you think mainly about getting a
qualification, getting a job, or were you thinking more about stuff you were interested
in?
S5: I don‟t think about jobs.
I: You don‟t.
(Pause)
I: What do you think about when you‟re choosing subjects?
S5: Always just if I enjoy it init.
I: MmmHmm. (To S2) What were you thinking about when you chose subjects?
S2: Ah, what I like what I‟m good at, what I want, um, what I want from a job like, if I,
you know what I mean, when I leave school, what things I wanna have done.
I: Yep, S6?
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S6: Yeah, same as that really.
I: so you consider more jobs or more interest?
S6: Yeah, more jobs. And I don‟t think that it‟s hard to get a career out of music
(mumbles, inaudible).
I: What were you thinking about S1?
S1: I think it was kinda split with me, like, it‟s enjoyment and it‟s jobs as well, so that
what I kinda choose my subjects on.
I: What were the reasons why you didn‟t do music?
S1: Um, for me I‟m not, the subjects I chose were like higher on my agenda than music.
I: MmmHmm.
S1: But I think music would‟ve been like a fifth choice, but you can only choose four
so, that‟s why, for me.
I: S2, why didn‟t you choose music?
S2: Um, it was like, instruments and everything and the piano, I was crap at it, I just
didn‟t choose it.
I: S3?
S3: Um, they didn‟t do the music that I like.
I: Cool.
S4: I just didn‟t want to do it, didn‟t find it interesting.
I: Why do you think people do do it?
S4: „Cause they enjoy it and everyday.
S1: Yeah, they learnt like a young age, and yeah, basically it‟s got to be whether you‟re
good at something, you do it.
I: Why do you think most people don‟t do it?
S1: Because they didn‟t start a young age, and they‟re not good at it.
S3: They don‟t know how the music will, maybe, they don‟t like playing instruments.
I: What do you reckon‟s more important with your education… (student interrupts from
corridor)…
What do you think‟s more important, getting qualifications for a job or further study or
broadening your mind?
S2: Jobs.
S3: Qualifications.
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S1: I think you kinda say like, you need both things, you need a good knowledge of it,
you gotta have like a natural passion for music, but you ain‟t gotta wanna do it as a job,
but, guess, that, yeah.
I: What do you think music‟s good for, in general?
S4: Calms.
I: What was that?
S4: Calms you down.
I: Helps you learn?
S2: It calms you down.
I: It calms you down, ah right, cool, no one has said that before. (so S3) what do you
reckon music‟s good for?
S3: „S just like, I dunno.
S1: I think music, like everyone listen to music, and there‟s different types…
S3: Yeah, everyone likes a type of music.
S1: …Yeah, they like music‟s one of those everyday things, so.
S5: „S just a hobby init?
S1: Yeah, „s like music‟s.
S5: „S like watching TV.
S1: Yeah, it‟s like necessary in lots of people‟s live and without music, I dunno, be,
grey.
I: What do you reckon it‟s better suited to, quality of life thing or getting work?
(Pause)
S1: Mmm
I: Like, music that you learn, is it better suited to lifestyle or better suited to getting
qualifications and stuff?
S3: Like, if you‟re come in here to get education you might as well think how it‟s gonna
help you, there‟s not much point coming in here if learn half your music at home if you
know what I mean, you might as well think of it in the long run.
(Pause)
I: Anyone else?
(Pause)
I: That‟s it, thanks guys.
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Appendix V
School B – Non-GCSE Music Interview 2
I: Does anyone play and instrument?
S1: I used to, violin.
I: Seriously? Why‟d you give up?
S1: Couldn‟t be bothered, practice and that init.
S2: Piano.
S3: The drums.
S4: No he don‟t, he‟s lying.
S3: When I go to the home country I play drums though.
I: Anyone rap or anything like that?
Several Students: Yeah.
S5: I write lyrics.
(Pause)
S6: I play piano, but I don‟t anymore.
I: Why‟d you stop?
S6: Couldn‟t be bothered.
I: If you kept learning do you reckon you would have been more likely to take GCSE
music?
S4: No.
S6: Yeah, probably… he wasn‟t asking you S4.
S3: I think it been up to the teachers init, if the teacher encourage you.
I: Why didn‟t you do GCSE music S4?
S4: „Cause it didn‟t play a part in what I wanna be when I‟m older.
S6: Oh I like the answer S4.
S4: I know.
I: What do you want to do?
S4: I wanna be a lawyer.
(Other students groan)
S4: (Groans in response)
S3: Gonna flop in all the courtroom init.
S4: Shut up man.
(Group laughs)
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I: So, do you think about what you want to do when you‟re older when you choose
GCSE subjects?
S4: Yeah.
S6: S3, what do you want to do?
S5: Criminal (laughs).
S2: Body builder.
I: What do you want to do S3?
S3: (Pause) Engineer (Laughs), I‟m playing. I wanna be a sport person like, get
involved in anything that has to do with sport init, anything to do with sport, I‟m there.
I: So did you think about what you wanted to do when you chose your subjects
S2: S3 thinks he‟s gonna be an athlete.
S1: S3‟s gonna be in the Olympics in 2012 sir.
I: He is? Doing what?
S4: Running.
S3: Nah, I don‟t run, doing rugby.
I: Playing rugby.
S3: Yeah.
I: Is that an Olympic sport?
S6: (to S3) Oh, you‟re so dumb, is that in the Olympics you idiot?
S3: Yes.
S6: No it aint.
Other Students: It is.
S2: Everything‟s in the Olympics man.
S1: You idiot.
S4: Idiot.
S3: There‟s all these sports, there‟s football, did you know there‟s football in the
Olympics… you didn‟t know that.
S6: Is there golf?
S1: Yeah.
S3; I think there is.
S4: No there isn‟t.
S1: Yes there is.
S3: What happened when they were building…
S1: Shut up man, stick to your law books.
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S3: (Calls in a passing students) Hey S7, S7, come here, you know the Olympics, do
they have golf in them?
S7: No.
Other Students: Argh.
S6: Do they have rugby then?
S7: No.
Other Students: Argh.
S3: They do, trust me sir.
S2: What‟s that got to do with what we‟re doing guys?
I: Anyway, when you choose your subjects, do you think about what you want to do?
S4: Yeah.
S3: Ask Mr A, I don‟t care, ask Mr A.
S4: Yeah.
S3: They do most sports you know.
(S7 moves into the room)
I: How you going S7?
S3: (Starts talking to no-one about boxing)
I: When you choose your subjects do you think about what qualifications you need to
get or what you‟re interested in?
S1: What‟s easier for me to qualify…
S4: Yeah, there‟s two things to think about, if they‟ve got anything with what you want
to become when you‟re older, and if they‟re like suitable, if they‟re not too hard for you,
something you can pass.
(S3 still talking about boxing)
I: What do you think…
S4: (Interrupts) Listen man!
S7: I do GCSE music.
I: You do.
S7: Yeah.
S3: Yeah, you‟re different.
S4: Why‟d you do it?
I: Why‟d you choose it?
