Readers of this blog will recall #notationgate in Spring of 2017, a public debate about the role of Western (and other) musical notations in education and music-making in general, provoked by a polemical article by Charlotte C. Gill, in which she claimed that musical notation was ‘a cryptic, tricky language – rather like Latin – that can only be read by a small number of people, most of whom have benefited from private education’. This led to a major letter to The Guardian in response, which I and several others co-ordinated, with signatories from a range of leading musicians and musicologists (see here for the full list, and a range of links to other responses). I also wrote a follow-up article for The Conversation (‘The insidious class divide in music teaching’, 17 May 2017). It should be registered, though, that there was another group of mainly musicologists and some music educationalists who drafted another letter in response to ours, but which was never published, arguing that the first response was inflammatory, and insistence on musical notation discriminated against some with various learning and other difficulties. This was however never published.
In August of this year, Jon Henschen published an article for Intellectual Takeout (‘The Tragic Decline of Music Literacy (and Quality)’, 16 August 2018), with statistics showing just 11% of people (presumably in the US) could read music well, and linked this to wider declines in the quality of a good deal of popular music, citing a study (Joan Serra, Álvaro Corral, Marián Boguñá, Martín Haro and Josep Ll. Arcos, ‘Measuring the Evolution of Contemporary Western Popular Music’, Scientific Reports 2, article 521 (2012)) which demonstrated increasing homogeneity of content in terms of pitch, timbre and other parameters. Henschen also alluded to the domination of songwriting by Lukasz Gottwald of the United States and Max Martin from Sweden, suggesting that a lack of wider notational skills provided the opportunity for just a few individuals to dominate, with all that implies in terms of homogeneity.
Anyhow, Andrew Mellor has published another short piece for Classical Music magazine (‘Academics who dismiss musical literacy have confused recreation with study’, 10 October 2018), engaging more deeply with the major academic divides on the subject which did flare up a little during the original #notationgate and continued in responses to Henschen’s article. I have a lot of sympathy with his criticisms of the substitution of music sociology for the study of music (which is not to say that music sociology is not also an important discipline), and the dire consequences of reducing notational requirements in education. Here is a section from the article:
…one university academic went for the jugular: stave notation is relevant only to ‘the minority music of the elites’, he said, claiming notated music accounts for just ‘3.5% of all concerts and recordings’. Some Facebookers retorted: isn’t ‘the minority music of the elites’ a little incendiary and over-simplified? The academic responded calmly: studies repeatedly tell us that mostly wealthy people enjoy classical music and opera. […]The academic clarified his position: sure, students at university can learn western notation if they want to, but they might find it more useful to learn how to use music production software.
[…] The real reason some universities no longer require music students to be able to read music – and yes, you did read that correctly – is that it widens their potential market. It means lecturers don’t have to consider how best to maintain musical literacy skills in their students, nor take the time and effort required to test them. In some cases, it tells of a faction who wish to see ‘the minority music of the elites’ ousted from university music departments altogether.
Anyone who believes this intellectual debasement will flood higher education with new perspectives and alternative narratives is dreaming. Ditching notation is not about opening music education up, but about closing huge swathes of it off. There is hardly a western musical form in existence that cannot be analysed and contextualised using notation. More importantly, there are questions surrounding instrumental competence, not least for those graduates who proceed to teach practical music-making in schools.
Marketplace education has a lot to answer for, not least the redefinition of what it means to study a subject rigorously. Some universities will go to any length to pander to the whims and parameters of their student ‘customers’. We learned recently that a British university is to launch a joint degree in journalism and PR. If that doesn’t feel like a marketing department defining the content of a degree course, I don’t know what does.
The results of all this will be further inequality and division. The classical music scene in this country is arguably thriving like never before, but if musical notation becomes the preserve of private schools and Oxbridge, five centuries of music really will become the plaything of the minority. What’s worrying is that there are plenty who are willing that to happen, knowing it will lead to all-out extinction. And that’s when Jon Henschen’s nightmarish vision will come to fruition.
I am writing this piece during what looks like the final phase of the USS strike involving academics from pre-1992 UK universities. A good deal of solidarity has been generated through the course of the dispute, with many academics manning picket lines together discoverying common purpose and shared issues, and often noting how the structures and even physical spaces of modern higher education discourage such interactions when working. Furthermore, many of us have interacted regularly using Twitter, enabling the sharing of experiences, perspectives, vital data (not least concerning the assumptions and calculations employed for the USS future pensions model), and much else about modern academic life. As noted by George Letsas in the Times Higher Education Supplement (THES), Becky Gardiner in The Guardian, Nicole Kobie in Wired, and various others, the strike and other associated industrial action have embodied a wider range of frustrations amongst UK-based academics over and above the issue of pensions: to do with casualisation and marketisation in academia, the growth of bloated layers of management and dehumanising treatment of academics, the precarious conditions facing early career researchers (ECRs), widespread bullying, and systemic discrimination against female academics, those from minority groups, and so on. Not least amongst the frustrations are those about various metrics employed to judge ‘performance’ relating to the government Research Excellence Framework (REF, formerly the Research Assessment Exercise (RAE)), and new Teaching Excellence Framework (TEF).
In this blog post, I will outline a short history of the RAE/REF with relevant links, and collect together recent comments about it and suggestions for alternatives. For most of this (except a few places), I will attempt to outline the arguments of others (including my own expressed online) on either side, rather than try to unpack and critique them – this blog is undoubtedly a ‘survey text’ in the sense often dismissed by REF assessors, though hopefully should serve some useful purpose nonetheless! In an academic spirit, I would welcome all comments, however critical (so long as focused on the issues and not personalised towards any people mentioned), and will happily correct anything found to be erroneous, add extra links, and so on. Anyone wishing to make suggestions in these respects should either post in the comments section below, or e-mail me at the addy given at the top of this page.
One of the most important pieces of sustained writing on the RAE and REF is Derek Sayer, Rank Hypocrisies: The Insult of the REF (London: Sage, 2014), a highly critical book which carefully presents a large amount of information on its history. I draw extensively upon this for this blog, as well as the articles by Bence and Oppenheim, and Jump on the Evolution of the REF, listed below. A range of primary documents can be found online, provided by the Higher Education Funding Council for England (HEFCE) and its counterparts in the rest of the UK, on RAE 1992, RAE 1996, RAE 2001, RAE 2008, and REF 2014. These are essential resources for all scholars investigating the subject, though obviously represent the perspectives of those administering the system. Equally important are Lord Nicholas Stern’s 2016 review of the REF, and the 2017 key policy decisions on REF 2021, made following consultation.
There are many other journalistic and scholarly articles on the REF and its predecessors. Amongst the most important of these would be the following:
Michael Shattock, UGC and the Management of British Universities (Buckingham: Society for Research into Higher Education & Open University Press, 1994).
Valerie Bence and Charles Oppenheim, ‘The Evolution of the UK’s Research Assessment Exercise: Publications, Performance and Perceptions‘, Journal of Educational Administration and History 37/2 (2005), pp. 137-55.
Donald Gillies, ‘How Should Research be Organised? An Alternative to the UK Research Assessment Exercise’, in Leemon McHenry, Science and the Pursuit of Wisdom: Studies in the Thought of Nicholas Maxwell (Heusenstamm: Ontos Verlag, 2009), pp. 147-68.
Zoë Corbyn, ‘It’s evolution, not revolution for REF’, THES, 24 September 2009.
John F. Allen, ‘Opinion: Research and how to promote it in a university’, Future Medicinal Chemistry 2/1 (2009).
Jonathan Adams and Karen Gurney, ‘Funding selectivity, concentration and excellence – how good is the UK’s research?’, Higher Education Policy Institute, 25 March 2010.
Ben R. Martin, ‘The Research Excellence Framework and the ‘impact agenda’: are we creating a Frankenstein monster?’, Research Evaluation 20/3 (1 September 2011), pp. 247-54.
Dorothy Bishop, ‘An Alternative to REF 2014?’, Bishopblog, 26 January 2013.
University and College Union, ‘The Research Excellence Framework (REF): UCU Survey Report’, October 2013.
Paul Jump, ‘Evolution of the REF’, Times Higher Education Supplement (THES), 17 October 2013.
Peter Scott, ‘Why research assessment is out of control‘, The Guardian, 4 November 2013.
John F. Allen, ‘Research Assessment and REF’ (2014).
Teresa Penfield, Matthew J. Baker, Rosa Scoble, Michael C. Wykes, ‘Assessment, evaluations, and definitions of research impact: A review’, Research Evaluation 23/1 (January 2014), pp. 21-32.
Derek Sayer, ‘Problems with Peer Review for the REF‘, Council for the Defence of British Universities, 21 November 2014.
‘Telling stories’, Nature 518/7538 (11 February 2015).
Paul Jump, ‘Can the research excellence framework run on metrics?’, THES, 18 June 2015.
HEFCE (chaired James Wilsdon), ‘The Metric Tide: Report of the Independent Review of the Role of Metrics in Research Assessment and Management’, 8 July 2015.
James Wilsdon, ‘The metric tide: an agenda for responsible indicators in research’, The Guardian, 9 July 2015.
Paul Jump, ‘Is the REF worth a quarter of a billion pounds?’, THES, 14 July 2015.
J.R. Shackleton and Philip Booth, ‘Abolishing the Research Excellence Framework’, Institute of Economic Affairs, 23 July 2015.
James Wilsdon, ‘In defence of the Research Excellence Framework’, The Guardian, 27 July 2015.
Alex Jones and Andrew Kemp, ‘Why is so much research dodgy? Blame the Research Excellence Framework’, The Guardian, 17 October 2016.
James C. Conroy and Richard Smith, ‘The Ethics of Research Excellence’, Journal of Philosophy of Education 51/4 (2017), pp. 693-708.
A Short History of the RAE and REF to 2014
There were six rounds of the RAE, in 1986, 1989, 1992, 1996, 2001 and 2008, with the gaps between each becoming progressively larger. The REF has run just once to date, in 2014, with the next round scheduled for 2021.
The first ‘research selectivity exercise’ in 1986 was administered by the University Grants Committee (UGC), an organisation created after the end of World War One. As noted by Bence and Oppenheim, there was a longer history of the development of Performance Indicators (PIs) in higher education through various metrics, but definitions were unclear, so this exercise was viewed as an attempt to convert other indicators into a clear PI, which it was thought would add efficiency and accountability to university funding through a competitive process, in line with other aspects of the Thatcher government’s policies.
The 1986 exercise involved just the traditional universities, and only influenced a small proportion of funding. It consisted of a four-part questionnaire on research income, expenditure, planning priorities and output. Assessment was divided between roughly 70 subject categories known as Units of Assessment (UoAs). There were wider criticisms of the 1986 exercise, to do with differing standards between subjects, unclear assessment criteria, and lack of transparency of assessors and an appeals mechanism. As such it was much criticised by academics, and reformed for 1989, in which ‘informed peer review’ was introduced for assessment, following wide consultation. This year, a grading system from 1 to 5 was also introduced based upon national and international criteria, 152 UoAs were used, sub-committees were expanded, and details of two publications per member of staff submitted were required, as well as information on research students, external income and plans. It was used to allocate a greater proportion of funding. There were still many criticism, to do with the system favouring large departments, a lack of clear verification of accuracy of submissions, and late planning causing difficulties for institutions preparing their submission strategies.
Other important changes affecting higher education took place during this early period of the RAE, including the abolition of tenure by the Thatcher government in 1988, then the 1992 Further and Higher Education Act , which abolished the university/polytechnic distinction, so that the latter institutions could apply for university status, and then be included in the RAE. The Act also established four funding councils for England, Scotland, Wales and Northern Ireland to replace the UGC, and made research funding allocated entirely on a selective basis, replacing previous systems of funding based upon student numbers. There had been no formula funding for research in polytechnics, so the new system radically altered the balance, allowing them to compete openly with the more traditional institutions for such funding.
RAE 1992 then brought major new changes, with institutions able to select which ‘research active’ staff to put forward, a longer timescale allowed for research in the arts and humanities, improved auditing processes, and reduced assessment down to 72 UoAs. 192 institutions participated, covering over 43,000 full-time equivalent researchers. Practically all university research funding from this point was determined by the exercise, based upon a quality rating, the number of research-active staff, amount of research income and some consideration of future planned activity. Departments which were given an assessment of 1 or 2 would not receive any funding. The result was that the older universities received 91% of the available funding, new (post-1992) universities 7% and colleges 2%. 67% of departments were ranked 1, 2 or 3. This led to objections that the system was biased in favour of the older and larger universities, which had supplied many of the panelists for certain UoAs. Some results were challenged in court, and a judge noted a need for greater transparency.
Changes for RAE 1996 involved the submission of four publications for selected research-active staff, and stiffer requirements on a cut-off date for outputs being placed in the public domain. Rating 3 was divided into 3a and 3b, and an extra 5* rating introduced, while each panel was required to make clear their criteria for assessment. 60 subject panels, with chairs appointed by the funding councils on the basis of recommendations of previous chairs, and other panel members selected on the basis of nominations from various learned societies or subject associations. These considered 69 UoAs on the basis of peer review. This was also the first RAE which allowed performance submissions for musicians (see below), which was encompassed in the following definition of ‘research’ provided by the funding councils:
‘Research’ for the purpose of the RAE is to be understood as original investigation undertaken in order to gain knowledge and understanding. It includes work of direct relevance to the needs of commerce and industry, as well as to the public and voluntary sectors; scholarship*; the invention and generation of ideas, images, performances and artefacts including design, where these lead to new or substantially improved insights; and the use of existing knowledge in experimental development to produce new or substantially improved materials, devices, products and processes, including design and construction. It excludes routine testing and analysis of materials, components and processes, eg for the maintenance of national standards, as distinct from the development of new analytical techniques.
* Scholarship embraces a spectrum of activities including the development of teaching material; the latter is excluded from the RAE.
One of the major problems encountered had to do with academics moving to other institutions just before the final date, so those institutions could submit their outputs, as well as early concerns about the power invested in managers to declare members of staff ‘research-inactive’ and not submit them. Furthermore, it was found that outcomes were biased towards departments with members on assessment panels. Once again, no funding was granted to departments graded 1 or 2. This time, however, 43% of departments were ranked 4, 5 or 5*, a rise of 10% since 1992.
The changes to RAE 2001 involved panels consulting a number of non-UK-based experts in their field to review work which had already been assigned top grades. Sub-panels were created, but there were also five large ‘Umbrella Groups’ created, in Medical and Biological Sciences; Physical Sciences and Engineering; Social Sciences; Area Studies and Languages; and Humanities and Arts. Some new measures also acknowledged early career researchers, some on career breaks, and other circumstances, and a new category was created for staff who had transferred, who could be submitted by both institutions, though only the later one would receive the resulting research funding. Expanded feedback was provided, and electronic publications permitted, though different UoAs employed different criteria in terms of the significance of place of publication and peer-review. 65% of departments were now ranked 4, 5 or 5*. 55% of staff in 5 and 5* departments were submitted, compared to 23% in 1992 and 31% in 1996.
The Roberts review of 2002 expressed concern about how the whole exercise could be undermined by ‘game-playing’, as institutions were learning to do. Furthermore, there were concerns about the administration costs of the system. A process was set in place, announced by Gordon Brown, to replace the existing RAE (after the 2008 exercise) with a simpler metrics-based system. As detailed at length in Sayer, despite major consultations involving many important parts of the UK academic establishment, an initial report and proposals of this type were quickly changed to a two-track model of metrics and peer review, then the whole plan was almost completely abandoned.
RAE 2008 itself had fewer major changes. Amongst these were a renewed set of assessment criteria, especially as affected applied, practice-based and interdisciplinary research, a two-tiered panel structure, with sub-panels undertaking the detailed assessment and making recommendations to main panels, who made broader decisions and produced a ‘quality profile’ for a department, in place of the older seven-point system. Individual outputs were now given one of five possible rankings:
4*: Quality that is world-leading in terms of originality, significance and rigour
3*: Quality that is internationally excellent in terms of originality, significance and rigour but which nonetheless falls short of the highest standards of excellence
2*: Quality that is recognised internationally in terms of originality, significance and rigour
1*: Quality that is recognised nationally in terms of originality, significance and rigour
Unclassified: Quality that falls below the standard of nationally recognised work. Or work which does not meet the published definition of research for the purposes of this assessment
By 2008-9 (before the results of RAE 2008 took effect) about 90% of funding went to just 38 universities, but from 2009 48 institutions shared this amount (after 15. As Adams and Gurney have noted, the weighting of the 2008 exercise meant that the difference between obtaining 2* and 3* was greater than that between 3* and 4*, or between the previously 4 to 5 or 5 to 5* rankings. 54% of 2008 submissions were ranked either 3* or 4*, 87% 2*, 3* or 4*.
The plans for post-2008 exercises were finally published in September 2009 by HEFCE, indicating a new name, the REF, but otherwise the system was much less different to those which preceded it than had been assumed. Now the ranking was to be based upon three components: ”output quality’ at 60%, ‘impact’ at 25%, and ‘environment’ at 15% (later revised to 65%, 20% and 15% respectively). Outputs were to be assessed as before, though for sciences, citation data would informed various panels. ‘Environment’ was assessed on the basis of research income, number of postgraduate research students, and completion rates. But the most significant new measure was ‘impact’, reflecting the desires of the then Business Secretary Lord Mandelson for universities to become more responsive to students, viewed as customers, and industry, defined as ‘an effect on, change or benefit to the economy, society, culture, public policy or services, health, the environment or quality of life, beyond academia’. Each department was to submit a general statement on ‘impact’ as a whole, and could submit between 2 and 7 impact ‘case studies’, depending upon the number of research-active staff submitted to the REF. This was a huge shift, and restricted to impact which could be observed during the cycle between exercises, and derived from research produced when the academic in question was already at the submitting institution.