S7: „Cause I play piano and I thought it‟d be easier for me.
S3: „N‟ his dad did you.
S4: But we gotta explain „bout what happens if you didn‟t choose it.
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S2: I didn‟t pick it „cause there wasn‟t enough space on my timetable init.
S3: No that‟s not…
S1: What‟d you pick…
I: Were you choosing stuff that you were interested in or you choosing stuff you wanted
to get a job in, or qualification from?
S4: Both.
S2: I, I, I wanted to get a job in music like, music production init.
S4: Don‟t lie, stop lying.
S3: I wanted to pick it yeah, the school doesn‟t, they don‟t have valid equipment.
S2: Shut up yeah.
S4: Stop trying to impress the music teacher, stop trying to impress them.
S2: Shut up yeah, you suicide bomber (laughs).
S1: Shut up man.
S3: I wanted to pick the thing yeah…
S4: If there‟s a suicide bomber it‟s you.
S3 …I wanted to pick the option but the school yeah, like they don‟t have the thingy,
what‟s it called, equipment and the…
S1: But who‟s got the equipment or…
S6: Hey S4 don‟t shoot man.
I: What do you reckon music‟s better for, life stuff, work being creative or…
S7: It‟s, it‟s relaxing.
S3: Yeah, most people have music…
S7: It‟s relaxing, and it‟s always, it‟s always…
S1: Most people chose music as a career but they just in the end…
S7: It‟s always good to have something to fall back on.
S3: No but most people go to school for music they‟re making and then these don‟t go
nowhere here.
S1: Init.
S3: Yeah.
S2: Classical music init.
S1: They bring them violins and all them to school.
S3: Most people that go to school for music, they don‟t go nowhere.
S1: All them years of carrying them, it doesn‟t work.
I: S3, what do you think music‟s good for, just in general?
S4: Just to enjoy, yeah.
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S3: Everything, music is good for everything, „cause I mean, you got like pleasure,
there like people, people tell their story through the music so…
S4: Yeah but sir, but sir, wait, it‟s not.
S7: Music is a way of expression.
S4: Yeah.
S3: Everywhere, everything.
S1: Use it at parties, for enjoyment.
S4: Is it.
S7: But sir, it‟s always nice to have something to fall back on, if you‟re not making it,
„cause like music is something you don‟t forget to play isn‟t it, so it‟s like, a talent like,
stays with you, apparently like people who play music, like listen to music live longer
as well so it can affect you.
(Bell goes)
S3: Oi, S2, let‟s get this party started.
I: Ok, thanks guys.
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Appendix W
School C – Year 9 Interview 1
I: What do you think of music, in general?
S1: I think it‟s cool.
S2: I think it‟s Ok.
I: S3?
S3: It‟s Ok.
S4: I like music (mumbles, inaudible).
I: That‟s cool. What do you like about music?
S4: I like playing with the instruments, getting to know how to use instruments, getting
to know how to play the instruments.
I: yeah? What do you girls like about music?
S1: I like playing the instruments and stuff.
S2: I like playing the instruments and listening to…
S3: Same.
I: What don‟t you like about music?
S5: Find it boring.
I: Why‟s that?
S5: (Mumbles)… never really liked it.
I: When you‟re choosing for year 9, sorry, year 10, for GCSE, what do you think about?
Do you think about um, career sort of stuff, future study, or do you look for subjects that
you‟re going to find interesting?
S1: Career.
I: Career. Definitely always career or do you mix?
S2: Bit of both.
S5: Yeah, probably both.
I: S4?
S4: Mainly career.
I: What about you S3?
S3: Bit of both.
S6: Probably mainly career.
I: What do you think music‟s better for, do you think it‟s a subject you‟re going to take
for future work or study or do you think it‟s a subject you do out of interest?
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S1: Out of interest.
S3: Out of interest.
I: What do you think employers think about it? Obviously in the music industry it might
be important to have, but for general job stuff, what do you think and employer might
think?
S2: They might think that you‟re cooperative.
S1: Imagination.
I: Yeah.
S7: Be able to perform on stage, so, don‟t have stage fright.
I: MmmHmm. What do you reckon S3?
S3: Dunno, not that much you can use a GCSE in for.
I: Who influences you when you make your subject choices?
S3: Myself.
S1: Parents
I: Your parents do?
S4: My teachers.
I: Your teachers?
S3: Teachers, parents and myself.
S6: Yeah, just parents and stuff.
S7: Me and my mum.
I: Mainly your mum? Ok. What do you think music‟s good for?
S7: Understanding different cultures of music, understanding how to play instruments.
I: Yeah.
S2: Understanding people‟s feelings.
I: MmmHmm.
S3: It‟s a way to express yourself.
I: Cool. What do you think music‟s not good for?
S4: Practical…
I: like what?
S4: Practicalities of life.
I: Practicalities of life, what do you think music‟s not good for? (to S5)
S5: It‟s rarely gonna help me be, carry on (mumbles, inaudible).
S1: I, oh, sorry, I don‟t know if it‟s a very good career „cause you‟re going to become
like really famous for singing and that and music…
S4: It‟s a gambling career.
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S1: … it‟s going to be a difficult career, pressure all the time, so.
I: It‟s a what, sorry, gambling, why‟s that?
S4: „Cause you don‟t know whether you‟re going to succeed or not if you choose that
sort of path, might be like you don‟t succeed, and it might be like you do, so it‟s like
chance.
S1: Yeah, and you‟d have to have a backup whereas I‟d want a career that I could just
go do, and have a backup as well.
I: So is that an attractive thing, or is it something that puts you off?
S4: Exciting sort of, it‟s not boring.
I: Yeah. What do you think music‟s better for, enhancing your quality of life or better
for work and career and stuff like that?
S4: Quality of life.
S1: Quality of life.
Other Students: Mmm.
I: Is music important in your life?
S4: Yes.
S2: Yeah.
S7: Yeah.
S1: Listening to it, don‟t have to be able to play and instrument.
I: What do you think your general education‟s more important for, career, work, or
broadening your mind, learning things, finding out?
S1: Learning things for the future.
S3: Hmm.
I: Is general education better for getting qualifications so you can get a job, stuff like
that or is it more about broadening your mind?
S3: Both init.
S6: Yeah.
S3: „Cause you only got one chance really, almost.
S6: You gotta make the most of education, while you got it.
I: Cool, ok. Thanks for that.
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Appendix X
School C – Year 9 Interview 2
I: When your choosing your subjects, what do you think about, what do you take into
account?
S1: Things you further into a career, like the things you wanna do in the future.
S2: Exactly.
I: Is it just career or do you take interest and stuff like that into account to?
S1: most of the time it‟s like interest and stuff, you can do (Mumbles, inaudible), you
wanna be, you wanna be like good at the things you wanna be good at, so basically
trying to further like, whatever your talent.
I: So you‟re trying to do subjects that you‟re interested in
S1: Yeah.
I: And getting a career in something that you‟re interested in?
S1: Yep.