Other changes including a major shift in the number of UoAs and sub-panels to 30, and just four main assessment panels. One single sub-panel would assess outputs, environment and impact. However, the same number of experts were involved as before.
Since REF 2014, the Stern Report has informed significant changes to the system, in part intended to avoid the potential for gaming. Following further consultations, it has been announced that a minimum of one output and a maximum of seven from each member of a department will be submitted. Further measures have been introduced to ensure that most short form text-based submissions must be ‘Open Access’, available freely to all, which generates its own set of issues. Further plans for REF 2028 indicate that this will also apply to long form submissions such as monographs; the situation for creative practice outputs currently appears not to have changed, but this situation may be modified. HEFCE was abolished at the end of March 2018, and replaced in England by the new Office for Students (OfS) and Research England, the actions of which remain to be seen.
The RAE and REF have caused huge amounts of resentment and anger amongst academics, and produced sweeping changes to the nature of academic work as a whole. Sir Peter Swinnerton-Dyer, architect of the first RAE (interviewed in Jump, ‘Evolution of the REF’) argued against many of the subsequent developments, and with every reform to the system, institutions would put greater pressure on individuals, especially those in junior positions, leading to some of the awful cases of chronic stress, mental illness and bullying which have been detailed recently on social media.. Many report that REF submissions constitute the only research valued by their institutions. A Head of Department (HoD) or other REF supervisor who achieved a high REF scoring could expect to win favour and further promotion from their management; in practice, this often meant cajoling and bullying of already-overworked staff with threats and intimidation about whether they would maintain their job, and and little favour of support shown to those who might not produce the right number of 3* or 4* outputs. Those dealing with mental health issues, trying to balance impossible teaching and administrative workloads (all fuelled by the Mandelsonian idea of the student-as-consumer) and research demands with major care commitments for children or the elderly, were often driven to breakdowns or to quit academia; some cases of this are documented below. Academics ceased, in the eyes of many managements, to be human beings towards whom they had a duty of care as their employers, but merely as potential cash cows, to be dispensed with if there was any pause in this function.
Gaming of the system continued in many forms from RAE 1992 onwards. Many institutions would award 0.2 FTE or short-term contracts in the run-up to the RAE/REF, so that institutions could profit from particular individuals’ outputs (not least ECRs who might have a monograph and were desperate for any employment record on their CVs). All of this could mean that rankings were unrepresentative of the research carried on by the majority of a department’s full-time, permanent staff. Research projects taking more than 6-7 years were greatly disadvantaged, or at least those embarked on them would still have to produce four other world-leading outputs in during a RAE/REF cycle, in many institutions, sometimes in order to retain a position at all. Callous HoDs or other REF managers could dismiss some work which had occupied academics for years (whilst maintaining hefty teaching and administration workloads) as merely 2*, on the grounds of its being ‘journalistic’ (often it was relatively readable), a ‘survey text’ (if it drew upon a wide range of existing scholarly literature), or the like, often with crushing impacts on the academics concerned.
The period of the RAE’s history saw other sweeping changes to Higher Education in the UK. Between 1963 and 1970, numbers of young people attending university had doubled following the Robbins Report, but then remained essentially static until the late 1980s, when over a decade numbers rose from 17% in 1987 to 33% in 1997 (see Ann-Marie Bathmaker, ‘The Expansion of Higher Education: Consideration of Control, Funding and Quality’, in Steve Bartlett and Diana Burton, Education Studies: Essential Issues (London: Sage, 2003), pp. 169-89). Since then numbers participating have continually risen, to a peak of 49% in 2011. This was an unrepresentative year, the last before the introduction of trebled tuition fees, which were a disincentive for students to take a gap year, followed by a concomitant dip of 6% (to 43%) in 2012, then a further rise to 49% in 2015, exceeding the pre-2011 peak of 46%, thus confounding (at least to date) those who predicted that increased fees would lead to decreased participation.
Sayer points out that there are few equivalents for the REF elsewhere in the world and none in North American or Europe. Furthermore, few have sought to emulate this system. Some of those cited below argue that most of the known alternatives (including those which preceded the introduction of the RAE) may be worse, others (including myself) cannot accept that this is the ‘best of all possible worlds’. I would further maintain that the human cost of the REF should not only be unacceptable, but illegal, and that only a zero tolerance policy, with criminal charges if necessary (even for the most senior members of management) could stop this. Dignity at work is as important in this context as any other, and little of that is currently on display in UK academia.
Creative Practice and Non-Text-Based Outputs
An issue of especial relevance to those engaged in performing-arts-based academic disciplines such as music, theatre, or dance (and in many cases also creative or other forms of writing, the visual arts, and so on) is that of outputs submitted to the REF in the form of creative practice. By this I mean specifically outputs in the form of practice (i.e. practice-as-research), as opposed to those simply documenting or critically analysing one’s own or others’ practice. I have previously blogged extensively on this subject, following the publication of a widely read article by John Croft (‘Composition is not Research’, TEMPO 69/272 (April 2015), pp. 6-11) and replies from me (‘Composition and Performance can be, and often have been, Research’, TEMPO 70/275 (January 2016), pp. 60-70 ) and from Camden Reeves (‘Composition, Research and Pseudo-Science: A Response to John Croft’, Tempo70/275 (January 2016), pp. 50-59), and a subsequent public debate on the subject. Amongst the issues raised, some of them familiar from wider debates on practice-as-research which are referenced in my own article, were whether creative practice on its own can stand as research without requiring additional written documentation (not least the now-familiar 300-word statements which can be regarded as deemed essential by the REF, as I argue in response to a claim made by Miguel Mera in that debate), whether creative work which most resembles ‘science’ is regarded as more ‘research-like’, an implicit claim unpacked by Reeves (as one colleague put it to me, ‘if it has wires going into it, it’s more like research’), with all this implies in terms of (gendered) views of STEM versus the humanities, or whether certain types of output are privileged for being more ‘text-like’ than others (scores versus recordings, for example) and thus some practitioners are at an advantage compared to others (here I give some figures on the relative proportions of composers and performers in different types of music departments). Attitudes to the latter vary hugely between institutions: at least one Russell Group department was happy to award a chair to a performer whose research output consists almost exclusively of performances and recordings, mostly as part of groups, while at others, especially those without strong representation of the performing arts amongst managements, such outputs are hardly valued at all and are unlikely to be submitted to the REF, nor win promotion for those who produce them.
Another issue is that of parity between creative practice outputs and other types. Many creative practitioners will never have had to submit their work to anything like peer review in the manner known for articles and monographs, and questions arise as to, for example, what number or type of compositions or recordings, visual art works or dance performances should be viewed as equivalent to the production of a monograph, when assessing promotion and the like? Music departments in which half or more of the faculty is made up of practitioners (usually composers) may have limited experience of peer review, or for that matter of wider academic debates and discourses, and some might argue that they are able to get ahead in their professions with considerably less time and effort than their equivalents who produce more traditional outputs. This is, I believe, a very real problem, which then maps onto questions of the significantly different requirements for producing different types of creative practice outputs, and needs serious consideration if there is to be any semblance of fairness within such academic departments.
Sayer also notes how many works in the humanities gain impact over an extended period of time, giving works of Walter Benjamin, Michel Foucault and Benedict Anderson as examples, and also notes how many can remain intensely relevant and widely cited long after publication, in distinction to a science-based model of cumulative and rapidly-advancing knowledge, whereby a certain passage of time leads to some outputs being viewed as outdated.
Over the last few days, various academics have been commenting on the REF, mostly on Twitter. I attempt to collect the most important of these here.
One of the first important threads came from geographer Julia Cupples (@juliecupples79). In this thread, she called the fundamental status of REF classifications ‘ludicrous’, argued how problematic it would be to direct research exclusively for REF and elite British academics, called the demands of ‘originality’ for a single publication ‘masculinist and colonial’, argued that female authors and those from ethnic minorities are at a disadvantage, not least because of less likelihood of citation. The ranking of junior colleagues by senior ones was labelled ‘one of the most toxic mechanisms in place in the neoliberal academy’, making a mockery of most other means of achieving equality, and so that the REF works against attempts to ‘dismantle discrimination, build collegiality, prevent academic bullying, and decolonize our campuses’. This thread was widely tweeted and praised, inducing others to share similar stories, with Cupples responding that the REF is ‘a means to discipline, humiliate and produce anxiety’. Not all agreed, with Germanist Michael Gratzke (@prof_gratzke) arguing that the peer review element for arts and humanities was a good thing, and that as the scheme would not disappear, one needed to deal with it reasonably. More respondents were sympathetic, however. Urban Studies Professor Hendrik Wagenaar (@spiritofwilson) cited the REF as a cause of ‘the demeaning command-and-control management style that has infected UK universities, and the creation of the soulless apparatchiks that rise up through the ranks to take every ounce of pleasure out of research and writing’, and how it prevents ‘a climate of psychological safety, trust, mutual respect, and togetherness; a place where it is safe to take risks’. Molly Dragiewicz (@MollyDragiewicz) asked whether metrification fetishises ‘engagement’, though a different view was taken by Spanish musicologist and novelist Eva Moreda Rodriguez (@TheDrRodriguez), in response to some queries of my own to Cupples. Cupples had said that it would be ‘deeply problematic if we started writing for REF and a panel of elite British academics rather than for our research communities’, to which I asked about the definition of a ‘research community’ and why they should be exempt from external scrutiny and issues of parity with other (sub-)disciplines, also pointing out that both the Chicago School of Economics or some groups of racial theorists would have fitted this category. Cupples maintained that such communities were not groups of academics, but Moreda asked in return how ‘we avoid academic work being judged on the basis of whether it reinforces& confirms the basic tenets & prejudices of said research community?’, as well as whether such community engagement was already covered through impact assessment?
Around the same time, drama lecturer Kate Beswick (@ElfinKate) blogged on ‘REF: We need to push back against a system that has lost its way’. Whilst accepting the need for assessment of academic research, she noted how layers of bureaucracy were created to game the system, the growth of internal practice REFs, the pressure to produce outputs simply to satisfy the REF rather than for any other value, and the new pressures which will follow implementation of open access policies. This, argued Beswick, would force scholars to find ‘REF compliant’ publishers, which would compromise academic objectivity, rigour, reach and international credibility. However, she did not suggest any alternative system.
However, the first major thread in defence of the REF came from historian David Andress (@ProfDaveAndress). Andress argued that the RAE/REF enabled quality research funding to go to post-1992 institutions, that every alternative had worse biases, and that the distributive mechanism was so wide that it could almost be called ‘a relic of socialism’, concluding with the confident claim that ‘If you get rid of it, you will definitely get something worse’. This was sure to produce many responses. Clinical psychologist Richard Bentall (@RichardBentall), who was a panelist in 2008 and 2014, argued that the process was ‘conducted with absolute fairness and integrity’, but the problem was with the interpretation of it by universities (a point which many others would also evoke in other threads). Bentall noted how his own former institution gave an edict telling no researcher to publish 2* papers, which constitute 80% of world science, so that the REF ‘has become an end in itself’. I myself responded that many places have concluded that research is of no value unless beneficial to the REF, also raising the question (about which I am most definitely in two minds) as to whether we need to accept that some institutions need to be focused on teaching rather than research, rather than all scrambling over a sum of government money which is unlikely to increase. Some subsequent interactions have however made me rethink this. I also noted how some assessors have little knowledge of anything beyond their own narrow and underdeveloped fields, but which nonetheless are felt necessary to be represented on panels, noted (as would many others) how a similar process is not used in many other countries, and was sceptical about any ‘better than any conceivable alternative’ argument. Andress responded that he was not saying that, but that better alternatives which can be conceived cannot be easily put into effect, and also that, in light of the expansion of the sector, ‘RAE/REF is on the positive side of the ledger’, and shouldn’t simply be dismissed. In a series of tweets, I also expressed some questions about whether all aspects of the expansion had been positive, without corresponding increases in the level of secondary education, which can have a net levelling effect when the Oxbridge/Russell Group model is applied to institutions with very different types of student bodies, from this arguing that REF was a part of a process which pretended there were not major differences between institutions, and causes huge pressures for academics at institutions where the teaching demands are higher for students with less inclination towards independent study. These are highly contentious arguments, I realise, which I want to throw out for consideration rather than defend to the last.
Moreda also responded to Andress, taking a medium view. In a thread, she acknowledged the potential of the REF for management to use to bully academics and the inordinate use of resources, but noted that it had enabled her to gain an academic position in the UK, which would otherwise have been very difficult without an Oxbridge pedigree, having a foreign accent, with little teaching experience at that point, and so on. However, she did also temper this by noting that the ability to produce REFable publications relied upon her being ‘able-bodied and without caring duties’, and that a continued discourse was required in order to consider how to accommodate others.
I asked REF defenders whether REF panellists ever read more than a few pages of a monograph, because of the time available, or listened carefully to audible outputs (rather than reading the 300-word statements which can act as spin)? Moreda responded by framing the issues as whether the REF or equivalent can ever be free of corruption, and whether such a system needs to exist at all. She was ambivalent about both questions, but also disliked the implied view of some REF-opponents that ‘research shouldn’t be subjected to scrutiny or accountability’. Whilst agreeing on this latter point, I argued that REF does not really account for parity between disciplines and sub-disciplines, some with vast differences of time and effort (especially where archival or fieldwork are involved) required for producing an equivalent output. I proposed that no output should receive 3* or 4* where authors ignore relevant literature in other languages, and that the standards of some journals should be scrutinised more. Moreda essentially agreed with the need for wider factors to be taken into account, whilst (in somewhat rantish tone!) I continued that examiners needed a wide range of expertise across multiple sub-disciplines, and asked how in historical work like hers and mine (I work on music in Nazi and post-war Germany, she works on music in Franco’s Spain and amongst Spanish exiles) how many would know if we were making up or distorting the content of the sources? Knowing of a time when there was a leading REF assessor who could not read music, I asked how they could judge many music-related outputs, and both Moreda and I agreed there could be merit in using non-UK examiners, while I also suggested that a department should be removed from the REF when one of their own faculty members is on a panel, because of the potential for corruption.
Theatre and Performance/Early Modern scholar Andy Kesson (@andykesson) posted a harrowing thread relating to his early career experiences at the 2014 REF, for which his outputs were a monograph and an edited collection. In the lead-up, he was informed that these were ‘”slim pickings” for an ECR submission’, and pushed to get them out early and develop other publications. This came at a time when Kesson’s father died and he was forced to witness his mother in the late stages of a long-term fatal illness. Whilst deeply upset by these experiences, Kesson tried to explain that he would struggle to fulfil these additional publication demands, and was told this work was non-negotiable. After the death of his mother, her own father also became extremely ill, and Kesson was forced to do his work sitting next to his hospital bed. When offered a new job, his previous institution threatened legal action over his ‘slim’ REF submission, leading to a dispute lasting two years. Many were upset to read about the callousness of Kesson’s former institution. Social identity scholar Heather Froehlich (@heatherfro) responded that ‘academics are the most resilient people on earth, who are willing to endure so much yet still believe in their absolute singular importance – only to be told “no, you are wrong” in every aspect of their professional lives’. However, one dissenting voice here and elsewhere was that of Exeter Dean and English Professor Andrew McRae (@McRaeAndrew), who cited Wilsdon’s defence of the REF mentioned earlier, and argued that no QR money would ever be given without state oversight, asking whether a better model than the REF existed? Engineering Professor Tanvir Hussain (@tanvir_h) argued that the problem was with Kesson’s institution’s interpretation of REF rules rather than the rules themselves, a theme which others have taken up, on how the ambiguities of the REF are used as a weapon for favouritism, bullying and the like.
Geographer Tom Slater (@tomslater42), having read many of the worst stories about people’s experiences with the REF, called out those who serve on panels, making the following claims:
A) you are not being collegial
B) you are appallingly arrogant if you think you can offer an evaluation of the work of an entire sub-discipline *that has already been through peer review*
C) you are not doing it because somebody has to
D) you are not showing “leadership”
E) you are contributing to a gargantuan exercise in bringing UK academia into international disrepute
F) you are making academia an even more crappy for women, minorities, critical thinkers, and great teachers
G) if you all stood down, HEFCE would have massive problem
Various people agreed, including in the context of internal pre-REF assessments. Another geographer, Emma Fraser (@Statiscape) suggested simply giving any REF submission a 4*, a suggestion Slater and sociologist Mel Bartley (@melb4886) endorsed, and was made elsewhere by novelist and creative writing lecturer Jenn Ashworth (@jennashworth). Linguistics scholar Liz Morrish (@lizmorrish) was another to focus on the behaviour of individual institutions, maintaining that ‘the
#REF was NEVER intended to be an individual ranking of research. It was intended to give a national picture and be granular only as far as UoA. What you are being asked to do is just HR horning in on another occasion for punishment’. Slater himself also added that ubiquitous terms such as ‘REFable’ or ‘REF returnable’ should be abandoned.