I: Do you think music‟s a good course to enrol in for GCSE?
S3: Yeah.
S1: Yeah.
I: Why‟s that?
S1: The music, I‟m interested in the music.
I: (To S4) What do you think? Do you think music‟s a good course to enrol in for
GCSE?
S4: „s alright, I‟m not gonna though.
I: Why‟s that?
S4: I‟m not that good at it yet.
I: (To S2) what do you reckon?
S2: „s alright I s‟pose. It‟s not the greatest, I think, so…
I: Why do you say it‟s not the greatest?
S2: I dunno, it‟s a bit boring at times, but other times it‟s alright.
I: What do you find boring about it?
S2: What?
S2: I dunno.
S6: Worksheets and stuff.
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S2: Yeah, worksheets, yeah.
S1: So basically you wanna do practicals every single day?
S2: Yeah.
I: (YT S7) what do you think?
S7: Um, I don‟t like music.
I: Why‟s that?
S7: I dunno, I just find it boring.
I: Hmm. S8?
S8: I don‟t mind it, but I‟m not gonna do it for like a subject, I‟m not that interested.
I: Not interested in it, or not interested in it as a career?
S8: Not interested in it as a career.
I: And you think more about career or what you enjoy?
S8: What I enjoy.
I: When you‟re making your subject choices.
S8: Yeah.
S9: Yeah, I like it, good.
I: If you started learning a musical instrument, would that influence your decision to do
music?
S8: Yeah
I: It would be?
S9: I don‟t think it would
S9: Because, like, just because you like play, music, play one instrument, don‟t mean
that you like music in general sorta thing. So you gotta actually like music in general to
take part. Yeah.
I: What do you think education‟s better for, getting a job, career, or more for general
stuff, broadening your mind, learning, new experiences, that sort of thing?
S1: There‟s like, there‟s a friend of mine, he‟s trying to get job, and it‟s something in
your background, and let‟s say you wanna be a musician, that dream, fails, you can
always go back to you education and get something else.
I: MmmHmm. What do you reckon? (to S2)
S2: Dunno, dunno really.
I: Have you ever thought about it?
S2: No.
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I: Not really. S7?
S7: Bit of both really.
I: Bit of both.
S8: Forgot the question.
I: Is education better suited to qualifications and skills so you can get a job or is it
better suited to..
S8: I think it‟s better for, yeah I reckon it‟s better for like making your brain bigger.
S1: Broadening your mind.
I: What do you think music‟s better for, enhancing your life, your lifestyle and quality of
life, or do you think it‟s better for getting a job?
S3: Lifestyle
S1: I think it‟s better for your lifestyle than getting a job.
I: MmmHmm. What do you guys think?
S4: Both really.
S6: Yeah both.
S1: Music‟s important in my life.
S9: Music‟s important in my life as well
I: Is it only important if you want a career in music or is it just important because it‟s
something that‟s there?
S1: It‟s important „cause I wanna have a career in it, it‟s important „cause (mumbles,
inaudible) I listen to the music, always been into music.
I: What do you guys think, is music important to you?
S4: Yeah.
I: Yeah? Why‟s it important?
S4: „Cause there wouldn‟t be no songs or anything if there was no music.
I: What would that mean?
S4: Loads of people‟d have no careers.
I: Ok, thanks guys.
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Appendix Y
School C – GCSE Music Interview 1
I: I just want to know, in general, why you decided to do music.
S1: It‟s… (pause) so many things actually to choose from, there is, um, some of it‟s the
social life as well, I feel as if the social life‟s gone up a lot, you know you meet a lot of
new people, you get on better with teachers, you know I feel is just a much more
friendlier atmosphere.
I: Yeah, S2?
S2: Um, I thought it‟d be good and plus for the qualifications for the sort of jobs I
wanna do I thought it‟d be good.
I: Hmm.
S3: I thought with GCS and other GCSE that I needed help, and to learn the drums
would be better and I‟ve gone a bit better but, I not taken drum lessons since our teacher
left.
I: Right.
S4: Oh, I guess I took GCSE because I‟ve always had an interest in music.
I: Hmm.
S4: When I was young I used to watch all the bands that used to come into our primary
school, used to think „wow I‟d like to learn an instrument‟.
I: Yep.
S4: So I thought I‟d choose music for GCSE.
I: So when you were choose GCSE Music were you think more about the qualification
and the career that that might lead to or were you thinking more in terms of what you
were interested in and what you enjoy?
S1: Mine was mainly enjoyment. It was…
S2: (Interrupts) Think mine was enjoyment but also qualifications for jobs.
S3: The same.
S4: Yeah. Bit of both.
I: Bit of both. What about your other subjects? What do you lean more towards,
subjects that you enjoy or subjects that you think „I‟m going to get a qualification in this
so that can do that afterwards‟?
S4: I‟d say probably a bit of both.
S2: Yeah, bit of both.
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S4: Learning fun is the best way you can, it always sticks in the back of your head.
I: Hmm. When you were making your decision to do music who influenced you to do it?
For example your teacher, instrumental teacher, parents, friends?
S1: Teacher.
I: Teacher?
All Students: Yeah
S2: Teacher, but not just that when I was like, in primary school, I knew that I liked
music a lot so I um, when Status Quo came to my school I thought it‟s definitely
something I‟d want to do when I‟m older.
S4: Yeah, probably teacher, teacher and…
S1: (Interrupts) Teacher and friends really isn‟t it.
S4: Teacher, friends, and I wanna do GCSE music.
I: Anyone try to influence you not to do Music?
S4: My parents.
I: Why was that?
S4: I don‟t know, just „cause of what I like in general really.
S1: You don‟t come from a… we all don‟t come from a…
S4: No, I don‟t come from a musical family I think. Music skipped seven generations in
my family, I just picked it up.
I: Did they give you a reason why they didn‟t want you to do it?
S4: (Pauses) Well, not really.
S1: My parents assumed…
S4: But at the end of the day they said it‟s my choice, you know.
S1: My parents assumed it would be all about classical, like your old contemporary
style music than more modern stuff that we‟re doing now.
I: Yeah. S2?
S2: My parents didn‟t really mind, they said it was up to me what I did.
I: S3?
S3: Mine don‟t mind.
I: Um, what about teachers, or anybody else tell you it might not be a good course to
do?
S4: Nup.
I: Basically you were just left to make the decision?
Group: Yeah.
I: Why do you think it was a good course to enrol in?
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S4: „Cause I‟ve learnt a lot more than I would in any other subject.
I: yeah? Fair enough.
S2: Yeah
S1: Yeah, I‟d agree with that.
S4: To be honest because, with all the other subjects yeah they‟re ok I could‟ve picked
them, but music I hardly knew anything, because the first few years of music were
rubbish, the first few years, then come year nine and year ten it was great.
I: Mmm. Why do you think people don‟t enrol in music?
S4: Because they don‟t have any musical talent or musical interest.
S1: Mmm.
S2: They…
S3:Because they‟re chavs, sorry. (Group laughs)
S2: Some of them may not know exactly though what music involves, they… stay away
from it because they fear certain stuff.