Paul Noordhof (@paulnoordhof) asked in this context ‘Suppose there were no REF, or equivalent, linked to research performance. What would stop the University sector achieving efficiency savings by allowing staff numbers to reduce over time and doubling teaching loads? Especially for some subjects’, but Slater responded that collective action from academics (as opposed to the more common action supporting and promoting the REF) would stop this. Slater also responded directly to McRae’s earlier post, including the statement ‘Careful what you wish for’, by arguing that ‘most would wish for a well funded sector where we don’t have to justify our existence via an imposed, reductive, compromised, artificial assessment system that destroys morale. Careful what you lie down for’.
Italian social scientist Giulia Piccolino (@Juliet_p83), responding to my retweeting of Slater’s original thread, called herself ‘the last defender of the REF’, which she felt to be ‘a bad system but the least bad system I can imagine’, a similar position to that of Andress. In response, I suggested that a better system might involve the submission of no more than two outputs from any department, allowing much more time to be spent on peer review. Piccolino noted that in other countries where she had worked, appointments depended simply on one’s PhD supervisor (a point she also made in response to Cupples), that scholars stop researching after receiving a permanent job (but still try and control junior figures) (something I have observed in some UK institutions), and so argued that while the REF could could be improved and humanised, it seemed a break on arbitrary power as encountered elsewhere. Piccolino’s returned elsewhere to her theme of how the transparency and accountability of the REF were an improvement on more corruptible systems, with which many UK academics were unfamiliar.
The debates with McRae continued, after his response to Cupples, in which he called the REF ‘an easy target’ and suggested that its demise would leave academics reliant on grants (a view endorsed wholeheartedly by Piccolino), claimed that many would prefer to replace peer-review with metrics, and that impact produced some important activity. Legal academic Catherine Jenkins (@CathyJenkins101) asked if things were so bad before the introduction of the RAE in 1986, to which McRae responded that he did not work in the UK then, but saw the problems of an Australian system in which publications in ‘a low-achievement environment’ in which many had not published for years, did not help a younger academic get a job. Modern Languages scholar Claire Launchbury (@launchburycla) argued that the modern Australian system (despite, not because of, its own ‘Excellence in Research for Australia’ (ERA) system for research evaluation) was practically unrecognisable in these terms. In response to a query from Marketing lecturer Alexander Gunz (@AlexanderGunz) relating to the lack of a REF equivalent in North America, McRae responded that that system was radically different, lacking much central funding, but where ‘state institutions are vulnerable to the whims of their respective govts, so in that respect greater visibility/measurability of performance might help’. Cupples herself responded to McRae that ‘The vast majority of universities in the world have no REF (and neither did British universities not so long ago) and yet research gets done and good work gets published’. Historical sociologist Eric R. Lybeck (@EricRoyalLybeck), a specialist in universities, echoed the view of Swinnerton-Dyer in hearkening back to the ‘light touch’ of the first RAE, which ‘would be an improvement’, and also argued against open access, saying this ‘distorts and changes academic practices’.
Film lecturer Becca Harrison (@BeccaEHarrison) posted her first REF thread, detailing her disillusion with UK academia as a result of the system, noting that she was told when interviewing for her first post-PhD job that her research ‘had to be world leading’ (4*) in order to get an entry-level job, and feeling that even this might amount to nothing because ‘there are 100 ECRs with 4* work who need my job’. This led her to support calls to boycott preparations for the REF as part of continuing industrial action. Another thread detailed common objections to the REF, then in a third thread, Harrison detailed her experiences with depression and anxiety attacks during her PhD, leading to hair loss and stress-induced finger blisters making it impossible to type, as well as early experiences with a poorly-paid teaching fellowship together with a non-HE job to pay bills, working 18 hour days in order to produce a monograph and endlessly apply for jobs. In her first full-time job, Harrison encountered bullying, misogyny from students, a massive workload and obsessiveness about production of 4* outputs. This did not lead to a permanent contract, but a new job offer came with huge requirements just for grade 6/7. She rightly said ‘please, people implementing REF, people on hiring committees, please know that this is what you’re doing to us – and that when we’ve done all this and the system calls us ‘junior’ and treats us like we don’t know what we’re doing we will get annoyed’.
Some further questions were raised by several on the new rules on open access, for example from Politics scholar Sherrill Stroschein (@sstroschein2), who argued that this would ‘just make book writers produce best work outside of REF’. But this important debate was somewhat separate from the wider question of the value of the REF, and what system might best replace it, which I decided to raise more directly in a new thread. There were a range of responses: musicologist Mark Berry (@boulezian) argued for a move away from a model based upon the natural sciences, and claimed that ‘Huge, collaborative grants encourage institutional corruption: “full economic costing”‘, while Moreda alluded to an article from 2017 about the possibility of a ‘basic research income’ model, whereby everyone had a certain amount allocated each year for research, so long as they could prove a reasonable plan for spending it (David Matthews, ‘Is “universal basic income” a better option than research grants?’, THES, 10 October 2017, though engineer David Birch responded that this would ultimately lead to another system similar to the REF). She saw how this would be insufficient for most STEM research and some in the humanities, but this could then be supplemented by competitive funding, as is already the case. Berry made a similar point to Moreda, also noting how much money would be saved on administration, whilst Cupples also agreed, as did sociologist Sarah Burton (@DrFloraPoste). Sums of up to around £10K per year were suggested; Burton also added that larger competitive grants should be assigned on a rotating basis, so that those who have had one should be prevented from holding another for some years, to create openings for post-graduate researchers (PGRs) and ECRs. I responded that this might exacerbate a problem already prevalent, whereby time-heavy species of research (involving archives, languages, old manuscripts, etc.) would be deterred because of the time and costs involved; Burton agreed that ‘slow scholarship’ is penalised, especially ethnographic work (this type of point was also made by archaeologist Rachel Pope (@preshitorian), comparing time-intensive archaeological work with ‘opinion pieces’ judged as of similar merit), while Moreda suggested that some ‘sliding scale’ might be applied depending on whether research involves archives and the like, though acknowledged this could result in ‘perverse incentives’.
I also noted that one consequence of Burton’s model would be a decline in the number of research-only academics, but that it would be no bad thing for all to have to do some UG core teaching (with which Cupples agreed). Burton’s response was ambivalent, as some are simply ‘not cut out for teaching in a classroom’, though I suggested similar problems can afflict those required to disseminate research through conferences and papers, to which Burton suggested we also need to value and codify teaching-only tracks for some. Moreda was unsure about the proposal to restrict consecutive grants, especially for collaborative projects, though also suggested that such a model might free up more money for competitive grants. Noting earlier allegations of careerism, etc., Berry argued that one should not second-guess motivations, but there should be space for those who are not careerists, and that it would be helpful for funds to assist with language or analytical skills or other important things.
I asked who might have figures for (i) no. of FTE positions in UK academia at present (to which question I have since found the figure of 138,405 on full-time academic contracts, and 68,465 on part-time academic ones, in 2016-17); (ii) current government spending on research distributed via REF (the figure for 2015-16 was £1.6 billion), and (iii) the administrative costs of REF (for which a HEFCE report gives a figure of £246 million for REF 2014). This latter figure is estimated to represent roughly 2.4% of a total £10.2 billion expenditure on research by UK funding bodies until REF 2021, and is almost four times that spent on RAE 2008. Nonetheless, its removal would not make a significant difference to available research funds. If one considers the ‘basic research income’ model (in the crudest possible form) relative to these figures, an annual expenditure of £1.6 billion would provide £10K per year for 160,000 full-time academics, which would be a very large percentage. if the part-time academics are assumed to average 0.5 contracts.
An arts and humanities scholar who goes by the name of ‘The Underground Academic’ (@Itisallacademic) (hereafter TUA) felt the basic income model would prevent a need to apply for unnecessary large grants, and also expressed personal dislike for collaborative projects, a view which runs contrary to orthodox wisdom, but was backed by Moreda and Berry. I agreed and also questioned the ‘fetishisation of interdisciplinary work’ as well. TUA responded with a pointer to Jerry A. Jacobs, In Defense of Disciplines: Interdisciplinarity and Specialization in the Research University (Chicago: University of Chicago Press, 2013), which is a sustained scholarly critique of interdisciplinarity, so often assumed to be an unquestionable virtue. Burton also asked that employers and funders value book-based research more, and expressed frustration that her own work on social theory is deemed ‘easy’, to which I added an allusion to a common situation by which reading-intensive work, often involving carefully critical investigation of hundreds of books, can be dismissed as entailing a ‘survey text’.
There were a range of other more diverse responses. Cupples also argued that the New Zealand system, the Performance-Based Research Fund (PBRF), whilst imperfect, was ‘a thousand times better than the REF’; Cupples and Eric Pawson authored ‘Giving an account of oneself: The PBRF and the neoliberal university‘, New Zealand Geographer 68/1 (April 2012), pp. 14-23. Amongst the key differences Cupples outlined were individual submissions, crafting of one’s own narrative, own choice of most suitable panel, own choice of nominated outputs, information on how one did oneself (not available to others), and greater support from departments.
Piccolino returned to her earlier questions about the potential for corruption in non-REF-based academic cultures, and asked ‘which system guarantees that people are hired for being committed, dedicated researchers vs being friends, friends of friends, products of elite institutions etc?’. Following Cupples mention of the PBRF, Piccolino also mentioned the Italian abilitazione nazionale, providing criteria for associate and full professors, but she suggested it was of little effect compared to patronage and the need for compliant researchers. This system was, according to Piccolino, closer to the REF than the German Habilitation. She also drew attention to a scathing article on corruption in Italian academia (Filippomaria Pontani, ‘Come funziona il reclutamento nelle università’, Il post, 11 October 2016).
Social scientist Gurminder K. Bhambra (@GKBhambra) pointed out the intensification of each iteration of the REF, with the current post-Stern version more individualised and pernicious than before. Medievalist James T. Palmer (@j_t_palmer) argued that REF is not the primary means of distributing research funding, because the majority is distributed through competition, though the REF may determine university funding in general (a profound observation whose implications need wider exploration).
Medieval and early modern historian Jo Edge (@DrJoEdge) asked why, in a REF context, peer-reviewed book chapters are seen as inferior to journal articles, to which Andress replied that (a) some believe book peer-review is less rigorous, as chapters are pre-selected and reviewed collectively; (b) the chapters will have less impact since less easy to find through the usual search engines (a point which Burton said she had also heard); (c) old-style elitist prejudice.
A sardonic exchange proceeded between three musicians or musicologists : composer Christopher Fox (@fantasticdrfox, himself a REF 2014 panelist), Berry, and me. Fox felt that ‘the current UK research model is counterproductive in the arts’ and that ‘Competition is a useless principle around which to organise our work’. I asked what it would mean to rank the work of leading late-twentieth-century composers such as Pierre Boulez and Jean Barraqué, Luciano Berio and Luigi Nono, Brian Ferneyhough and Robin Holloway, or the playing of pianists Aloys Kontarsky and David Tudor, or clarinettists Harry Sparnaay and Armand Angster, as 3* or 4*, especially if non-musicians were involved in the process? Fox also referenced US composers Terry Riley and Pauline Oliveros, and as how one can fix criteria which account for the disparities in their aesthetic intentions, while Berry pointed out that Anton von Webern (almost all of whose works are short in duration) would ‘never have been able to “sustain his invention over a longer time-span”‘, alluding to a common criteria for composition. Conversely, I asked if Erik Satie’s Vexations (which consists of two lines of music repeated 840 times), or the music of La Monte Young (much of it very extended in duration) should ‘have been regarded as streets ahead of most others, if submitted to REF?’, in response to which musicologist (French music expert) Caroline Potter (@carolinefrmus), author of several books on Satie, alluded to an upcoming ‘REF-related satire’ which ‘seems like the only sane way to deal with the business’. I asked about whether all of this contributed to a ‘a renewed, and far from necessarily positive, concept of the “university composer” (or “university performer”)’ (terms which have often been viewed negatively, especially in the United States), when academia is one of the few sources of income. Fox felt that this culture encouraged ‘the production of compositions that only have significance within academia’. I also raised the question of whether academics looked down on books which could be read by a wider audience, which Berry argued stemmed from envy on the part of those with poor writing skills.
Independently, cultural historian Catherine Oakley (@cat_oakley) echoed the views of Kesson and Harrison, as regards the impact of REF upon ECRs, who need ‘monograph + peer-reviewed articles’ to get a permanent job, yet start out after their PhDs in ‘precarious teaching posts with little or no paid research time’.
Elsewhere, industrial relations expert Jo Grady (@DrJoGrady) advocated boycott of preparations for the REF and TEF. In a series of responses, some asked how this could be done, especially when individuals are asked to submit their own outputs for internal evaluation. Further questions ensued as to whether this might lead to some of the worst (non-striking) academics undertaking the assessment.
Sayer himself (@coastsofbohemia) also contributed to these Twitter exchanges. In a first thread, he alluded to a passage from his book: ‘In a dim and distant past that is not entirely imaginary (and still survives for the shrinking minority of faculty members in N America) research was something that academics undertook as a regular part of their job, like teaching … Universities … expected their staff to publish … and academics expected universities to give them sufficient time to pursue their research … There was no *specific* funding for time for research but … the salary was meant to support and remunerate a staff member’s research as well as his or her teaching … [whereas today] Because the only govt support for universities’ “research infrastructure … and pathbreaking research …” comes through QR funding and QR funding is tied to RAE/REF rankings, any research that scores below a 3* necessarily appears as unfunded. The accomplishment of the RAE/REF … is to have made research *accountable* in the literal sense of turning it into a possible object of monetary calculation. This makes the REF a disciplinary technology in Foucault’s sense … which works above all through the self-policing that is produced by the knowledge that one’s activities are the subject of constant oversight. Both inputs (including, crucially, academics’ time) and outputs (as evaluated by REF panels and monetized by the QR funding formula) can now be *costed.* The corollary is that activities that do not generate revenues, whether in the form of research grants or QR income, may not count in the university’s eyes as research at all.’ In response to a question from me about his feelings on the argument that RAE/REF had helped post-1992 institutions, Sayer argued that there were other alternatives to no funding or REF-based funding, alluding to some of the suggestions in his article on peer review listed earlier. In a further thread, he summarised these arguments: the relative merits of peer review vs. metrics was ‘not the issue’. Sayer asserted that ‘Peer review measures conformity to disciplinary expectations and bibliometrics measure how much a given output has registered on other academics’ horizons’, and that neither of these are a reliable basis for 65% of REF ranking. Instead, he suggested that more weight should be allocated to research environment and resources, research income, conference participation, journal or series editing, professional associations, numbers of research students, public seminars and lectures, all of which are measurable.
Literature and aesthetics scholar Josh Robinson (@JshRbnsn) joined the discussions towards the end of this flurry of activity. Coming into one thread, he noted that internal mock-REF assessments meant ‘that the judgements of powerful colleagues with respect to the relative merits of their own & others scholarship can never be held to account’, since individual scores are not returned to departments, also arguing that this would be exacerbated in REF 2021. In response to McRae, Robinson added his name to those advocating a basic research income, which McRea said would technically be possible, but in practice ‘would redistribute tens of millions per year from RG to post-92 unis. Try that on your VC!’. Robinson’s response was to quote McRae’s tweet and say ‘the manager at a Russell Group insitution shows what he’s actually afraid of.’ But in response to a further statement in which Robinson thought that what his VC ‘would be afraid of would be a generally good thing’, McRae suggested that this might simply lead VCs to make redundancies. Robinson pointed out that an allocation by FTE researcher would provide an incentive to hire more people with time for research. Robinson has indicated that he might be able to make available a recent paper he gave on the REF, which I would gladly post on here.
But Morrish, responding that McRae’s claim that the REF is ‘the price we pay, as a mechanism of accountability’, retorted that ‘the price we pay’ is ‘a) Evidence of mounting stress, sickness and disenchantment among academics REF-audit related; b) Ridiculous and career-limiting expectations of ECRs’.
A few other relevant writings have appeared recently. Socio-Technical Innovation Professor Mark Reed (@profmarkreed) and social scientist Jenn Chubb (@JennChubb) blogged on 22 March calling on academics to ‘Interrogate your reasons for engaging in impact, and whatever they are, let them be YOUR reasons’, referencing a paper published the previous week, ‘The politics of research impact: academic perceptions of the implications for research funding, motivation and quality’, British Politics (2018), pp. 1-17. Key problems identified included choosing research questions in the belief they would generate impact, increased conflicts of interest with beneficiaries who co-fund or support research, the necessity of broadening focus, leading to ‘shallow research’, and more widely the phenomenon of ‘motivational crowding’, by which extrinsic motivations intimidate researchers from other forms, and a sense that impact constitutes further marketisation of HE. Chubb and Richard Watermeyer published an article around this time on ‘Evaluating ‘impact’, in the UK’s Research Excellence Framework (REF): liminality, looseness and new modalities of scholarly distinction’, Studies in Higher Education (2018), though I have not yet had chance to read this. Historian Tim Hitchcock (@TimHitchcock) also detailed his experiences of the RAE/REF from the late 1980s onwards, first at North London Polytechnic. Hitchcock argues that:
I have always believed that the RAE was introduced under Thatcher as a way of disciplining the ‘old’ universities, and that the 1992 inclusion of the ‘new’ universities, was a part of the same strategy. It worked. Everyone substantially raised their game in the 1990s – or at least became more focussed on research and publication.