S1: Just, lack of understanding for it I‟d say.
I: Do you think ability in music‟s important, like the ability to play an instrument if
you‟re going to do a GCSE?
S4: Well, that would help when it comes to compositions and everything.
S2: Compositions, um…
S4: „Cause if you don‟t know how to use an instrument you can‟t really do a
composition.
S2: …terminal task.
S1: I mean if, you can have a certain amount of ability for music, um, for an instrument,
but when you have like soul and your musicianship for it you can do anything really.
I: OK. What do you think music is better suited for: enhancing your lifestyle or
enhancing your career?
S1: Both.
S2: I‟d say both.
S4: probably both.
I: And do you think a qualification in music is a good qualification to have if you‟re
going for a job?
S1: Depends which one.
S4: Depends, depends what type, type of job.
S2: Depends what you want.
I: Fair enough.
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S4: I mean, if you wanted to do something musically…
S2: Like I do, yeah,
S4: …then you‟d have to do GCSE music really.
I: What about if you‟re not going to do anything musical, do you think there‟s any
general skills you get from music that an employer might look at and say…
S2: Well, if you‟re going to places like say Virgin and HMV then music qualifications
may actually help you.
S1: You get a lot more confidence through performing and that so you can use that in
different aspects of life like talking to people, all that.
S4: Suppose when you know when you‟re playing an instrument or whatever, you just
jam with other people, you begin to understand how well the people react and you form
like a bond, so you understand kinda teamwork, and you know, it‟s not just all about
you.
I: Yep, what do you reckon S3?
S3: I reckon it‟d help because of teamwork and you won‟t be as shy around people, be
able to be yourself more and, well when you got like, you can get a job easier.
I: This is a bit of a broad, general question. What do you think music‟s good for in life?
What‟s its purpose?
S1: Expressing yourself.
S4: Expression.
S1: Expression, yeah.
S4: Basically. If I‟ve had a hard day at school, pick up my guitar, flick on the amp, play
whatever, and I feel fine.
S2: Expression, relaxation.
I: Anything else? No? Cool. Thanks guys, it was good.
S1: Cheers.
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Appendix Z
School C – GCSE Music Interview 2
I: When you‟re choosing your subjects, what do you think about, what do you take into
account?
S1: Things you further into a career, like the things you wanna do in the future.
S2: Exactly
I: Is it just career or do you take interest and stuff like that into account to?
S1: Most of the time it‟s like interest and stuff, you can do (mumbles, inaudible), you
wanna be, you wanna be like good at the things you wanna be good at, so basically
trying to further like, whatever your talent.
I: So you‟re trying to do subjects that you‟re interested in?
S1: Yeah.
I: And getting a career in something that you‟re interested in?
S1: Yep.
I: Do you think music‟s a good course to enrol in for GCSE?
S3: Yeah.
S1: Yeah.
I: Why‟s that?
S1: The music, I‟m interested in the music.
I: (To S4) what do you think? Do you think music‟s a good course to enrol in for
GCSE?
S4: „s alright, I‟m not gonna though.
I: Why‟s that?
S4: I‟m not that good at it yet.
S2: „s alright I s‟pose. It‟s not the greatest, I think, so…
I: Why do you say it‟s not the greatest?
S2: I dunno, it‟s a bit boring at times, but other times it‟s alright.
S2: What?
S2: I dunno
S6: Worksheets and stuff
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S2: Yeah, worksheets, yeah.
S1: So basically you wanna do practicals every single day?
S2: Yeah.
I: (to S7) What do you think?
S7: Um, I don‟t like music.
I: Why‟s that?
S7: I dunno, I just find it boring.
I: Hmm. S8?
S8: I don‟t mind it, but I‟m not gonna do it for like a subject, I‟m not that interested.
I: Not interested in it, or not interested in it as a career?
S8: Not interested in it as a career.
I: And you think more about career or what you enjoy?
S8: What I enjoy.
I: When you‟re making your subject choices.
S8: Yeah.
S9: Yeah, I like it, good.
I: If you started learning a musical instrument, would that influence your decision to do
music?
S8: Yeah.
I: It would be?
S9: I don‟t think it would.
S9: Because, like, just because you like play, music, play one instrument, don‟t mean
that you like music in general sorta thing. So you gotta actually like music in general to
take part. Yeah.
I: What do you think education‟s better for, getting a job, career, or more for general
stuff, broadening your mind, learning, new experiences, that sort of thing?
S1: There‟s like, there‟s a friend of mine, he‟s trying to get job, and it‟s something in
your background, and let‟s say you wanna be a musician, that dream, fails, you can
always go back to you education and get something else.
I: MmmHmm. What do you reckon? (To S2)
S2: Dunno, dunno really.
I: Have you ever thought about it?
S2: No.
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I: Not really. S7?
S7: Bit of both really.
I: Bit of both.
S8: Forgot the question.
I: Is education better suited to qualifications and skills so you can get a job or is it
better suited to..?
S8: I think it‟s better for, yeah I reckon it‟s better for like making your brain bigger.
S1: Broadening your mind.
I: What do you think music‟s better for, enhancing your life, your lifestyle and quality of
life, or do you think it‟s better for getting a job?
S3: Lifestyle
S1: I think it‟s better for your lifestyle than getting a job.
I: MmmHmm. What do you guys think?
S4: Both really.
S6: Yeah both.
S1: Music‟s important in my life.
S9: Music‟s important in my life as well.
I: Is it only important if you want a career in music or is it just important because it‟s
something that‟s there?
S1: It‟s important „cause I wanna have a career in it, it‟s important „cause (Mumbles,
inaudible) I listen to the music, always been into music.
I: What do you guys think, is music important to you?
S4: Yeah
I: Yeah? Why‟s it important?
S4: „Cause there wouldn‟t be no songs or anything if there was no music.
I: What would that mean?
S4: Loads of people‟d have no careers.
I: Ok, thanks guys.
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Appendix AA
School D – Year 9 Interview 1
I: First of all, what do you consider when you‟re making your subject choices? What‟s
important?
S1: If it fits in with what you want to do when you‟re older.
I: With your career?
S1: Yeah.
S2: You might like doing music.(Pause)
S3: Pick the right thing for you.
I: What do you mean by that, do you mean what you‟re interested in, or as in what
you‟re going to do later, or do you think about both?
S2: I dunno, say you wanted to be a doctor you‟d have to pick the right thing to be a
doctor.
I: MmmHmm S4?
S4: Pick stuff you enjoy.
I: Ok. What‟s more important, subjects for your career or further study or stuff you
enjoy?
S1: Enjoy. A bit of both.
I: Or is it important to pick something that you might not enjoy but gonna get good
marks in?
S1: Sometimes
S3: Bit of both
I: Bit of both. What do you think S4?
S4: Little bit of like, little bit of if you enjoy it, what you wanna be when you‟re older,
or if you‟re good at it.
S5: Hmm, basically I reckon you should do, if you don‟t enjoy it there‟s no point doing
it „cause you won‟t try as hard.