Hitchcock goes on to detail his experiences following a move to the University of Hertfordshire after RAE 1996. He notes how hierarchies of position (between Lecturer, Senior Lecturer, Reader, Professor) became more important than ever, and recruitment was increasingly guided by potential RAE submissions. However, Hitchcock became more disillusioned when he took a position at the University of Sussex after REF 2014, and saw how the system felt ‘more a threat than a promise’ in such places, in which REF strategy was centrally planned. He notes how ‘The bureaucracy, the games playing and the constantly changing requirements of each new RAE/REF, served a series of British governments as a means of manipulating the university system’, the system was increasingly rigged in favour of ‘old’ universities, and made life increasingly difficult for ECRs, who had to navigate ever-bigger hurdles in order simply to secure a permanent position. Hitchcock concludes that:
Higher education feels ever more akin to a factory for the reproduction of class and ethnic privilege – the pathways from exclusion to success ever more narrowly policed. Ironically it is not the ‘neo-liberal’ university that is the problem; but the ‘neo-liberal’ university dedicated to reproducing an inherited hierarchy of privileged access that uses managerialism and rigged competition to reproduce inequality.
He does not write off the potential of the REF to change this, and appears to see the particular ways it is administered and used (and viewed by some in ‘old’ universities) as the problem.
There is more to say about the Thatcherite roots of the RAE, her disdain for the ‘old’ universities, especially after her alma mater, Oxford University, refused in 1985 to award her an honorary doctorate, and what the 1992 act meant in terms of a new vocational emphasis for higher education in general, to which I may return in a subsequent blog post.
It is very clear that the majority of Academic Twitter are deeply critical or bitterly resentful of the RAE/REF, and most believe reform to be necessary. Editorial director of the THES, Phil Baty (@Phil_Baty) offered up a poll asking whether people thought the REF and RAE had been positive or negative; the results were 22% and 78% respectively (and further comments, mostly making similar points to the above, followed). The arguments pro and contra, as have emerged over the weekend can be summarised as follows:
Pro: provides some transparent external scrutiny and accountability; enables funding for post-1992 institutions; enables some to find work who would find it impossible in other systems dominated by patronage; is a better model than any other which has been discovered; employs peer-review rather than metrics.
Contra: invests too much power in managers; creates bullying and intimidatory atmosphere at work through REF preparation mechanisms; makes job market even more forbidding for ECRs; highly bureaucratic; very costly; dominates all research; time-consuming; discriminatory; sexist; colonialist; makes few allowances for those with mental health, care, family, or other external commitments; uncollegiate; employs assessors working outside their area of expertise; uses too many UK academics as assessors; marginalises 2* work and book chapters; fetishises collaborative or interdisciplinary work; falsely erases distinctions between institutions; relies on subjective views of assessors; artificially bolsters certain types of creative practice; is not employed in almost any other developed country; employs mechanisms more appropriate that STEM subjects than arts, humanities and social sciences; has increased pressure on academics with every iteration; causes huge stress and sickness amongst academics.
Stern has not been enough, and there is no reason to believe that those making the final decisions have much interest in the welfare of lecturers, or for that matter the creation of the best type of research culture. Major reform, or perhaps a wholly new system, are needed, and both government and the OfS and Research England should listen to the views expressed above. And new employment laws are urgently needed to stop the destruction of academics’ lives which is happening, regularly as a result of the REF.
The cover story of today’s Sunday Times indicates a plan on the part of the UK government to reduce fees in higher education.
According to the story:
He [Education Secretary Damian Hinds] revealed that future fees would be determined by “a combination of three things: the cost [to the university] to put it on, the benefit to the student and the benefit to our country and our economy”.
Ministers expect this to lead to dramatic cuts in fees for arts and social science courses, which universities have expanded because they are the cheapest to run and make them the most money.
Under the plans, universities will be told to offer: more two-year degrees; sandwich courses, where students spend time in the workplace; and “commuter courses”, where they live at home to cut costs.
Various television interviews today with Hinds and also with Universities Minister Sam Gyimah have done nothing to dispel such suggestions, though precise details are vague. A statement from the Prime Minister is promised tomorrow, though it is unclear how much has yet been decided, how much will be the outcome of a review.
There are various outcomes I could envisage, few of them likely to be positive for those working in the arts and humanities in British universities. The items on the following list are not mutually exclusive.
- A re-introduction of the pre-1992 divide (though ministers will be at pains to stress how different it is), whereby the sector will once again divide into a series of universities in the traditional sense (probably the Russell Group and a handful of others) and others offering more vocational and technical courses (most of those which became universities after 1992 and maybe some others as well). This will be spun as entailing a new level of support for technical education, with the second group of institutions intended to be akin to German Technische Universitäten. The latter institutions will receive little or no support for research, and most lecturers will be on teaching-only contracts. The government money thus saved will be used to finance a cut in some tuition fees.
- A push for many degrees, especially in the arts and humanities, to be able to be undertaken in two years, delivered by a mixture of lecturers on teaching-only contracts (whose increased teaching burden would leave little time for any research), casual academic staff without permanent contracts, and postgraduates.
- A limitation of practically all government research money to STEM (Science, Technology, Engineering, Mathematics) subjects, with nothing for the arts and the humanities, though the social sciences may keep some.
- A variant of 3, in which all or the bulk of arts and humanities research money is only available to those in Russell Group institutions.
- The introduction of a direct link between ’employability’ (as measured by the Teaching Excellence Framework) and the level of fees which an institution is allowed to set.
- An insistence that the majority of academic jobs be teaching only. Having a research position will then become one of the most sought-after things in HE.
Most of these measures, or some variants thereof, will be designed to enable the government to cut fees without having to pledge any more money for HE. I believe strongly in the abolition of tuition fees and re-installment of maintenance grants for all, but realise at present this is unlikely to be on the cards (even with a Labour government which pledges to abolish fees, but will be hit by the dire economic consequences of a Brexit they are doing little to stop).
The outlook for the arts is bleak, and especially for degrees in performing arts such as music, theatre, dance, or various types of spatial arts, which include a practical element requiring significant resources for appropriate facilities. Already, as a result of the introduction of the Ebacc (English Baccalaureate), there was a five-fold fall in the numbers of pupils taking arts subjects at secondary school in 2015-16, while other evidence points to a special fall in take-up and provision of music. When combined with other likely problems relating both to recruitment and access to research funding following Brexit, this will put various music and other arts departments in a highly precarious position, as some already are.
The arguments for the employment benefits of arts and humanities degrees have been rehearsed often, as for example in response to politicians such as former Conservative Education Secretary Nicky Morgan dismissing arts and humanities subjects and urging pupils at school to concentrate on STEM if they want a better career. I do not wish to dwell on these further here, not because I do not believe them to be true, but because I resent the debate always being framed in such narrowly utilitarian terms. Rather, I want to ask why many – including some in academia – have lost such faith in the value of the study of the arts and humanities as an end in itself, and are submitting to terms of reference which will always place them at a disadvantage?
In many continental European universities, there are battles to save rare subjects in the face of declining student numbers, but at least some measures are being taken to prevent these from extinction. It would be nice to imagine that the UK government (or the opposition) were backing similar measures, but evidence of that is in short supply. I wonder in how many other developed countries one would find a vice-chancellor of a major university declaring the irrelevance of the study of sixth-century history, as the late Patrick Johnston, of Queen’s University Belfast, did in 2016. I refuse to accept that the study of early medieval (or ancient) history is somehow automatically less ‘relevant’ than modern history – or that the study of Guillaume de Machaut is less ‘relevant’ than that of Madonna. Any measure of the relevance of history in proportion to the temporal remoteness of the period in question ultimately undermines the case for the study of history at all. There has also been, in the UK, a marked decline in foreign language degrees, no doubt linked to a decline in their study in schools. It is dispiriting and more than a little arrogant when those in Britain no longer feel it important to engage with any of the world’s many other languages.
There have been, and will be for a long time, heated debates about the value to individuals and society as a whole of various types of art, and especially regarding their purported humanising or civilising potential. Overwhelming evidence exists from the fascist era that individuals with a love for and firm schooling in high culture could still commit crimes against humanity. At the very least, this renders automatic assumptions of such culture’s civilising potential impossible to maintain. But one need not subscribe to the views of Matthew Arnold (themselves more complex and nuanced than sometimes credited) in order to believe that a society with only minimal support for and education in the arts and humanities to be one which is deeply impoverished.
So what should be included in teaching and research of these disciplines? I would argue that at the very least, students should be encouraged to explore not only the forms of culture that they would encounter anyhow, but also those of different times and places, not to mention less familiar or commercially successful genres. Such culture can benefit from being examined in its social, historical, geographical, political, ideological contexts, without in any way neglecting its specifics and technical details, which are not merely the by-product of such contexts. The relationships between different cultural forms (between music and theatre, between theatre and performance art, between literature and film, just to give a tiny few obvious examples) are also greatly important, as are the relationships between culture and the intellectual environment of its time/place/social milieu, the societal functions of various cultural forms, the nature and demographics of those who partake of such culture and their responses (i.e. the study of reception), the economic situation of cultural production, the role of changing technology, and much else.
Yet so often I encounter the dismissal of many of these things, including by some academics, in ways which mirror government ideologies, despite being presented in somewhat different language. In the case of my own field, music: government emphasis on STEM subjects is mirrored in increasing emphasis on technological skills in music over other varieties of musical study and musicianship (and in the case of research, favour bestowed upon anything which has a contemporary technological dimension), as if musical study is somehow more acceptable when it has some of the veneer of science. Positions become available for the teaching of commercial music, or functional music for another commercial medium (such as popular film or video games), more frequently than those requiring expertise in a historical field, or in musical cultures outside of the Western world. I was recently informed by one Professor of Theatre that historical study of that discipline has all but disappeared except in Russell Group institutions (though am interested to hear of any evidence to the contrary).
I accept that some of this is pragmatic, borne of desperate attempts to recruit and maintain students who have less and less of a foundation in music and the arts at primary and secondary school than ever. But I am dismayed at how many embrace rather than tolerate this situation. There was a time when the study of popular music (see this debate from two years ago on this blog) could reasonably be argued to inject increased diversity into rather rigid curricula. At best, this can entail the study of many different popular musics from various times and places, critical interrogation of the concept of the ‘popular’, consideration of various social contexts, means of production and distribution, not to mention relationship to other cultural traditions, languages, and so on. But when it means limiting a good deal of musical study to Anglo-American popular music of a restricted period (essentially that music which is already familiar to students), then the net effect for diversity is negative rather than positive. Ethnomusicologists (see another debate on this blog) eager to decry not only relatively traditional approaches to teaching Western art music, but also older approaches to their own disciplines which involved Western scholars spending considerable amounts of time in remote places, absorbing as best as they can the language, cultural practices, and so on, might reflect upon how precarious their own discipline might become if there is less of a place or welcoming environment for those interested in such things. The more musical study becomes simply about the application of a selection of methods derived from sociology or cultural anthropology to fields of musical activity close to home, the less reason there will be for institutions to support music as a separate field of study. The sociology and anthropology of music are vitally important sub-disciplines with multiple intellectual trajectories of their own, but if those engaged with them are housed solely in sociology and anthropology departments, they will then be in direct competition for students, funding and positions with the rest of those fields.
More widely, in many fields of cultural studies, especially the populist varieties which, as I have argued in some recent papers, are rooted in the work of the Birmingham School and especially that of Stuart Hall, commercial utility is equated with relevance, musical engagement is viewed as just another consumer activity, and research can amount either to conducting focus groups, or dressing up familiar informal chat about popular culture with a modicum of jargon. Any deeper critical engagement with popular taste, the latter empirically measured at one particular time and place, is dismissed as elitism. This amounts in many ways to an eschewal of arts education itself, and can lead to rather patronising ways of patting students and ‘the masses’ on the back simply for having the tastes they do, rather than encouraging them to venture beyond their comfort zones.
I do believe, after working in HE for 15 years (in multiple institutions), that most students who study arts subjects at university do so after having read some literature, heard or played some music, seen and acted in some theatre, looked at or produced some visual art, etc., and care about these and want to know more. They often seek help and guidance to navigate an overwhelming range of available culture, and also learn technical skills so as to be able to engage with this more incisively. Certainly not all will become equally drawn to all the manifold areas of study, methods, or emphases involved, nor could any realistically study all in detail in the limited time available for an undergraduate degree (for which I think we should be looking towards four- rather than two-year degrees, ideally) which is why we offer some degree of elective options. But I do believe it is important, indeed vital, that educators attempt to broaden students’ horizons, encourage them to explore beyond what they already know, and also consider the familiar from unfamiliar angles. Those educators, with years of experience in their own fields, are in a position to facilitate all of this. Not through spoon-feeding, teaching-to-test, or rote learning, but introducing what to students will be a plurality new ideas, new cultural forms, new contexts, and encouraging them to consider these critically.
I also realise this type of humanistic approach may not be attractive or feasible to some potential students, and this situation is unlikely to change without wider changes in primary and secondary education. With this in mind, I would not rule out questions as to whether the removal of the pre-1992 divide has been wholly beneficial, and whether a need to maintain the pretence that all degree courses are roughly equal just entails a race to the bottom for all. But technical colleges are not universities in the traditional sense, and it benefits nowhere to pretend otherwise, as argued well by Marxist scholar Terry Eagleton:
Just as there cannot be a pub without alcohol, so there cannot be a university without the humanities. If history, philosophy and so on vanish from academic life, what they leave in their wake may be a technical training facility or corporate research institute. But it will not be a university in the classical sense of the term, and it would be deceptive to call it one.
Neither, however, can there be a university in the full sense of the word when the humanities exist in isolation from other disciplines. The quickest way of devaluing these subjects – short of disposing of them altogether – is to reduce them to an agreeable bonus. Real men study law and engineering, while ideas and values are for sissies. The humanities should constitute the core of any university worth the name. The study of history and philosophy, accompanied by some acquaintance with art and literature, should be for lawyers and engineers as well as for those who study in arts faculties.
I would not like to live in a narrow, utilitarian, technocratic society in which there is little wider societal interest in other times and places, in all the questions which the humanities raise, or one in which such interest and knowledge is limited to the upper echelons of society. Nor a society in which art has no meaning other than as a form of commercial entertainment, as some right-wing politicians in the UK have been urging for many years (see the notorious 1990 Westminster speech by then-Tory MP Terry Dicks, and the spirited and witty response by then-Labour MP Tony Banks). And I doubt that this type of society would be attractive to many, especially not those working in arts and humanities fields. But if many of them are not prepared to defend the ideals of the arts and humanities, acting instead as advocates for narrowly conceived notions of social ‘relevance’, defined in terms of being contemporary, technocratic, and generally restricted to the place and milieu of them and/or their students, what are the chances of any meaningful opposition to governments who would happily slash most of these?
Universities, the arts and the humanities, are not just means to ends but valuable in their own right. Cultures and cultural histories are far from unblemished things, to say the least, but it would still be negligent in the extreme to let them fade into oblivion. And allowing students to retreat into the comfort zone of the already-familiar is damaging to global citizenship. In some ways, those who advocate such an approach to education are already doing the Brexiteers’ work for them.
Last week Anna Bull published a response (‘Towards Cultural Democracy’, July 10, 2017) to the range of responses on this blog (‘Response to Stella Duffy on the arts, elitism, communities’, July 6, 2017) to an article in the Guardian by Stella Duffy (‘Excellence in the arts should not be defined by the metropolitan elite’, June 30, 2017). I and several other writers wanted to respond to Bull’s arguments, especially where they refer to specific points each of us have made. The replies are below.
It’s curious that Bull and others complain about my calling this ‘Stalinist’. What drove me to the Zhdanov/Stalin comparison was the populist anti-elitism, the idea that ‘the people’s art’ is good and ‘the elite’s art’ is bad. The means of achieving that are different; for the Soviet variant, the artist has a particular role in serving the people but remains a specialist. The idea that everybody is equally artistic and that even training is suspect seems more akin to the Cultural Revolution. What it is decidedly not is democratic.
Eva Moreda Rodriguez
I initially thought the main issue with Duffy’s article was its conceptual vagueness. I didn’t doubt for a second – and still don’t – that Duffy has good intentions and formidable energy, and that many people derive lots of enjoyment from taking part in the Fun Palaces initiative. My initial comment on the article was aimed at asking for clarification: what exactly is different about Fun Palaces (and similar initiatives), when most arts organizations in the country are doing outreach in one way or another? I felt this was not clearly articulated in Duffy’s original article, but it is crucial if she and Fun Palaces’ supporters want to present what they do as something innovative that can bring about change.
In her blog post, Anna Bull provides some clarification. Now, I understand that Bull is not talking on behalf of Stella Duffy and of Fun Palaces, so her answer does not exactly address what I was asking, but it is a very welcome contribution nevertheless.
I would like to reiterate that I regard many of the community-led approaches that Bull describes as admirable, and I am sure they are doing inestimable work in terms of giving access to the arts (both in product and process) to people who would not have got involved otherwise.