I: If you had to say, which is the most important, choosing for career or study, or for
interest and enjoyment?
S3: Probably career
I: S4, do you agree?
S4: Yeah
S5: Well, both of them are really
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I: Why do you think people choose to do music?
S2: „Cause they‟re talented at it and they enjoy it
I: MmmHmm. What do you reckon? (to S3)
S3: „Cause they like to do it and „cause they probably want to do something to do with
music when they‟re older.
S1: They might be in a band with their friends.
S4: Yeah, same.
I: Why do you think people don‟t want to do GCSE music?
S1: Because they‟re not very good at it, they don‟t enjoy it
I: Yep.
S3: Um, same.
S4: Same.
S2: Same.
I: Ok. Your experience of music this year, has it been good, bad? Has it influenced in
any way to do or not do music?
S1: Oh, it‟s a bit boring.
I: You found music boring? Why‟s that?
S1: I dunno, it‟s just, like, sitting in front of a piano for like, and hour, playing stuff
I: And did that influence your decisions?
S1: Yeah.
I: Which way?
S1: What do you mean which way?
I: Like, has it influenced you to think it might be boring in GCSE, or maybe you thought
it might be different in GCSE so give it a go?
S1: Nah, boring.
I: Yeah?(To S2) How have you found music this year?
S2: Um, boring.
I: Why‟s that?
S2: Just, all we do is sit in front of pianos or do little bits of writing on posters and
things, never do anything exciting.
I: What do you find exciting?
S2: Well, just, like, playing the instruments, all we do is play keyboards or pianos, we
never get to play the big drums or things.
I: And has that influenced the way you think when you‟re choosing subjects?
S2: Yeah.
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I: How has that influenced what you think about music when you‟re choosing you‟re
subjects?
S2: Um, „cause, probably would have been the same in GCSE.
I: What do you reckon S3? How have you found music this year?
S3: It was alright, but like, „cause it, always play, like we‟re always basically in the
same groups and like we‟re always playing the same instruments and it‟s quite hard to
like make up your own tunes and chords „cause like so many of them have already been
made up.
I: MmmHmm. And has your experience of music this year influenced your subject
choices?
S3: Not really.
I: Not really. Are you ambivalent about it, music‟s not here nor there?
S3: Yeah.
I: What about you? (to S5)
S5: Um, boring, „cause I‟m not good at it.
I: And how‟s that made you think about doing music next year?
S5; If I‟m not good at something I‟m not going to do it, if I don‟t enjoy it.
I: Do you think if you‟re going for a job somewhere outside the music industry,
obviously if you‟re going for a job in the music industry it‟s a good qualification to
have, but outside of that, do you think employers look at music and think it‟s a good
subject to do?
S2&3: No
I: No? Why not?
S4: „Cause all um, not all jobs have music, like need music, but most jobs need maths
and..
I: What do the rest of you think?
S3: Music‟s just like an extra activity which you can do instead of doing like maths and
English and science, music‟s like just, there.
I: MmmHmm, what do you reckon?
S1: Ah, what was the question?
I: Do you think and employer would look at music and think it‟s a good subject to have?
S1: Um, not really, „cause it‟s not a skill you particularly need outside the music
industry.
S2: Um, depends what job really, „cause if you went into TV or had to do something
with music.
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I: Yeah. Do you think there are skills that you learn to music that you might be able to
apply more broadly outside of music to other jobs, other situations?
S2: No, not really
S1: Err, sometimes it could like, coordination sort of, being able to learn to read music,
things like that.
I: Do you think there are skills that you learn to music that you could apply to other
things?
S3: if you‟re quite good at playing piano you have to have like the fingers to like play it,
then it could come in handy for doing something with computers, with the keyboard and
stuff.
I: Ok, thanks a lot for that.
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Appendix BB
School D – Year 9 Interview 2
I: What do you think about when you‟re making subject choices, what do you take into
consideration?
S1: Um, I just for, I looked for it and if it says you don‟t have an idea about what you‟re
gonna do then choose an even choice which is like a language, technology, a creative
art…
S2 (g): Something you wanna do when you‟re older as well, I based it on…
S3&S4: Yeah.
S2: …like media studies and that.
I: What‟d you base your choices on?
S5: What I want to do when I‟m older.
S6: Just what subjects I enjoyed really, because if there‟s a subject I didn‟t like, there
was no point me doing it.
S1: Yeah but some subjects you‟re gonna need even if you don‟t like them.
S6: Well I‟m not planning to do anything with music so.
I: So when you were making subject choices and looking at music were you thinking
about “do I enjoy this subject” or were you thinking about whether you need it for a
career, or both?
S2: I wanted to do something in music when I‟m older but I haven‟t picked it „cause I
can‟t do music very well, „cause I can‟t like, play any instruments or anything. But I
wanna do signing when I‟m older but I didn‟t choose music.
I: If you were learning an instrument would that have influenced you to take music?
S2: Yeah, probably, I might be able to read notes and that but I can‟t.
S1: Yeah, I can‟t read notes either.
I: What about you guys, were you thinking about career or more about what you were
interested in?
S7: Both.
I: Both. Equally, or do you lean one way or the other?
S6: Just both.
I: What about people who choose to do music, why do you think they choose to do it?
S4: Um, they play an instrument and they enjoy it.
S2: Want to do something with music when they‟re older.
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I: What do you reckon? (to S3)
S3: Um, „cause they enjoy it.
I: Do you think music is a subject that employers look at and think is a good subject to
have a qualification in?
S4: Depends, „cause one of my, you know, one of my friends, ah, he can play the piano
just amazingly and some people are just naturally good at things and like (mumbles,
inaudible) stuff and (mumbles, inaudible) not particularly good at music.
I: Obviously if you go for a job in the music industry, music‟s a good subject to have…
S4: Oh yeah yeah, I would have it if I was doing that.
S3: Yeah.
S2: Depends what job it is, if it‟s like in a bank then they wont think anything of it, but
if it is something to do with music then they will.
S4: Like in a band or something you‟re gonna want to know music, to learn notes and
stuff if you want to be a singer, not really singer, but in a band and stuff playing an
instrument
S2: Mmm
I: What about if you‟re not looking at working in the music industry, is it a useful
subject to have?
S2: Well, a GCSE is a GCSE, if you think about it.
S4: It‟s just another qualification.
S2: If you want to do it, just gives you a qualification.
I: So when you‟re choosing your GCSE‟s, is it kinda what you were saying, it doesn‟t
matter, a GCSE is a GCSE as long as you‟ve got one…?
S4: Well, you don‟t wanna just choose subjects you don‟t like, or subjects that look easy
„cause sometimes they‟re not easy, like, media studies people thought that was just
watching TV and it‟s not, and movies and things, and apparently it‟s really hard, and
lots thought it was going to be easy.
I: Did you guys enjoy doing music in year nine?
S1: No
S4: It‟s been alright, quite interesting, the stuff we‟ve done.
S1: Just do…
I: Does it, sorry, what were you going to say?
S1: We just do like keyboards and that all the time, don‟t do any writing work.
I: Does how much you enjoy music influence your choices?
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S4: Yeah, I mean, writing down stuff in music is just not really music is it? That‟s when
you hear, when you actually get a good piece together and it sounds really good, and
that‟s what‟s good, sounds nice and stuff.
S2: We always work is groups as well, so obviously if you work well in groups, I just
didn‟t know about music „cause I can‟t read notes.
I: Is that the main reason why you didn‟t do it?
S2: Yeah, and also I don‟t play, I do enjoy it but I don‟t, I dunno.
S4; Some things you enjoy, some things you don‟t.
I: Do you enjoy music? (to S6)
S6: „s alright. it‟s better when you work with groups „cause then if you‟re by yourself
you don‟t know what you‟re doing and you‟re stuck, but if work with other people you
can help each other.
S4: Yeah, and other people have…
I: It‟s…
S4: Oh, sorry.
I: That‟s alright.
S4: And other people have a wider range of instruments, if some person played the
keyboards and the drums, and you‟re working together in a group, then you got like
linking instruments, so it‟s quite good, but.
I: Um, have, has your experience of music this year influenced you in any way to do or
not do music?
S7: Just didn‟t want to.
I: What about you? (to S3)
S3: Um, it‟s not got any to do with what I want to do later on
I: Yeah. Ok. Next group is waiting so thanks for coming along, appreciate it.
S4: „s alright.
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Appendix CC
School D – GCSE Music Interview 1
I: Why did you choose to do music?
S1: Because I got quite high grades like last year and I thought I‟d give it a go.
I: Yeah?
S2: Well with drums, I just saw someone playing it and it appealed to me, I just learnt it
ever since and the guitar, my friend played that and that, showed an interest in that as
well, so I took it up
I: Ok, when you were choosing GCSE music, what made you think it would be a good
subject to do.
S2: I just enjoy music in general and I want to increase my knowledge about other
genres rather than just, one
S1: It‟s practical so it‟s fun
I: Cool, and are you saying other subjects are not as fun because it‟s more…
S2: Yeah because this one like, you actually get to do stuff rather than just write all the
time
I: Yeah? What do you hope to do with it? A music career or is this just something you
do out of interest?
S2: I‟ve got a huge ambition to ah, actually, pursue the music industry and become a
professional band, „cause I‟m in two at the moment and I like, see them with potential
so, I really do hope to, become professional.
I: MmmHmm.
S1: I‟d like to be a primary school teacher so I kinda need music.
I: Ok, cool. Why do you think other people don‟t do music?
S2: they probably just lack interest in it or feel they‟re not good enough to do the
subject.
S1: Maybe they don‟t play an instrument.
I: (to S2) Do you think, obviously you‟re going to work in, or hope to work in, the
music industry, but do you think outside of that employers would look at GCSE music
and think it‟s a good subject…
S2: Yeah.
I: … it‟s useful?
S2: Yeah, it‟s very useful.
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S1: It depends I guess, on what the job is.
I: Why do you think they‟d say it‟s useful?
S2: Well, it‟s useful, it just, like most people, they focus, when they like music they say
it, but don‟t, they only focus on one genre, but, with an actual music lesson, there‟s like,
there‟s so many different genres, some I hadn‟t even heard of before, it increases your
knowledge vastly.
I: MmmHmm. You say it depends, what sort of jobs do you think music‟s no good for?
S1: Well, like office jobs I don‟t really see what it‟d do in office jobs but other things
where you like go out places and stuff, need to know about people, probably think it,
yeah.
I: So, you think music helps you know about people?
S1: Yeah, like, well, countries, if you‟re going to like Africa and stuff you know their,
music, and what they do.
I: So it helps with, cultural knowledge, that sort of thing?
S1: Yeah.
I: Ok, time, time to go. Thanks for that.
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Appendix DD
S1: „Cause I love it.
S2: Yeah, I..
I: Sorry, I missed that, because?
S1: Because I love it, it‟s interesting, I just think it‟s really expressive as well.
S3: I just thought it‟d be fun.
S2: I like enjoy playing the keyboard at home and stuff and like, compose and stuff, so,
yeah.
S4: It‟s fun.
I: And because you‟re on exchange or…?
S5 (English as second language): What?
I: Are you interested in music or are you just…
S5: Yes, um, I play music in France, um, with the school.
I: Yep. Why did you choose music in France?
S1: Oh, they don‟t choose it, everyone has to.
I: They don‟t? Everyone has to do it?
S1: Yeah.
I: Ok. What do you hope to get out of it, a career in music, or is it a hobby, interest?
S4: Hobby.
S2: Qualification „cause, qualification mainly.
I: What do you want to use the qualification for?
S2; I want to be in the (Mumbles, inaudible), and they only need five qualifications so I
just, I just chose, music, so.
S1: Qualification as well.
I: What do you need the qualification for?
S1: I‟m kind of thinking of becoming a music teacher, not sure yet
S6: um, I don‟t really know, like it‟d be good to like, get a job in music, but, I‟m not
really sure.
I: What about S4?
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S4: Ah, I don‟t really know, I just think it‟s really interesting, I don‟t know if I‟d do a
career in it or not, I think yeah, it‟s kinda a good hobby to get into because you can
kinda do in your spare time as well.
I: Obviously if you‟re looking for a job in the music industry then GCSE music‟s a good
thing to have, but what about employers in general, do you think they look at music and
think it‟s a good subject to have, a good qualification?
(Pause)
S2: Don‟t know.
S4: Not really, no not really.
I: Not really?
S6: Depends.
S1: It could be „cause it‟s quite a hard subject.
Most students: Yeah.
S2: Depends if they know what it‟s about, „cause they might think “oh, music, that‟s
easy” .
S3: If you‟re talking on the telephone they‟re not going to be bothered, but if you‟re
playing an instrument, or in a choir or something, then it is really important.
S6: Yeah, it depends kinda what you have to do in the job I think, „cause music involves
thinking about kinda the different lengths and all that kind of stuff, so it‟s quite good if
you, if you want a job where you have to think a lot about stuff, and add up things.
I: MmmHmm. (Pause). What about people who don‟t do music, why do you think they
chose not to?
S2: Bit boring, „s all theory.
S6: Yeah, it‟s quite a lot of work.
S1: Couldn‟t be bothered.
S4: Quite a lot of people are put off by theory, still people in our class are like,
sometimes like, whenever we do theory it‟s like “oh, theory” but it‟s stuff we nee to
know so it has to be done.
S2: They don‟t know how to shine.
S3: Or they don‟t play an instrument or something…
S6 & S4: Yeah.
S1: Or they‟re just like, shy or something…
S3: … So they feel as if they won‟t be able to do it.
S2: …‟Cause that‟s quite hard if you‟re shy.
I: Ok, when you leave school are you going to keep going with music?
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S4: Probably just a hobby or something.
S1: I‟ll keep playing the saxophone but I don‟t know if I‟d go for like A-Level or
anything.