Still, I am slightly troubled by the either/or divide implied in Bull’s response: outreach initiatives from publicly funded arts organizations (bad) versus community-led initiatives (good). Although as I mentioned before, Bull does not represent Stella Duffy, Fun Palaces or the “everyday creativity” movement, incidentally, this either/or mentality was also present in Duffy’s original article, and it is even more obvious in two of her articles about Fun Palaces I have discovered since:
And yet, it seems to me the reality is more complex than that, and I wonder whether the “everyday creativity” community (broadly understood) acknowledges this systematically. Here’s a couple of examples and situations I can think of:
-*Some* of the individual events described on the Fun Palaces website sound very similar to *some* of the events organized by arts and education institutions (e.g. museums, universities, etc.). Would a random person off the street walking into one of these events without knowing anything about their genesis be able to tell the difference? Would they feel automatically empowered by the former and disempowered by the latter?
-Some arts institutions work very closely with individuals or groups from the community when delivering their outreach programmes, e.g. Scottish Opera with communities in the Highlands and Islands, so clearly some events are difficult to classify as either/or.
I was one of the contributors to Ian Pace’s collection of responses to Stella Duffy’s article in the Guardian. You mention me by name in your response to Ian here. You say two things about what I said. First, you attribute to me the concern that ‘cultural democracy’ (I’ll come back to this term shortly) will ‘produce an awful lot of bad art, and no good art’. Secondly, you attribute to me (as well as Björn Heile) ‘the assumption that democratising culture leads to abandoning aesthetic judgement’.
I’m afraid both of these attributions are wrong. I was not expressing the concern that ‘cultural democracy’ will produce a lot of bad art and no good art. I was not assuming that ‘democratising culture’ leads to abandoning aesthetic judgement.
Here is the whole of the response of mine which Ian Pace shared:
The argument for democracy in politics is not that it leads to things being done better, but that it’s part of the goal of politics that everyone should be a part of it. Similarly, there’s no reason to think democracy in art will lead to better art; and it’s not obviously a goal of art itself that everyone should be a part of it – even if that’s something we all might want for other (most obviously political) reasons. What this piece presents is a political goal presented as an artistic goal. The problem is that that then begins to look like a rather sinister politics, even, since it drills art, of all things, into conformity with politics.
Perhaps it will help to bring out the point of this if I explain where I’m coming from. I’m a philosopher, so my business is to question fundamental assumptions. This doesn’t inevitably mean casting doubt on those assumptions: it often means asking what their real justification is.
In this spirit, philosophers ask what justifies democracy in political systems. I think there is no plausible justification of democracy in political systems as the most effective method for bringing about some independently defined set of benefits: we don’t actually know how effective it is, and we don’t know that no other system would be more effective. The most plausible justification of democracy in politics is not, therefore, that it’s an effective means of bringing about some independently conceived end, but that everyone’s being part of government is part of the end which any political system must aim at. That was the point of the first sentence in my response.
Now let us ask: what would justify ‘democracy’ in art? (I’ll come back to the very idea in a moment.) Again, and for the same reasons, it’s not plausible that the justification, if there is one, is that it’s the most effective means of bringing about some artistic goal: we don’t know how effective it would be, and we don’t know that no other system would be more effective. But this time we don’t have the other kind of justification to fall back on. While it is plausibly part of the goal of politics to produce a system in which everyone is part of government, it is not plausibly the goal of art itself that everyone should be involved in it. It’s not that this would not be a good thing: we would all love everyone to be involved in art. But it’s not plausibly the business of art itself to produce that result.
That was the point of the second sentence, which your first attribution gets quite seriously wrong. I’m not saying anything at all about the likelihood of ‘cultural democracy’ producing bad art, or less good art, or anything: I’m simply talking about what the justification for ‘cultural democracy’ might be, and whether everyone’s being involved is plausibly a goal of art itself, rather than a political goal which we might all share.
My third sentence involved an interpretation of Stella Duffy’s piece. It seemed to me that it was presenting the involvement of everyone as a goal of art itself. Indeed, it seemed to be advocating a political policy – support of certain kinds of artistic project – which had at its core the idea that it is a goal of art itself that everyone should be involved in it. This seemed to me to be sinister, because it involves advocating a politics which favours a certain kind of art.
The objection here is not, as you seem to suggest, that ‘democratising culture’ leads to abandoning aesthetic judgement. On the contrary, the objection is that a certain kind of aesthetic judgement is incorporated into politics. The objection is that the policy is an attack on artistic freedom.
So much for what I meant. I’m disappointed that what I said was misunderstood first time round, but hope it is now clear.
In my response, I did not question the key terms ‘cultural democracy’ and ‘democratising culture’. But I do think these terms are questionable. It is quite unclear that the proposals of this movement involve anything which would ordinarily be called a democratic process. In fact, Stella Duffy’s piece seems to advocate populism, rather than democracy. And populism is entirely compatible with quite undemocratic systems (think of Julius Caesar and Napoleon, as well as some of the more sinister regimes of the 20th Century).
My own view is that the recommendations of the KCL report have nothing to do with democracy at all. (This is perhaps indicated by the fact that the term ‘cultural democracy’ seems to need constant repetition as a short-hand for ‘promoting cultural capabilities for everyone’.) The core idea is what in other terms might be called a ‘bottom-up’, as opposed to ‘top-down’, approach to including people in art.
On this approach in general I have nothing very interesting to say. In common with many others (I can’t speak for them, but I imagine this includes all of those whose responses Ian Pace collected), I would want as many people to be involved in the arts as possible. And like them (I’m sure), I want different genres and different traditions of art to be respected, and excellence valued and promoted wherever it is to be found. I don’t have the empirical expertise to comment on this, but it seems to me quite plausible that this will be achieved by pursuing a bottom-up approach – though this need not involve abandoning a top-down one.
But none of this requires adopting populism about art itself, or attempting to denigrate serious art on the grounds that it is ‘elitist’. This latter thing is what is pernicious and divisive, and this latter thing is what I (like others of those whose responses Ian Pace collected, I’m sure) was objecting to.
I do hope this important debate can be pursued further in ways which keep the different goals and issues separate and clear. Let’s do what we can to involve people, and to respect different genres and traditions and value excellence everywhere. But let’s not do it by attacking particular kinds of art for political reasons.
Anna Bull writes the following:
Several commentators make comparisons between a shift towards ‘everyday creativity’ and arts policies under fascist regimes. They draw on historical examples from the Soviet Union and Nazi Germany relating to the problem of addressing elitism in the arts via democratisation, and include an accusation that this kind of policy shift would be ‘Stalinist’. While I think using historical examples to make a comparison can be helpful, it’s noticeable that these comments leap straight to fascism rather than considering any other, less extreme, examples, such as the Greater London Authority’s leftist cultural policy in the 1980s. This leap is the equivalent of suggesting that any form of economic redistribution leads to communism. By contrast, Stella Duffy gives the example of Fun Palaces, an organisation that has minimal central organisation and takes very different forms in local areas. Some Fun Palaces might draw on ‘elite’ forms of art such as literature while others might make space for more participatory forms. Rather than fascism, this is an example of extreme localism, its opposite.
The debate about Duffy’s article was provoked by one individual’s noting of what they felt were the Stalinist implications of Duffy’s arguments. Several of those involved in the ensuing debate, including myself, are scholars whose work deals in part with the situation of music under fascist, communist (and capitalist) societies. The passage in Duffy’s article which some found disturbing was the following:
Those of us working in culture talk a lot about the arts ecology, but in any ecology some parts must die for new ones to thrive. It might be time to let go of some of our outdated practices. Our commitment to “excellence and quality” as defined by mainstream, metropolitan-based thinking many decades ago, might need to shift to a new version of “excellence and quality”, one defined by a new generation of makers and creators – and this time from every part of society.
If we want cultural democracy, genuine culture for all, elitism must make way for creativity and community-led culture.
Attacks upon elitism and elites, not to mention excellence and quality, do have a long and very undistinguished history, whether in Nazi Germany, Stalin’s Russia, Mao’s China, or for that matter amongst contemporary right-wing populist politicians. The Dutch political scientist Cas Mudde has traced the central role of attacks on elites in his books Populist Radical Right Parties in Europe (Cambridge and New York: Cambridge University Press, 2007) and Mudde and Cristóbal Rovira Kaltwasser, Populism: A Very Short Introduction (Oxford and New York: Oxford University Press, 2017), drawing upon a range of other political scholars who have arrived at similar conclusions. The resonances with the language of Andrei Zhdanov in the late years of Stalin’s Russia, but also similar rhetoric from right and left in China and Germany (and elsewhere), were quite obvious to me – I have read sentences like the last one as quotations from many dictators and demagogues. I remember clearly the time of Ken Livingstone’s control of the Greater London Council (about which I have also read a certain amount since it was abolished in 1986): certainly there was a move on his part to distribute cultural funding to a more diverse range of groups than hitherto, which was welcome, but I do not recall anything like such shocking comments. Most of the contributors to the original set of responses would support some redistribution and decentralisation of cultural funding (some, including myself, are explicit about this), but this is quite different to a full-on attack on elites in the name of ‘community’. This is why I do not find Bull’s parallel with an equation of economic redistribution with communism to be valid. If Duffy had written something like ‘If we want a larger demographic to be able to participate in the arts, then we must look at distributing funding more widely than amongst the traditional elites’, then it might have been. I would also add that the opposition she presents between fascism and localism is also highly questionable: many fascist parties and politicians have sought their base in relatively small local communities, and expressed disdain for city life, with all it entails in terms of greater plurality of peoples and cultures. Fascism, at least as theorised by some, entails a degree of low-level organisation, supporters on the ground in local communities, in distinction to the top-down model of other types of dictatorships and autocracies.
Bull goes on to write:
Pace comments that ‘one should be wary of viewing ‘community’ as necessarily a wholly benevolent or benign thing’; communities can create divisions and barriers as well as overcoming them. In this, Pace is correct, but he could have gone on to say that currently, the arts contribute to reinforcement of the ‘echo chamber’ of white middle-class opinion and worldview. By contrast, writers such as Bev Skeggs have shown how different cultures and ways of life exist in the UK that are not reflected or even necessarily acknowledged by those who make policy. Working class cultures can be very different to middle class culture, but the latter is much more visible, and is therefore taken to be the unspoken norm. Cultural policy is, therefore, already reinforcing existing historic divisions of class and race, for example by giving money to those forms of arts that organise themselves in the ways which are recognised by the state. In our report we discuss the example of BAME arts and cultural participation groups, which tend to operate on a local and short-term basis, for example coming together to organise an annual mela then disbanding till the next year. These, as well as ‘community-facing’ South Asian arts practices, as Jasjit Singh describes them, are not visible to funders such as Arts Council England. As a result, they don’t garner funding in the same way as groups that have the resources, knowledge, and interest in organising in ways that are recognised by the state. Cultural policy has to recognise that existing arrangements for how culture is organised prioritise certain groups and certain forms of art over others.
This paragraph uses various ideas and concepts in a very vague and ill-defined manner. What exactly is this ‘white middle-class opinion and worldview’, and how is it ‘reinforced’ by the arts at present? Is this equally true of the work of a new translation of Baudelaire, a cycle of ars subtilior motets, an exhibition of the paintings of Hokusai, a production by Théâtre du Soleil, or the performance art of Valie Export and Marina Abramović? Nor do I know what ‘working class cultures’ are, though I can think of many artists from working-class backgrounds. One example would be the composer Brian Ferneyhough.
None of the above examples would have played much of a role in the white lower middle class milieu in which I grew up.
A statement like ‘Working class cultures can be very different to middle class culture’ is bland and meaningless without some definition of what these cultures entail, in the sense of cultural production, which is what is relevant in this context. I am not really prepared to accept either such ‘cultures’ can be apperceived other than as wholly heterogeneous entities which might have a large degree of overlap. Where I would make a distinction is between some culture designed for a more educated reader/listener/spectator/etc., compared to that for which no such education is required. It is undoubtedly true in much of the world that access to education, and the quality of that education, varies immensely depending upon social class, regionality, and so on. But I see that as an issue of inequality of provision rather than a problem with education per se. The world would be a much lesser place without such ‘educated culture’, and as such the priority should be to make such education as widely available as possible.
Bull also writes:
Pace goes on to suggest that both the market and community-based art (by which I assume he means the everyday creativity we describe in the report) is ‘unlikely’ to produce ‘a critical art, which can deal with uncomfortable and unsettling phenomena, represent non-populist and minority perspectives, and look beyond the existing world (and existing societies) towards what might be, not just what has been.’ He is wrong to say that the market or everyday creativity cannot produce critical art; for example, Anahid Kassabian’s (2016) writing on African American women making their own web series shows these women expressing a critical consciousness (including new ways of using sound in film) through grassroots cultural production. This example shows how critique may be occurring in ways that are not recognised, or even known about, by white middle-class culture.
[Kassabian, A., 2016. “You mean I can make a tv show?”: Web series, assertive music, and African-American women producers, in: Hawkins, S. (Ed.), The Routledge Research Companion to Popular Music and Gender. Ashgate]
My exact words were:
I believe it is vital that there can also be a critical art, which can deal with uncomfortable and unsettling phenomena, represent non-populist and minority perspectives, and look beyond the existing world (and existing societies) towards what might be, not just what has been. A space needs to be made for this in ways which are unlikely through the vagaries of the market, or for that matter through some types of community art projects.
Bull equates something’s being ‘unlikely’ to a claim that something ‘cannot’ happen; I made no such claim. But I have seen much less evidence of what I consider to be critical art having been produced under commercial or community-based conditions – at least in the sense that community is presented by Duffy. In some sense, any group of artists working together is a community; whether or not they inhabit a particular local community on a daily basis is immaterial.
But I had a look at Kassabian’s article, which I had not previously read. The passage to which I imagine Bull refers is the following:
With fewer resources to work with, especially in terms of funding, but very strong talent pools from which to draw, many of these artists [African American women] decided to use approaches that are much more assertive and attention-grabbing than mainstream film and television scoring practices. For example, in each of their debut episodes, Unwritten Rules and Black Actress turn to the musical sound of a record scratch, as is heard prevalently in rap tracks to mark an important shift in consciousness. […..]
The specific sound that caught my ear, as it were, in the first episodes of both Unwritten Rules and Black Actress was the record scratch. The scratch is an important, powerful sound – first, it went from being a dreaded sound, the sound of a mistake, to being a significant musical means of expression over the past 30-plus years, and in particular, because of its roots in hip-hop, it has specifically African American roots and associations. Second, despite its musicality, it retains the overlay of error or dread. And, finally, it is a sound that is almost never heard in audiovisual texts, except perhaps as a sound event inside the narrative world; indeed, it is very rare in uses such as these, where the characters do *not* hear the sound that the perceivers/audience do. The scratch is used (in both cases – see below as a unit of aural meaning, placed on a soundtrack as if it is dramatic scoring. without any other music to contextualise it; this is a radical aural moment.
The following is the episode of Unwritten Rules in question.
The rules for television sound have historically been quite realist, which is not to say that the original sounds are used in some semblance of the rules of Dogme 95 films, but rather that they aspire to “seeming” quite like real sounds, without abandoning their ability to draw attention towards or away from particular events or objects through sound choices. Instead, these sounds assert themselves quite vividly in the soundworld of the episodes. It is highly unlikely that anyone watching and listening to either of these episodes will fail to notice the scratches or the tinkle.
I was astonished to read this (not least the suggestion that non-diegetic sound is such a new thing in TV); I remember hearing record scratches used regularly in various media from some time in the 1980s, yet Kassabian is presenting it as some type of innovation. The most prominent and widely-disseminated use of this sound may be in the series Ally McBeal, which ran from 1997 to 2002. The use of sound in this series has received scholarly consideration as well, in Julie Brown’s article ‘Ally McBeal’s Postmodern Soundtrack’, Journal of the Royal Musical Association 126 (2001), pp. 275-303. Already at the time of publication Brown noted that ‘This gag is now everywhere on TV’ (p. 286), so it was very far from being a significant innovation when Unwritten Rules was produced eleven years later. Other scholars have considered the scratch and its various cultural meanings; examples include Jason Middleton and Roger Beebe, ‘The racial politics of hybridity and ‘neo-eclecticism’ in contemporary popular music, Popular Music 21/2 (2000), pp. 159-172, or Kjetil Falkenberg Hansen, Marco Fabiani and Robert Bresin, ‘Analysis of the Acoustics and Playing Strategies of Turntable Scratching’, Acta Acustica united with Acustica 97/2 (March/April 2011), pp. 303-314, one of various writings on scratching with which Hansen has been involved (including a 2010 doctoral dissertation on ‘The acoustics and performance of DJ scratching’). Even the more traditionally-inclined scholar Joseph Auner relates conscious use of the scratch, as used by Portishead, to a wider history of ‘scratchy’ recordings in his ‘Making Old Machines Speak: Images of Technology in Recent Music’, ECHO 2/2 (Fall 2000).
It is not clear whether Kassabian is aware of these writings; certainly none of them appear in her bibliography. A failure to consider an extensive history of such a technique does undermine some of her claims.