S6: I‟d like to do A-Level but I don‟t know about after that.
I: Ok, times up. Thanks for that.
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Appendix EE
S1: „Cause I thought it‟d be fun
S2 „Cause I just like music basically, I didn‟t like it in the first three years but thought
might as well go for it.
I: That‟s interesting, you didn‟t like in years seven, in year eight or in year nine, but you
chose to do it in year 10?
S2: Yeah, and I really enjoy it, it‟s probably my favourite subject.
I: If you didn‟t like it in year seven, eight or nine, why did you choose to do it?
S2: Probably „cause, I just, I just felt, it just, I really loved music, like in general, but,
the first three years we hardly done anything so…
I: So, school music is separate from music in general?
S2: Yeah.
S3: Yeah
I: You just didn‟t like school music?
S4: „Cause in year seven, eight and nine, „cause there are a load of people who…
S3: Mess around.
S4: …just don‟t care about music, it‟s just like it, you didn‟t get anything done. But if
you do a load of music out school then, it influences you.
I: (To S5) Why did you do GCSE music?
S5: Um, I don‟t know, I, I‟ve been playing the violin since I was seven, think, sort of,
can.
I: Cool. What do you hope to get out of it?
S3: Career
I: Yeah? Like what?
S3: I dunno, something, like, bands, something init, something to do with a band, I
dunno, manager.
S1: Well I wanted to create music, DJ, so, that‟s probably main reason I done it, see
what other parts there is as well.
I: How does doing music assist you in your career then if you want to be a DJ?
S1: Well, then, one I could, if you have like a wider range of music to look at, and like,
we‟ve done, we‟ve done all types of music already…
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S3: Classical.
S1: … Everything, so you can, you can like have a look at what suits a certain thing to
like remix or something like that, so, that‟s probably helped me a lot and it‟s quite good
to, learn.
S3: You get influences from things you probably wouldn‟t have heard about.
S1: And I learned a lot as well, „cause in, like start of this year I couldn‟t even write
music now I can so…
I: Yeah? (To S4 and S5) Are you guys looking for a career in music as well or?
S5: Yeah.
S4: Ideally I just wanna go to like music college and be a performer.
I: So when you were making your subject choices was career an important thing to
consider?
S2: No.
I: No?
S5: Even if you‟re not certain if you‟re going to get a career out of it, because, you gotta
like what you do, y‟ know what I‟m saying?
S2: It‟s good to do, it‟s good to do because you can fall back on it.
S3: Yeah, but it is a lot of work.
S5: It‟s mainly interest, „cause if you gotta, music, if you gotta interest in music, then
you are studying about something you‟re interested in which is more than you do in
most subjects.
S3: But it‟s a lot of work.
S4 & S5: Yeah.
I: It is a lot of work isn‟t it?
S5: Yeah, and loads of people think it‟s doss.
I: Why do you think other people didn‟t do music?
S2: Because they don‟t wanna, like, do it, „cause they think might be hard work.
S5: „Cause it‟s boring.
S1: Not enjoy it.
S3: Maybe they didn‟t like the sort of way it was taught in the other years.
S4: That‟s why I think, „cause, everyone didn‟t see it how it was, like, now, but they
saw what it was in the other years and thought, y‟ know, can‟t be bothered, it‟s only, it‟s
only going to be banging a triangle and there‟s no point doing it, but it‟s more than that.
S2: We had new teachers as well so we weren‟t really sure about that.
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I: It‟s difficult though, because if you‟ve got people who only mess around in year
seven, eight, and nine it‟s hard to anything more than bang on a triangle. Do you think
employers would look at a GCSE in music and think that‟s a good subject to have done?
S3: Depends.
I: Obviously in the music industry, but just in general?
S3: Depends what they‟re employing you for.
S1: Depends what job you‟re going for, so.
I: Yeah, if you‟re going for a job in the music industry then yeah?
All students: Yeah.
S3: If you go for something like Waitrose they‟re not going to give a damm.
I: Why do you think that is?
S4: (Mumbles, inaudible)
S3: Huh? Well not I‟m just saying in general it‟s not going to have an effect, I mean in
some things it could maybe have a small influence, but I don‟t think it would in many
things
S4: It does seem to have a bit of a stereotype as a doss, which is kinda stupid.
I: Music does?
S4: Yeah
I: What sort of stereotype?
S4: That it‟s just, it‟s, it‟s just getting a triangle and banging it, and you could get a
GCSE out of it.
S3: There‟s a stereotype that there‟s no talent for it, but there really is.
S4: It is.
S1: You can do something about it if you mean to and it‟ll sound good, whereas in other
lessons you have to follow like a certain thing, but music you can just…
S4: There‟s a lot more freedom to do what you want in the lesson rather than just listen
and write down bits.
S3: But there‟s not massive freedom.
S4: No, but…
S3: There is…
S4: … You have to learn certain stuff but when you do like composing and stuff.
S3: Yeah.
I: Was that influential when you were thinking about what you were going to do?
S2: Ah, because you like…
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I: Do you think like that, or like if “if I go and do business studies really set stuff but if I
do music I‟ll have a bit more freedom?
S3: Yeah
S4: Mmm
S2: Yeah, when we have to do our own composition we have to think about working it
out properly and we have to concentrate on writing it out and make sure it fits, you have
to think about it more.
(Pause)
I: Good. All right, thanks for that.
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Appendix FF
I: Why did you choose music?
S1: There was no other options.
I: What do you mean?
S1: None of them are as interesting, like business studies.
I: Why do you find music interesting? When you say none of them are as interesting as
this, why do you find music more interesting?
S1: Cause you can like…
S2: (mumbles, inaudible)
S1…Play instruments.
I: What‟s the interesting bit about playing instruments?
S1: Can be fun.
S3: Satisfying.
S4: Yeah, pretty much… (Student mumbles)
S1: Hmm?
S4: You can express yourself.
S5:I want to be a DJ so I need music.
I: So that‟s your career choice?
S5: Yeah.
I: What do you get out of music that helps your Djing?
S5: Listening to like all the tapes helps my ear for music.
I: So you‟re saying it helps you listen more carefully….?
S5: Yeah.
S2:Well, I took it because um, well firstly because I got on really well with my old
teacher, she‟s actually my singing teacher as well, and I didn‟t know at the time that she
was going to leave, but I took it because she thought I should, and also because I‟ve
like, always been involved in music really, and I really love performing and I wanted to
be involved in the concerts and things, so I knew that I‟m… going to try „n‟ meet new
music teachers and stuff, so could be in the music department more.
I: Is anyone thinking about a career in music apart from Djing?
S3: Yep, I‟d…
S2: …Are you?
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S3: … I‟d like to be a secessionist.
S6: ah, I never knew that.
S3: I was gonna, I was gonna, get, to try and get some work experience, I got on to a
few people but they never wrote back to me so it‟s not going to happen.
I: Write to another one.
S2: I‟d like to sing locally, like for people that know me but I don‟t want to have it like
as a career or anything.