For radical use of sound with moving images, I would suggest that the following examples go much much further:
Shirley Clarke, Bridges Go Round (1958)
Pramod Pati, Explorer (1968)
Peter Kubelka, Pause! (1977)
Zhang Peili, 30 x 30 (1988)
Carolee Schneemann, Infinity Kisses – The Movie (2008)
Emeka Ogboh, [dis]connect II (c. 2013)
To return to Bull’s point, certainly there have been some striking examples of radical cultural work produced at the behest of private capital or from some artistic communities. But the possibilities for producing a sustained body of work in this manner, especially where expenses become considerable, are frequently limited when other requirements of finance, not least in terms of labour costs, are involved. It is true that, for example, experimental film has flourished more in the developed world than, say, in the African continent (though there are some striking examples of such work). To therefore portray radical approaches to film making as a primarily ‘white’ conceit is very short-sighted; world cinema would be greatly enhanced if it were possible for a greater number of film makers in African countries to benefit from the types of institutional support, distribution, and so on which are more common elsewhere, allowing the freedom to take approaches to film which may not generate major commercial dividends.
The money has to come from somewhere, and all things told, I do believe that a system involving progressive taxation and redistribution on artistic projects, for all the issues of institutional control involved, provide a more flexible environment for innovation and critical work than are possible by leaving things to private capital. I realise that the latter option is not what Duffy is advocating, but rather than subsidy of this type should be concentrated upon community-based projects which are open to all rather than through more traditional channels branded ‘elitist’. As I have said, I am in agreement with the principle of a wider distribution of resources, including to a greater number of smaller or non-metropolitan projects. But it would never be possible to fund everything, and so some choices have to be made. I am deeply concerned by a situation in which any aesthetic criteria, no matter how difficult these may be to conceive fairly, are jettisoned simply in favour of the demographic of the participants.
In her last paragraph, Bull writes:
Arts Council England has made a progressive move with its ‘Creative Case for Diversity’ which requires the process of creating culture to involve a diverse range of people as well as expecting the audiences and performers to be diverse.
I am also surprised by the concept that performers do not ‘create’ culture.
In light of the recent heated discussions following Charlotte Gill’s article on musical notation and theory, which have come to be known as #notationgate, and the wider discussions about the removal of music theory as a core subject at Harvard University, I was very happy when my wife Lindsay pointed out to me that this subject actually featured in Gilmore Girls: A Year in the Life, a 2016 sequel to the 2000-7 series. In this section, journalist Rory Gilmore goes back to her private school, and tells the assembled crowd the following:
We all have our proclivities, right? The things we loved before Chilton, the subjects we wanted to study. I had them. Literature, history. And I absorbed them. But with time, I discovered that it’s the stealth subjects, the ones I discovered while I was here, that really expanded my mind the most. I love music. So I thought, ‘I’ll take a music course. Composition and theory. How hard could it be?’ Well…. [laughs]….it was a struggle. Let’s put it that way. I had this notion that somehow my extensive familiarity with Nick Cave, and Radiohead, and a smattering of Stravinsky destined me for success. So I’ll never forget the day that I realized my composition class required composing. But I did it. I composed the melody, I added the harmonies, I drew those treble and bass clefs, I wrote those whole notes, those half notes, those quarter notes, those rest stops, and while you’ll never witness a public performance of my composition, because of that experience, I can see music when I hear it. I only ever heard it before. And I’ll always be grateful for that.
In the wake of the huge response to the article on music notation and literacy by Charlotte C. Gill in The Guardian, and encountering a certain amount of qualified support for her position amongst some academics who are more broadly antipathetic towards a Western classical tradition or at least a central place for it in Western music curricula, I recently read the following inspiring passage from an essay by Estelle R. Jorgensen, ‘Western Classical Music and General Education’, Philosophy of Music Education Review, Vol. 11, No. 2 (Fall 2003), pp. 130-140, which I wanted to share here. Note that this is emphatically not a denigration of other traditions and practices, nor an assertion of superiority, but part of a wider argument for rejuvenating the teaching of something which is increasingly marginalised in various musical education, according to the author; she says ‘it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other culture) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music.’
Why should Western classical music be advocated by music education policy makers? Among the possible reasons, the term “Western classical music” is a misnomer. It is really a multi-cultural and international tradition forged by musicians around the world who brought their various individual and cultural perspectives to a music that grew up in Europe but that from its infancy drew upon African and Near Eastern roots. Its widespread influence as one of the great musical traditions does not make it necessarily better than others but does make it worthy of study. A music that is known so widely, has captured the interest and participation of so many musicians and their audiences internationally, has such a rich repertory, and represents so many cultures strikes me as a human endeavor of inherent interest and worth.
Western classical music is also one of the ancient classical traditions in the world. Its long history can constitute a bridge to better understanding the particular contributions and detractions of Western civilization. This music constitutes a rich heritage of instruments, compositions, theories, and performers. It sometimes instances brilliant and deeply moving creations that manifest human genius at work. There is, as Jane Roland Martin puts it, a “stock” of cultural makings and doings that support, enrich, challenge, and defy social and cultural conventions. Musical artifacts include written compositions that are brought to life in performance, archaic instruments that are preserved, copied, restored, and otherwise kept for posterity, and musical rituals that are described, recorded, and recreated in a host of ways. As Neil Postman notes, knowing about the eighteenth century is particularly important at a time when mediated culture focuses on the present. Knowing the past traditions of a particular place enables one to connect with those who have gone before just as one relates to people in other places. Viewed this way, Western classical music is a precious heritage that links Westerners to their past just as it links them to other world cultures.
This music is an organic, living thing. Although informed and influenced by Christianity, especially Roman Catholicism, it is also rooted in the musics of Eastern Orthodoxy and Judaism, and in the secular musics of Middle Eastern and Northern African countries in which Islam took hold. Its mythos, influenced originally by Greek polytheism, later acquired a monotheistic Judeo-Christian perspective that is now being transformed as the tradition increasingly finds its home in Asia, Africa, Oceania, and the Americas, affected again by polytheistic and other religious and mythical world views. It has also absorbed a host of other musics that have likewise become classical in their own right. For example, jazz is in the midst of becoming a classical tradition and many of its elements have been included in the Western classical mainstream. Likewise, rock, country, and gospel are acquiring classic properties such as notation, instrumentation, and self- reflexivity, and becoming incorporated into and interconnected with the Western classical tradition.
Musical notation is one of its singular achievements. Literacy provides a way of recording the nuances of performance, intellectualizing music, propagating it widely and disparately in time and space, and quickly learning new pieces of music. Becoming literate in this tradition is essential. Since the music is notated, one can read a score and hear how it should sound and quickly catch on to what is happening even if one is unacquainted with the particular piece. Remaining illiterate in this tradition leaves one deprived of knowledge essential to full participation in a society that regards itself as Western. This deprivation, whether intentional or not, is arguably racist and classist when it fails to ensure that all people irrespective of their background have the opportunity to be musically literate. Recognizing the multiplicity of musical cultures in today’s societies suggests expanding literacy beyond the Western classical tradition while also emphasizing aurality/orality- a point that Patricia Shehan Campbell is at pains to make. Notwithstanding the importance of musical orality, failing to develop musical literacy in at least one notated musical tradition makes it difficult to break out of a solely aural/oral tradition into a literate one, something that exponents of aural/oral or little musical traditions may wish to do, sooner or later. And leaving students limited is arguably mis-educative since it stunts and prevents their further development.
[Addendum: See my follow-up article to this, ‘The insidious class divide in music teaching’, The Conversation, 17 May 2017]
An article in The Guardian by Charlotte C. Gill (‘Music education is now only for the white and wealthy’, Monday 27 March 2017), has generated a good deal of attention amongst a wide range of international musicians, music educators, academics, and others. Below is the letter compiled for publication in The Guardian in response to Gill’s article, and a full list of over 700 signatories to date. The letter was compiled by Joan Arnau Pàmies, Kevin Korsyn, Franklin Cox, Barbara Eichner and myself, while Jim Aitchison, Marc Yeats, Camden Reeves and others have been extremely helpfully with its dissemination. It is published on the Guardian website here, and appeared in the print edition for Thursday 6 April 2017 (‘Risky romanticisation of musical illiteracy’, p. 32). Some replies are printed here.
Also recommended are the response to Gill’s article by Michelle James, and an earlier article on musical literacy by Peter Tregear. See also this excellent responses by Pamela Rose , this by Helen Sanderson, this by George Bevan, this by George A. Smith, this by Christian Morris, and this by Frances Wilson. Also the coverage on Slipped Disc, in Limelight magazine, and on Arts Professional, and an article from the Latin Mass Society (of which James MacMillan, a signatory below, is a patron), focusing in particular on Gill’s comparison of reading music to learning Latin. Another recent blog article considers the article in the context of changing expectations in UK secondary education, while composer and teacher Des Oliver has made an important podcast with Tigran Arakelyan about the article, and I have also made an extended podcast with Arakelyan, considering the article and wider issues of musical education, notation, literacy, privilege, and more.
For an utterly contrasting view to that of Gill, strongly advocating reading (and sight reading), composition, and musical history, being available to all schoolchildren by right, see this 1945 pamphlet by the Workers’ Music Association (hardly the voice of the wealthy), especially pages 5-6. Speaking personally, I think many of the recommendations in this pamphlet are as relevant now as they were 72 years ago. I have also blogged an inspiring defence of the teaching of Western classical music and literacy by Estelle R. Jorgensen, which I believe to be highly relevant to this debate.
I will happily add other names to the list: if you wish to be added, please post underneath with your name and how you would like to be described.
[Earlier addendum material on related subjects is included at the bottom of this post – this and the above constitute my own thoughts, not those of the signatories]
Charlotte C. Gill (‘Music education is now only for the white and wealthy’) argues that ‘to enable more children to learn [music], we must stop teaching in such an academic way.’ While rightly noting the increasing chasm between state and private education in terms of music provision, her conclusions about musical notation and theoretical skills amount to simple anti-intellectualism.
Gill dismisses the study of music ‘theory’ and argues patronisingly that musical notation is ‘a cryptic, tricky language (…) that can only be read by a small number of people’. This claim flies in the face of countless initiatives over two centuries making musical literacy available to those of many backgrounds. As with written language, musical notation enables effective and accurate communication, as well as critical access to huge amounts of knowledge. In many musical fields, those without it will be at a deep disadvantage and dependent upon others.
Gill’s comments about ‘limited repertoires of old, mostly classical music’ are unfounded and presented without evidence: composing, listening, singing, and playing are embedded in much musical education, which also widely encompasses jazz, popular, and non-Western traditions. Claiming that classical music comprises a limited repertory is inaccurate: composers have been adding to its repertory for centuries and continue to do so. We agree with Gill that aural and other skills are equally important as those in notation. However, through her romanticisation of illiteracy, Gill’s position could serve to make literate musical education even more exclusive through being marginalised in state schools yet further.
Alex Abercrombie, pianist and mathematician
Louise Ableman, freelance pianist and piano teacher
Richard Abram, editor
Juliet Abrahamson, erstwhile music teacher, and festival director
Peter Adriaansz, Composer, composition teacher, Royal Conservatory, The Hague
Jean-Louis Agobet, composer, professor of composition at Bordeaux Conservatory (France)
James Aikman, Composer in Residence, Indianapolis Chamber Orchestra
Jim Aitchison, composer and graphic score artist
Helen Alexander, freelance musician
Helen Alipaz, Piano teacher and former music tutor at Ruskin Mill College, Nailsworth
Timothy Allan, singer, academic
Ralph Allwood, music teacher
Claire Alsop, Musician
Dr Pedro Alvarez, composer, Adjunct Lecturer, Western Australian Academy of Performing Arts
Peter Amsel, author and composer (of notated music); former Musical Director of the Espace Musique Concert Society. Ottawa, Canada
Paul Andrews, Anglican priest with PhD in music, former music librarian and choral conductor
Samuel Andreyev, composer and teacher
Leonie Anderson, viola player and teacher
Tigran Arakelyan, youth orchestra conductor, Off the Podium podcast
Genevieve Arkle, PhD candidate in Music, University of Surrey
Newton Armstrong, Senior Lecturer in Composition, City, University of London
Christophe Astier, Clarinetist, Ensemble Orchestral de Toulouse, France
Jessica Aszodi, vocalist, doctoral candidate, Queensland Conservatorium of Music
Man Bun Au, Classical guitarist, Adjunct Lecturer, Hong Kong Baptist University
John Aulich, composer, freelance tutor in composition and theory, and recording artist.
Patrick Ayrton, conductor and harpsichordist, Professor at the Royal Conservatoire of The Hague
Emily Baines: State school educated performer, lecturer, musical director and DMus candidate (Guildhall School of Music & Drama)
Brendan Ball, trumpeter and educator
Joshua Ballance, Music student
Simon Ballard, Concert Pianist and Composer
Nicholas Bannan, Associate Professor of Music, University of Western Australia
Richard Bannan, singer, conductor and Head of Singing, King’s College School, Wimbledon
Stephen Barber, Retired music teacher
Alejandro Barceló, musicologist and music theorist
Daniel Barkley, composer and PhD candidate at Queen’s University, Belfast
Matthew Barley, cellist
Keith Barnard, composer
Lester Barnes, composer, producer, and former music teacher
Kristina Baron-Woods, Lecturer in Music Theatre, University of Western Ontario
Richard Barrett, composer, Institute of Sonology, The Hague
Bernardo Barros, composer, improviser, Ph.D. Candidate/Teaching Assistant at New York University
Pam Barrowman, clarinettist, singer, teacher
Stephen Barton, composer (Titanfall 1 & 2, Call of Duty)
Nicholas Bartulovic, freelance composer, student of Politics, Philosophy, and History, Ashland University
Jane Becktel B.Mus.(Hons) Dip. Ed., Choir director
Pierre-Michel Bédard, Organist, composer, teacher at Limoges Conservatory
Adam Bell, composer, doctoral student, Brunel University
Prof David J. Benson FRSE, author of Music: A Mathematical Offering (CUP 2006)
Margaret Bent CBE, FBA, Emeritus Fellow, All Souls College
Niels Berentsen, PhD (Royal Conservatoire of The Hague)
Peter van Bergen, director LOOS Foundation/Studio LOOS, The Hague
Rebecca Berkley, Lecturer in Music Education, University of Reading
Mark Berry, Senior Lecturer in Music, Royal Holloway, University of London
Dr Steven Berryman, Director of Music City of London School for Girls
Noel Bertram, Retired Head of Cumbria County Music Service
Dr Christopher Best, freelance composer, fiction writer and university lecturer
George Bevan, Director of Music, Monkton School
Dr. C.M. Biggs, performer; Director of Piano Studies, Cambrian College
Sue Bint, Music teacher, violinist
Sylvia Bisset, private piano teacher
James Black, MSt. in Musicology, University of Oxford
Deborah Blackmore BSc ACA scientist, chartered accountant and trustee of a children’s music education charity
Kate Blackstone, freelance musician, PhD researcher, University of Leeds
Darren Bloom, composer, Lead Tutor for Composition and Musicianship, Junior Trinity
Yvonne Bloor, Master of music, teacher and composer
Andrew Bottrill, pianist
Mark Bowden, freelance composer; Reader in Composition, Royal Holloway, University of London
Geraint Bowen, director of music at Hereford Cathedral
Andrew Bowie, jazz musician, Professor of Philosophy and German, Royal Holloway, University of London
Laura Bowler, composer, vocalist, Lecturer in Composition at Royal Northern College of Music and Guildhall School of Music and Drama
Karen Boyce, pianist/accompanist and music teacher. New Zealand
Martyn Brabbins, ENO Music Director, RCM Visiting Professor, Huddersfield Choral Society music director
Susan Bradley, freelance tuba, ophicleide, serpent, cimbasso player
David Braid, composer
Heather Bradshaw, violinist in the City of Birmingham Symphony Orchestra
Andrew Brewerton, Principal, Plymouth College of Art
Lewis Brito-Babapulle MA, MSt, FRCO. Head of Academic Music, Trinity School, Croydon
Per Broman, Professor of Music, Bowling Green State University
Anne Brown, primary school music teacher
Harvey Brown, secondary music teacher and musician
Janice Brown, piano teacher
Mariko Brown, teacher, pianist, and composer
Martha Watson Brown Oboist, Composer and teacher of Music Theory
Thomas Brown, composer
Robin Browning, conductor; Conducting Instructor, University of Southampton
Kevin Brunkhorst, Chair, Music Department, St Francis Xavier University, Antigonish, Nova Scotia, Canada
John Bryan, performer and Professor of Music, University of Huddersfield
Jason Thorpe Buchanan, composer, PhD Candidate, Eastman School of Music; Artistic Director, the [Switch~ Ensemble]
Lisete Da Silva Bull, professional musician, teacher, educator
James Bunch, Lecturer in composition-theory, KM College of Music and Technology, Chennai, Tamil Nadu, India
Sarah Burn, freelance music editor and typesetter; completing a PhD involving notation and critical editing
Steven Burnard Violist BBC Philharmonic , learnt to read music at state school aged 7
Martin Butler, composer, pianist, Professor, University of Sussex
Peter Byrom-Smith, composer
Thomas Caddick, Director of the Tobias Matthay Pianoforte School
Dr Edward Caine, Composer, pianist and researcher for Ex Cathedra
Sara Caine, singer & oboist, GP
Jacqui Cameron, Education Director, Opera North
William Cameron, musician
Rachel Campbell, Sydney Conservatorium of Music
Jay Capperauld, composer, saxophonist
Christian Carey, composer and Associate Professor of Music, Westminster Choir College
Gerry Carleston, B Mus, retired violinist and teacher
Stephen Carleston, organist & choir-trainer, music examiner and arranger
Tim Carleston, lay clerk, St George’s chapel, Windsor Castle
Gary Carpenter FRNCM, HonRAM, FRSA. Composer, composition professor Royal Academy of Music and Royal Northern College of Music, BASCA Director
Dr Paul Carr, composer
Philip Cashian, Head of Composition, Royal Academy of Music
Alan Cassar, composer and arranger
Peter Castine, composer, managing editor Computer Music Journal
Sam Cave, BA(Hons) PGdip (RCM), guitarist and composer, tutor in guitar at Brunel University
Roland Chadwick, Composer, Guitarist, Teacher
Oliver Chandler, Visiting Tutor in Historical Musicology, Royal Holloway, University of London
Alexandros Charkiolakis, musicologist, MIAM – Istanbul Technical University
James Chater, musicologist and composer
Eugenia Cheng, mathematician, educator and pianist
Anthony Cheung, composer, pianist, teacher (University of Chicago), co-artistic director of the Talea Ensemble
Pablo Santiago Chin, Adjunct Instructor, Music Theory and Composition, Saint Xavier University
Unsuk Chin, composer
Ray Chinn, violin teacher
Peter Cigleris, clarinetist, BMus (Hons), PGDip, Royal College of Music
Artur Cimirro, composer and pianist from Brazil
Keith W Clancy, artist/composer/computer musician, Melbourne, Australia
Colin Stuart Clarke, Classical music journalist
Raymond Clarke, pianist
Nicholas Clapton, singer and singing teacher
James Clarke, composer, Researcher, University of Leeds
Julian Clayton, conductor
Robert Coates FRCO(CHM), ARCM. Composer, organist and teacher, Harøy, Norway
Jacques Cohen, Conductor & Composer
Jonathan Cohen, former presenter, Music Time for BBC TV School’s programmes
Chris Collins, Head of Music, Bangor University
Rob Collis, singer and composer
Sarah Connolly, opera singer and teacher
Saskia Constantinou, Media Consultant and arts festival director
Dr. David Conway, music historian, Honorary Research Fellow, University College London
James Cook, University Teacher in Music, University of Sheffield
Rachel Cook BA MA, Pianist, orchestral musician and educator
Imogen Cooper, pianist
Brian Cope, composer, music educator and PhD candidate at the University of Edinburgh
Roger Coull, violinist leader of the Coull Quartet, and conductor
Tom Coult. Composer, Visiting Fellow in Creative Arts, Trinity College Cambridge
Emma Coulthard, flautist, author and head of Cardiff County and the Vale of Glamorgan Music Sevuce
Franklin Cox, Associate Professor of Theory, Cello, and Composition, Wright State University
Mairi Coyle. Participation & Outreach Manager, National Children’s Orchestras of GB
Stephen Coyle, composer and PhD candidate at Queen’s University, Belfast
Ruth Crouch, Assistant Leader at Scottish Chamber Orchestra & violin teacher at Royal Conservatoire of Scotland & St. Mary’s Music School
Francis Cummings, violinist and Director of Music at Sistema Scotland, Royal Conservatoire of Scotland
Simon Cummings, composer, writer, researcher, PhD candidate, Birmingham Conservatoire
Fiona Cunningham, CEO, Sistema England
Harriet Cunningham, music critic, writer and doctoral student at UTS, Australia
David Curran, freelance music educator, PhD Candidate, Royal Holloway, University of London
Caroline Curwen, PhD student Psychology of Music, Sheffield University
Dr. Mat Dalgleish, Senior Lecturer in Music Technology and Course Leader for MSc Audio Technology, University of Wolverhampton
Giovanni D’Aquila, composer, composition teacher
John Daszak, opera/concert singer
Steven Daverson, composer, Lecturer in Composition and Sonic Arts, Brunel University London
Colin Davey, Education Programmes Manager, Royal School of Church Music, teacher and conductor
Julian Davis, amateur pianist, Professor of Medicine, University of Manchester
Gavin Davies, freelance violinist
Edward Davies, Head of Music, St Mary Redcliffe and Temple School, Bristol
Jill Davies MusB, classical music artist manager and concert promoter, passionate amateur musician
Tansy Davies, composer
Rebecca Dawson, General Manager, Music at Oxford
Rebecca Day, Visiting Lecturer, Royal Holloway, University of London; Tutor in Music Theory and Analysis, University of Oxford
Caroline D’Cruz, B.Mus, ARCM, LRAM pianist and choral conductor
Nathan James Dearden, Performance Manager and Visiting Tutor in Music Composition, Royal Holloway University of London
Cornelis de Bondt. Composer, teacher Royal Conservatoire, Den Haag, NL
Lonnie Decker, Musician and Educator
João Pedro Delgado, viola, PhD researcher, Universidade de Évora, ESART-IPCB
Caroline Delume, Guitarist, teacher
Simon Desbruslais, trumpet soloist and Director of Performance, University of Hull
Dr. Luis Dias, founder and project director of Child’s Play India Foundation (www.childsplayindia.org), a music charity working to bring music education to India’s disadvantaged children
Josephine Dickinson, former music teacher, composer, and poet
Joan Dillon, Director of The Academy of Sacred Music/Voice Teacher
Alison Dite, pianist and teacher from Cardiff
Sarah Dodds, piano teacher, Associate Lecturer in music, The Open University
Emily Doolittle, composer, Athenaeum Research Fellow, Royal Conservatoire of Scotland
Sean Dowgray, percussionist, D.M.A: UC San Diego
John Duggan, composer, singer, teacher
Andrew Eales, pianist, writer and teacher
Leslie East, Chair, The Association of British Choral Directors; former CEO, ABRSM
Christiana Eastwood, Head of Music at The Granville School, Sevenoaks
Professor Sir David Eastwood, Vice Chancellor, University of Birmingham
Jason Eckardt, Professor, City University of New York
Dr Paul Max Edlin, composer, Director of Music Queen Mary University of London, Artistic Director Deal Festival of Music and the Arts
Katheryne Perri Edwards, music educator for 37 years
Malcolm V. Edwards, Professor Emeritus of Music, University of Calgary, Alberta, Canada
Barbara Eichner, Senior Lecturer in Music, Oxford Brookes University
Aaron Einbond, composer, Lecturer in Music, City, University of London
Dr Graham Elliott; Executive Director American Youth Philharmonic Orchestras; Washington DC, USA
Lynne Ellis, Chief Executive Officer, Berkshire Maestros and lead of the Berkshire Music Hub
Daniel Elphick, Teaching Fellow, Royal Holloway, University of London
Mark Elvin, Bass Guitarist, Double Bassist, Tubist, Composer/Arranger/Transcriber, Educator, Conductor
Nick Ereaut, jazz musician, singer-songwriter, music teacher
Nancy Evans, Director of Learning and Participation, Birmingham Contemporary Music Group
Tecwyn Evans, conductor
Nick Evans-Pughe, Performer and school instrumental teacher’ (PGDip in instrumental teaching in which l researched the learning by children of (western classical) notation.)
Mark Everist, Professor of Music, President of the Royal Musical Association (signing in a personal capacity)
Judith Exley. Flute teacher and composer. Wellington, New Zealand
Pauline Fairclough, University of Bristol
Daniel Fardon, PhD student in Composition and Teaching Associate at University of Birmingham
Miguel Farías. Composer, PHD(c) in Latin American Studies, associated Professor universidad academia de humanismo Cristiano , Chile
Tony Faulkner, Independent classical recording producer and engineer
Greta Fenney, therapist
Adam Fergler, composer, arranger, and conductor
Laetitia Federici, freelance pianist and peripatetic piano teacher
Anneke Feenstra, mother of a musician
Cal Fell BA Hons LRAM Freelance musician State Educated
Professor Brian Ferneyhough, Stanford University
Coia Ibàñez Ferrater, Director of Xilofon Elementary School of Music
Jeremy Filsell, Professor of Organ, Peabody Conservatory, Baltimore USA
Janet Fischer, Soprano, Teacher, Managing Director Fulham Opera
Jonathan Fischer, TV Composer, Songwriter
Chris Fisher-Lochhead, composer and violist
Dr Kevin Flanagan, Senior Lecturer in Music, Anglia Ruskin University
Dr Alexandra Fol, composer; conductor and organist at Missione Maria Ausiliatrice, Montréal, Canada
Miriam Forbes, Director of Music, Witham Hall School
Peter Foster. Music Teacher
Christopher Fox, composer, Professor of Music, Brunel University, editor of TEMPO
Cheryl Frances-Hoad, composer
Luke Fraser MMus, composer and Piano Teacher for Arts First
Brigid Frazer, Kodaly based Early Years Music Specialist
Judith Fromyhr, Senior Lecturer in Music, Australian Catholic University
Tor Frømyhr, Coordinator of Strings Australian National University
Hugh Fullarton, Organist and Master of the Choristers at Holy Trinity Anglican Cathedral, Wangaratta
Alvaro Gallegos, music scholar, journalist and record producer
Sir James and Lady Jeanne Galway, flautists
Tom Gamble, MMus Guitarist
Brian Garbet, composer, PhD candidate, University of Calgary, Canada
Ash Gardner, DJ, multi-instrumentalist, music educator, New York, NY
James Gardner, composer, University of Canterbury, Christchurch, New Zealand
Eloise Garland, Musician, Teacher, and Deaf Awareness Campaigner
Tim Garrard, Director of Music, Westminster School
Mark Gasser, pianist
Ben Gaunt, Senior Lecturer Leeds College of Music, Tutor Open College of the Arts
Andrew Georg, repetiteur, State Opera of South Australia, organist
Patricia Giannattasio, Professor of Music, Bergen College in New Jersey; PhD candidate at The Graduate Center
Sean K. Gilde, ‘cellist with Astaria String Quartet, Head of Strings Dragon School Oxford
Don Gillthorpe, Director of Music and Performing Arts, Ripley St. Thomas CE Academy
Hannah Gill, pianist, organist, choral conductor and music teacher
Karen Giudici (Turner) ex professional freelance clarinettist, current primary and secondary music teacher
Rob Godman, Composer, Reader in Music at the University of Hertfordshire
Nigel Goldberg, Artistic Director, Youth Music Centre
Miles Golding BMus, LTCL, LRSM, free-lance violinist, teacher of violin, viola, music theory
Richard Gonski, Conductor Torbay Symphony Orchestra
Howard Goodall CBE, Composer, Broadcaster, Music Historian
Liz Goodwin, teacher, founder/director Flutewise
Sumanth Gopinath, Associate Professor of Music Theory, University of Minnesota–Twin Cities
Adam Gorb, Head of School of Composition, Royal Northern College of Music
Stephen Goss, Professor, University of Surrey
Mark Gotham, Affiliated Lecturer, University of Cambridge
Dr. Barbara Graham, Retired Professor, Ball State University and amateur violist
Dr Michael Graham, postgraduate researcher, Royal Holloway; tutor, Rhondda Cynon Taff music service
Penny Grant, Singing Teacher and Soprano
Simon Gravett dip.TCL, Head of Music the Elmgreen School
Coady Green, The University of Melbourne, Melbourne Conservatorium of Music.
Robert Green, pianist, accompanist, jazz musician
Gavin Greenaway, composer, conductor, pianist
Helen Grime, composer, Senior Lecturer of composition at Royal Holloway University of London
Nicole Grimes, Assistant Professor of Musicology, University of California, Irvine
Jennifer Guppy, British national, resident in France. Class music teacher, at a Primary school and private piano and flute teacher
Christine Gwynn, conductor, pianist, coach, music workshop leader
Kerry L Hagan, Composer, Lecturer, University of Limerick
Stefan Hagen, Dilettant
Iain Hallam, singer and musical director of a cappella choruses
Marc-André Hamelin, pianist
Benedict Hames, viola player, Symphonie Orchester des bayerischen Rundfunk
Ross Hamilton, Peripatetic Percussion Teacher, Cornwall Music Service Trust
Helen Hampton, Director, Popchoir
Radka Hanakova, pianist
J. P. E. Harper-Scott, Professor of Music History and Theory, Royal Holloway University of London
Patrick Harrex, composer and Musical Director of Brighton & Hove Arts Orchestra
Dr. John Mark Harris, music educator and pianist
Sadie Harrison, secondary school peripatetic teacher of piano and music theory; composer and lecturer
Tom Harrold, composer, Honorary Associate Artist of the Royal Northern College of Music
Edward-Rhys Harry, conductor, composer
Béla Hartmann, pianist
Andrea Hartenfeller, organist, singer, teacher, Hesse/Germany
Per Hartmann, music publisher, Edition HH Ltd
David Harvey, D.Phil music, composer, guitarist, technologist, ex-CTO Sibelius, Tido
Waka Hasegawa, pianist, piano duettist and piano teacher
Katie Hassell, Senior Spacecraft Engineer, pianist and cellist
Arngeir Hauksson, Guitarist, Lutenist and music teacher
Jeremy Hawker B.mus, M.Teach, L.mus, professional guitarist and instrumental tutor at Townsville Grammar School
Steve Hawker, Inclusion Manager, Cornwall Music Service Trust
Sam Hayden, composer and academic, Trinity Laban Conservatoire of Music and Dance
Morgan Hayes, Professor of Composition, Royal Academy of Music
Benjamin Hebbert, Director, Benjamin Hebbert Violins Limited
Piers Hellawell, composer and Professor of Composition, Queen’s University of Belfast, Northern Ireland
Andrew Henderson, singer, keyboard player, secondary school Director of Music, primary school governor, committee member, MMA – Music Teaching Professionals
Áine Heneghan, Assistant Professor of Music Theory, University of Michigan
James Heron, violinist and violist
Ken Hesketh, composer, Lecturer, Royal College of Music
Helen Heslop, piano student, concert promoter
Anne-Marie Hetherington, Music Director and Head of Creative Arts in a successful secondary school, singing teacher, conductor
Gavin Higgins, composer
Rolf Hind, pianist, composer and teacher (Guildhall School of Music and Trinity Laban)
Maggie Hinder, GRSM ARCM ARCO, freelance music teacher and chorister
Alistair Hinton, composer, curator, The Sorabji Archive
James Hockey, musician, teacher, conductor
Jason Hodgson BMus (composer, disabled, and now studying MMus)
Ros Hoffler ABRSM examiner
Alison Holford, cellist and lover of sight-reading
Klaas ten Holt, composer, writer, composition teacher at Prins Claus Conservatorium, Groningen, the Netherlands
Michael Hooper, Lecturer in Music, University of New South Wales, Australia
Julian Horton, Professor of Music, Durham University
Tim Horton, pianist
Janet Hoskyns, Professor Emerita, Birmingham City University
Stephen Hough, pianist
Yvonne Howard, Opera/ Concert Singer & Professor of Singing
Dr Jocelyn Howell
George Huber, singer and mathematician
Dr David Russell Hulme, Director of Music and Reader, Aberystwyth University, musicologist and conductor
Alexander Hunter, composer and performer, Australian National University
Derek Hurst, Associate Professor of Composition, Berklee College of Music and Boston Conservatory
David Hutchings, conductor
Anne Margaret Hyland, Lecturer in Music Analysis and Admissions tutor at the University of Manchester
Miika Hyytiäinen, composer, doctoral student, University of the Arts Helsinki
Michael Ibsen, Classical Guitarist Mmus, British Columbia Conservatory of Music
Grahame Gordon Innes, composer
Professor John Irving, Trinity Laban Conservatoire of Music and Dance, London
Steven Isserlis, cellist
Dr Jenny Jackson, composer & private piano teacher
Stephen Jackson, conductor, choral director, composer and arranger
Julian Jacobson, musician
Alison James, Head of Music, Kelvin Hall School, professional musician, performance moderator
Lara James, tutor of saxophone, Royal Welsh College of Music and Drama, Senior Associate teacher, Bristol University
Willem Jansen, performer and teacher, The Netherlands
Joel Jarventausta, composer and conductor, masters student at the Royal College of Music
Kate Johnson, Promotion & Communications Director, Music Sales Limited
Stephen Johnson, writer, broadcaster & composer
Fergus Johnston, Composer
Allan Herbie Jones, composer, musician, teacher.