I: So it‟s more just like a…?
S1: …h\Hobby
I: …Hobby sort of thing.
S2: Yeah.
I: So when you chose music were you thinking about musical careers? What influenced
your choice – I need to do this subject because I want this for a career or…?
S5: I wasn‟t, I wasn‟t, When I chose it I wasn‟t thinking about doing it which is why I
took a (student mumbles)
S3: I thought if I wanted to be like a secessionist, I‟d have to get into a music school so
therefore I needed a CGSE in music.
S2: Hmmm. I want to go to drama, like a drama school, like a third of that‟s singing
anyway so although I don‟t think at day it‟s my career, like cause I‟m – I‟m just like
telling my life story – I want to be a theatrical makeup artist, but I want to be really
involved in theatre and I‟d love to go to drama school or academy cause I think it‟d be
really fun, so it‟s like well if I take music or drama it might kinda help anyway, kinda
thing.
I: Cool. What were your thoughts when you were choosing to do music?
S1: I thought it‟d be more fun than business studies or something like that.
I: Yeah? When you make your choices do you think about careers in general?
S1: Yeah.
S3: Yeah
S2: Yeah.
S5: Sometimes
I: Is that the main consideration or…?
S5: I just did stuff that… I thought I‟d enjoy.
I: So you went for stuff that you were going to enjoy?
S5: Yeah,
S1: Bit of both
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S5: Not much point having my career, it‟s gonna be crap, really, but I‟m gonna sing
so…
S1: there‟s no point taking PE Music Drama and Art if you want to be a barrister is
there.
S2: Hmmm. I took drama mainly cause I thought it‟d be a break from like all the
studying and stuff like in maths and that, and I knew we‟d be performing and stuff.
Yeah, that‟s the main reason why I took that.
I: Do you think music as an option is something that employers value?
S3: maybe, because then they know that you have like a social life and you don‟t just
work hard all the time and you have extra skills.
S1: what was the question?
I: Do you think that music, like a qualification in music, is something that employers
would value. Obviously if you‟re going into the music industry yeah, but in general.
S2: in general no, I don‟t think it is, because it‟s just like…
S5: … I think it…
S2:… it‟s not essential for most jobs.
S5: I think it shows you‟re not straight laced and boring.
S3: yeah it shows you take an interest in something
S2: yeah.
I: What were the extra skills you were talking about?
S3; Music, RS, stuff like that, they look for like other stuff so they‟re not just a straight
person, and they like, can do other things that they might need.
I: Such as?
S3: RS, say like you might need that if you have like some, have to go to a meeting with
some Muslims or something, and say, cook them Halal meat or something.
I: So you‟re kinda saying that it gives you a broader experience of…?
S3: yeah
S2: Sometimes it can be even like, like the thing where you get into university or not, or
like college, especially if it‟s like an art college, if they put on a performance every
year, and there‟s you and another candidate but you‟ve taken music and they know
you‟re interested in it they might choose you over the other candidate.
S3: Yeah, and that‟s how they separate, if like you‟ve all got the same grades, like you
all got A‟s and then someone‟s done music as well, then it‟d be better to have it.
S2: yeah.
I: Cool. Why do you think people don‟t choose music?
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S1: Boredom.
S4: Some people don‟t have a talent for it or they don‟t.
S2: Yeah, no musical talent.
S5: Some people, some people aren‟t very good at it and some people just don‟ enjoy it.
S4: Or they might not like the teachers.
I: Why do you think people find it boring?
S1: Ah, dunno…
S4: Cause it‟s not their thing
S3: Yeah well, getting into it‟s not very attractive like, reading music and that. Just
playing it again…
S1: Yes good point
S3: If you‟re not amazing at it right away some people just don‟t see the point.
I: OK. Thanks for that.
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Appendix GG
School D – Non-GCSE Music Interview 1
I: Why did you decide not to do music?
S1: Um, „cause I do music outside of school so I didn‟t see the point in wasting another
choice that could, help me with graphic design.
I: Why would it have been a waste of a choice?
S1: Um, „cause, I do it outside school so I could‟ve done graphic design which I‟m also
more, um, passionate about.
I: Ok.
S2: Didn‟t find it relevant to my career.
I: What do you want to do?
S2: Plumbing.
S3: I wanted to do other things.
I: Such as?
S3: Media studies, ah, history, stuff like that.
S4: Found it boring, didn‟t like it.
I: Why didn‟t you like music?
S4: „Cause I wasn‟t good at it, I couldn‟t do it.
S5: Didn‟t enjoy it and didn‟t need it.
I: What didn‟t you need it for?
S5: I want to be a nurse.
I: Ok.
S6: I did enjoy it but when I got up to like year ten, and all the other things like media
studies started coming around I thought I just might try them instead of doing music,
seeing as I done it in year nine.
I: When you say you don‟t need it, do you consider only what you need for your career
when you‟re making choices or do you think about something that might be interesting,
but not necessary to your career?
S5: What was that again?
I: When you make your choices, do you choose on career or what‟s interesting?
S5: I don‟t know, just what sounds good.
S1: Do it on what you enjoy.
I: What about you, you want to be a plumber…
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S2: Sort of.
I: …Were you making career choices or…?
S2: Sort of, yeah.
I: Specifically, or also about what you were interested in?
S2: Just career choices really.
S6: I didn‟t see the point in like, doing music if I wasn‟t going to get the grad if y‟ know
what I mean, if I wasn‟t going to get the grade there was no point doing it, then I could
pick something else I like and get the grade from.
I: Do you think employers think music‟s a useful subject?
S5: Depends what career
S1: Depends yeah
I: Obviously in the music industry yes, but outside the music industry?
S5: Not really.
I: Why‟s that?
S5: Dunno, just seems to be a bit of a doss subject.
S3: Say if you‟re like, one of the people that sits at a desk and like phones people up
you‟re not really gonna need to know about music are you.
S1: And you don‟t really have like an interview where they ask you if you have a music
degree in designing or.
I: MmmHmm, what do you reckon? (To S4)
S4: Just about the same really.
I: Why do you think some people choose to do music?
S2: Because they like it and they, y‟ know, they do it out of school and they, they get on
with doing it well and everything.
S7: Pardon?
I: Why do you think some people choose GCSE music?
S7: Because they like it and they‟re good at it.
I: Do you think it‟s a career choice or mainly an interest choice?
S7: Both.
S2: Yeah, both.
I: Do you reckon both or..?
S4: Yeah.
S1: Yeah.
I: Cool, do any of you play an instrument?
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S1: Yeah.
I: You do, out of school, what do you play?
S1: Guitar.
S6: Used to, electric guitar.
I: Did you do it up to year nine and quit this year?
S6: Nah, I done it when I was like seven and quit when I was like seven.
(Groups laughs)
S3: Used to play drums, but then I quite.
I: How long did you play drums for?
S3: Couple of months.
S7: I played like recorder in year two (laughs)
S3: Yeah, recorder as well, I was, professional at that.
I: Ok, better let you go. Thanks.
S3: Cheers.
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