David Jones, Head of Accompaniment, Royal Northern College of Music; Deputy Head, Junior RNCM
Gordon Jones, singer, former member of The Hilliard Ensemble
Jeremy Peyton Jones, composer, Reader in music, Goldsmiths University of London
Julia Jones Teacher of Music, City of London School
Georgina Jordan, pianist and teacher
Susanna Jordan, tutti 1st violin, Royal Liverpool Philharmonic Orchestra
Frauke Jurgensen, musician, Lecturer, University of Aberdeen
Jari Kallio, music journalist
Matthew Kaner, Professor of Composition Guildhall School of Music and Drama
Rob Keeley, composer and pianist, King’s College
Susan Keeling, music graduate, arts administrator, amateur musician, parent
N W Kenyon, retired teacher
Dorothy Ker, Composer, Senior Lecturer, University of Sheffield
Dr Steve Kershaw, jazz musician, Oxford University Department for Continuing Education
Isla Keys MA (Hons) ATCL PGCE, music teacher, singing & piano teacher, committee member MMA-Music Teaching Professionals
Christopher Kimbell, Visiting Tutor in Historical Musicology, Royal Holloway, University of London; peripatetic teacher in music theory
Owen Kilfeather, composer and writer
Andrew King, Professor of English Literature – and avid reader of music
George King, Head and Senior Lecturer (retired), Department of Art History, Visual Arts and Musicology, University of South Africa
Helen Kingstone, Postdoctoral Researcher in History, Leeds Trinity University (and pianist and choral singer)
Professor Andrew Kirkman, Peyton and Barber Professor of Music, University of Birmingham
Patricia Kleinman, Musicóloga
Grahame Klippel, Guitarist, Kingston University
Ruth Knell, violinist, English National Ballet. Learnt to read music initially at the age of 6/7 in recorder lessons at an infant school on a council estate in the 60s
Annabel Knight, head of recorder, Birmingham Conservatoire
Kathryn Knight, CEO Tido Music and a director/founder of Sing Up
Matthew Lee Knowles, composer + piano teacher
Allan Kolsky, Orchestra Musician, Syracuse, NY
Kevin Korsyn, Professor of Music Theory, University of Michigan, Ann Arbor
Toni J. Krein, President of the Association of Swiss Professional Orchestras
Uday Krishnakumar, Composer
Prof. Dennis Kuhn, Head of the percussion and timpani dept, University of Music and Performing Arts Mannheim, Germany
Henny Kupferstein, piano teacher
Yannis Kyriakides, Composer, teacher Royal Conservatory, The Hague
Dr David Lancaster, Director of Music at York St John University
Vanessa Lann, composer, teacher
Jerry Lanning, conductor and arranger
Thomas Larcher, musician
David Lawrence, conductor
Andrew C Leach, organist, choirman in four cathedral occasional choirs
Elizabeth Eva Leach, Professor of Music, University of Oxford
Yekaterina Lebedeva, concert pianist, professor of piano Trinity Laban Conservatoire, visiting lecturer City, University of London
Norman Lebrecht, writer and broadcaster
Kelvin Lee, PhD Candidate in Musicology at Durham University, Conductor
Christian Leitmeir, Magdalen College, University of Oxford
Erik Levi, Visiting Professor in Music, Royal Holloway University of London
Sally Lewis, pianist and teacher
Rebecca Leyton-Smith, Cellist and Cello Teacher at Uppingham School
Mu-Xuan Lin, Composer, and Lecturer at California State University Long Beach
PerMagnus Lindborg, composer, Assistant Professor, School of Art, Design, and Media, Singapore
Dr Alexander Lingas, Reader in Music, City, University of London; Fellow, European Humanities Research Centre, University of Oxford; Music Director, Cappella Romana
Tomasz Lis, concert pianist, teacher
Maureen Lister, Euphonium player
Rodney Lister, faculty department of composition and theory, Boston University School of Music, faculty The New England Conservatory Preparatory School
Lore Lixenberg, Experimental voice artist, Mezzo, Composer
Daniel Lloyd, Musician and author of No Notes piano music (tablature) designed to help beginners make a start with learning how to read and to play piano music.
Rick Longden, Lecturer in Music, Musician etc
Dave Longman, drummer, percussionist, teacher and author of “Skins Drum Performance Method”
Nick Loveland, COO, Birmingham Town Hall and Symphony Hall
Sonia Lovett, television director of opera and classical music concerts
Shay Loya, Lecturer in Music, City, University of London
Neil Luck, composer, performer, music educator
Karl Lutchmayer, Senior Lecturer, Trinity Laban Conservatoire of Music and Dance
Frances M Lynch, singer, director, composer, teacher
Graham Lynch, composer
Tracey Mair, freelance piano and vocal tutor
Joshua Banks Mailman, Instructor of Music Theory, University of Alabama
Charles MacDougall, founding member of VOCES8, currently Choral Specialist for The Voices Foundation
Nigel McBride, Composer, BMus (Hons), MSt. in Composition (Oxon.), DPhil in Music (Oxon.)
Rachel McCarthy, doctoral candidate and visiting tutor, Royal Holloway, University of London
Paul McCreesh, conductor, founder and artistic director, Gabrieli
Maggie McCoy, Choral Arts administrator and choral musician
Elizabeth Macdonald, violist and arts administratorGeraldine McElearney, GSM,singing and piano teacher
Simon McEnery, singer, musical director (Salisbury Chamber Chorus), Associate Lecturer at the University of Chichester
Neil McGowan, Production Staff, Stanislavsky-Muzykalny Opera/Ballet Theatre, Moscow
Andrew McGregor, Broadcaster, BBC Radio 3
Jennifer Mackerras, recorder player; Alexander Technique tutor at Royal Welsh College of Music and Drama
John McLeod, composer
Sir James MacMillan, composer, conductor
Peter McMullin, Printed Music Specialist, Blackwell’s Music Shop
Stuart McRae, Composer, Lecturer, Royal Conservatoire of Scotland
Jason Matthew Malli, composer, sound designer, performer, producer, educator, arts advocate
Martin Malmgren, pianist
Kevin Malone, Reader in Composition, University of Manchester
Julien Malaussena Composer
Jane Manning, singer
Marshall Marcus, CEO European Union Youth Orchestra, President Sistema Europe
Daniel Margolin QC, lawyer, amateur musician and parent
Kypros Markou, Professor of Music, Wayne State University, Detroit, MI (graduate from Royal College of Music, London and New England Conservatory, Boston)
Katherine Marriott, mezzo-soprano
Daniela Mars, Flutist
Les Marsden, Founding Music Director/Conductor: The Mariposa (CA) Symphony Orchestra, Composer, Lecturer, University of California and Instrumental Musician
Andy Marshall, Senior Lay Clerk, Bristol Cathedral
Chris Marshall, Head of Professional Development, Birmingham Conservatoire
Barnaby Martin, composer
Domingos de Mascarenhas (DPhil) musicologist
Sandy Matheson, Nordoff Robbins music therapist
Alison Mathews MMus BMus(hons)RCM ARCM, composer, private teacher, pianist
Colin Matthews, composer
David Matthews, composer
James Mayhew, artist and narrator
Gijs van der Meijden (The Netherlands). Microbiologist by profession, not a musician in any practical sense, but a deep lover thereof
Cecília Melo, Magistrate
Virgílio Melo, composer
Miguel Mera, head of Music, City, University of London
Chris Mercer, composer, Lecturer, Northwestern University
Nathan Mercieca, Teaching Associate, Gonville and Caius College, Cambridge University
Jonathan Midgley, lay clerk, Ely Cathedral
Max Midroit, pianist
Chloe Millar, violinist, freelance musician and teacher
Richard Miller, Composer, Arranger/Orchestrator, Royal Liverpool Philharmonic’s Christopher Brooks Composition Prizewinner, Director of Music, St Michael’s Church, Camden
Sasha Valeri Millwood, MA (Cantab.) MMus (GSMD), musician, musicologist, & doctoral researcher, University of Glasgow
David Milsom, Head of Performance, University of Huddersfield
Ruth Milsom, freelance teacher of piano and music theory, and accompanist
William Alberto Penafiel Miranda, Composer/Pianist at Queens College (Aaron Copland School of Music
Madeleine Mitchell, state-school educated violinist, professor, Royal College of Music
Cara Ellen Modisett, pianist, Episcopal music director and essayist
Kerry A. Moffit, Master Sergeant (Retired), United States Air Force Bands and Music Career Field, Royal Caribbean Cruise Lines Orchestra Musician (lead and jazz trumpet), Grammy winner, and professional musician for 40+ years.
Alison Moncrieff-Kelly, cellist, music educator, and examiner
Josephine Montgomery, violinist, early years string teacher
Ivan Moody, composer, CESEM – Universidade Nova, Lisbon
Adrian Moore, composer, Reader in Music, University of Sheffield
Gillian Moore, Director of Music, South Bank Centre
Eva Moreda Rodriguez, Lecturer in Music, University of Glasgow
Dittany Morgan, former Sub principal Viola BBC symphony and teacher of Violin/ Viola
Huw Morgan, freelance choral director and organist
Kate Morgan, Director of Music, Harrogate Ladies’ College
Katie Morgan, flautist, music writer, and flute and music theory teacher
Michael Morse, composer, educator
Tim Motion, Photographer and musician
Catherine Motuz, trombonist
Thomas Mowrey, former producer for Deutsche Grammophon and Decca
Theresa Muir, Ph.D. Musicology, conductor and singer
John Mulroy chorister at the Royal Opera House, Covent Garden
Gordon Munro, Director of Music, Royal Conservatoire of Scotland
Tommy Murtagh, cellist and educator
Rachel Musgrove, director, daytime choirs for retirees
Rachel Neiger, Pianist and teacher
Lisa Nelsen, Flute player, artist for Yamaha International, Tutor for Junior Guildhall School and former Specialist Flute Tutor at Wells Cathedral School, UK
Thi Nguyen , GSMD, IoE (MA in Music Education), violinist and teacher
Mike Nichols, Bassist. ACM lecturer, ABRSM consultant. Regularly work in orchestras and non reading bands
George Nicholson, composer, Professor in Composition, University of Sheffield
Marten Noorduin, Postdoctoral research assistant, University of Oxford
Kirk Noreen, Founder/Director, Ensemble Sospeso, New York, Composer
Mariko North, pianist
Dr Patrick Nunn, Lecturer in composition, Royal Academy of Music, London
Chi-chi Nwanoku MBE, double bassist, Founder, Artistic Director Chineke!
Richard Nye, BA (Hons) FLCM PGCE, teacher and composer
Michael Nyman, composer
Lady Anita O’Brien, Violinist/ Music Teacher
Dolors Olivé Vernet, music teacher, Headmaster, Teresa Miquel i Pàmies Elementary School
Des Oliver, composer
Philip Olleson, Emeritus Professor of Historical Musicology, University of Nottingham, and Immediate Past President, The Royal Musical Association
Nicholas Olsen, composer
Clare Orrell, primary school headteacher and music graduate
Jill Osborn BMus, private piano teacher
Richard Osmond, Director of Music, Haberdashers’ Aske’s Boys’ School
Ursula O’Sullivan, music teacher and musician, CSN College of Further Education, Cork, Ireland
Rebecca Oswald, composer, pianist, former faculty at the University of Oregon School of Music
Luke Ottevanger, Director of Music, composer
Martijn Padding, head of composition department, Royal Conservatory, Den Haag
Ian Pace, pianist, Lecturer, Head of Performance, City, University of London
Professor Carrie Paechter, Head of .Educational Studies, Goldsmiths, University of London
Christopher Painter, composer, brass bandsman, lecturer, music publisher, trumpet player. Barry, South Wales
Joan Arnau Pàmies, composer, Aural Skills Instructor, Northwestern University
Dr Tom Pankhurst, Music Teacher and Author
Tom Parkinson, composer and sound designer, Royal Holloway, University of London
Ben Pateman, Flautist and retired music producer
Anthony Payne, composer
Jenny Pearson, freelance cellist, teacher at Severn Arts Worcester
Michael Pearson, professional violinist
Jane Peckham BMus, MA, School Governor, Double Bassist
Tim Pells, Head of Guitar and Lecturer, Colchester Institute and Centre for Young Musicians
Chris Pelly, Concerts Series Administrator, University of Leeds
Damian Penfold, conductor and primary school governor
Ian Penwarden-Allen, choral conductor and teacher of music
Selah Perez-Villar, pianist and music educator
Lola Perrin, piano teacher, composer
Dr. Jeffrey Peterson, Associate Professor of Vocal Coaching/ Opera Conductor
Baylor University, Waco, TX
Theodore R Peterson, Composer
Joe Pettitt BMus(hons), bassist, bandleader and teacher of jazz bass and electric guitar at Westminster School and Trinity School, Croydon
Stephen Pettitt, writer and critic
James Philips, Classical Guitarist and self taught music reader
John Pickard, composer and Head of Music, University of Bristol
David Pickett, Former Prof., Indiana University School of Music, conductor, musicologist, tonmeister
Oliver Pickup, composer
David Pickvance, film and TV composer, composer-in-residence to the BBC
Jenni Pinnock, composer and instrumental tutor
David Pinto, performer with the Jaye Consort and musicologist, contributing editor to two volumes of Musica Britannica
John Pitts, composer and music teacher
Stephen Plaice, librettist, Writer in Residence Guildhall School of Music and Drama
Tamasine Plowman MA
Lara Poe, composer and pianist, graduate student at RCM
Irini Urania Politi, artist, teacher, amateur musician
Rosie Pollock, BMus MA (learned notation aged 6/7)
Benjamin Pope, Conductor working with the Royal Philharmonic Orchestra and Orchestras
Francis Pott, Professor of Composition & Head of Research, London College of Music, University of West London
Caroline Potter, Reader in Music, Kingston University
Eleri Angharad Pound, freelance harpist and composer, amateur choir singer
Jonathan Powell, pianist
Mark Powell, Conducting Scholar / ALP Faculty, Eastman School of Music
Steph Power, composer, critic, writer on music
Gillian Poznansky, flute player and examiner
Scott Price, Director of Music, The Cardinal Vaughan Memorial School
Dr Nicholas Stefano Prozzillo
Toby Purser, conductor
Peter Puskás, promoter and artist manager
Irene Quirmbach, violin instructor at the Francis W. Parker School in Chicago, IL (USA), active freelance violinist
Giovanni Radivo, concertmaster, Orchestre national de Lyon (France)
Caroline Rae, Reader in Music and pianist, Cardiff University
Lorenda Ramou, pianist, musicologist
Sanna Raninen, Research Associate, University of Sheffield
Torsten Rasch, composer
Nadia Ratsimandresy, ondist and Professor of onde Martenot and ondéa, Conservatoire à Rayonnement Régional de Boulogne-Billancourt
Manvinder Rattan, CEO and Head of Conductor Training, Sing for Pleasure
Sir Simon Rattle, conductor, principal conductor, Berlin Philharmonic Orchestra, conductor-elect, London Symphony Orchestra
Robert Rawson, Reader in Music, School of Music and Performing Arts, Canterbury Christ Church University
Steven Reale, Associate Professor of Music Theory, Youngstown State University, Youngstown, OH
Carla Rees, Music Programme Leader, Open College of the Arts
Camden Reeves, Professor and Head of Music, University of Manchester
John Reid, pianist and teacher
Chris Rice, Director, Altarus Records
Sally Richardson, Artist Manager; owner of Tashmina Artists
Christiaan Richter, composer
Dr Tim Ridley, Director of Music, Glenalmond Gollege
Judith Robinson, Creative Project Leader for Education, Sound and Music
Heather Roche, clarinettist, co-editor of TEMPO
Dr Marc Rochester, lecturer in music history and criticism, Yong Siew Toh Conservatory of Music, National University of Singapore
Paul Rodmell, Head of Music, University of Birmingham
Carlos Rodriguez, pianist, conductor and MBA from ChileJames Roe, President & Executive Director, Orchestra of St. Luke’s, New York City
Martin Roscoe, pianist, Professor, Guildhall School of Music and Drama
Pamela Rose, ABRSM Theory Examiner, Music Educator
Daniele Rosina, Director of Orchestral Studies University of Birmingham, Conducting Tutor, Birmingham Conservatoire
Luke Roskams, retired violinist
Tish Roskams, B.Mus retired music teacher
Toby Roundell, composer and educationist
Rebecca Rowe, composer and music educator
Cyrilla Rowsell, Kodály specialist, teacher at GSMD and for the British Kodály Academy, co-author of Jolly Music
Edward Rushton, composer and pianist
Julian Rushton, Emeritus Professor of Music, University of Leeds
Isabelle Ryder, private piano teacher
Leo Samama, composer, musicologist, educator and author (The Netherlands)
Abel Sanchez-Aguilera, pianist and biochemist, Madrid
Helen Sanderson, Winston Churchill Fellowship in guitar education, Artistic Director of National Youth Guitar Ensemble, CEO of Guitar Circus, guitar professor at RWCMD
Anthony Sandle, opera singer
James Savage-Hanford, freelance singer and Visiting Tutor in Theory & Analysis at Royal Holloway, University of London
Melinda Sawers, Director of Music, Wadhurst, Melbourne Grammar School (Australia)
Paul Scanling, Music Director, Marietta Symphony Orchestra
Brian Schembri, Artistic Director and Principal Conductor, Malta Philharmonic Orchestra
Jonathan Schranz, Choral Conductor, London
Thomas Schmidt, Professor of Music, University of Manchester
William James Schmidt, pianist & composer, MMusPerf (University of Melbourne), MA (MUK Vienna)
Christian Schruff, Journalist – Musikvermittler, Berlin
Annelies Scott ARAM, cello and music theory teacher
Fred Scott, founder, Soundpractice Music
Matthew Scott, Professor of Composition, University of Southampton; Head Of Music, National Theatre (retired)
Peter J D Scott, Teaching Fellow, University of Bristol
Robert Secret ARAM, conductor & viola player
Florian Scheding, University of Bristol
Jeffrey Siegfried, saxophonist, doctoral candidate, University of Michigan, Ann Arbor
Linda Shaver-Gleason, PhD Musicology, University of California, Santa Barbara
Susan Sheppard, teacher of cello at RNCM and Trinity Laban and teacher of Latin
Daniel Sherer, professor of architecture, Columbia University and lifelong pianist and music lover
Rachel Shirley, Music teacher; PhD researcher in Music Education, Lancaster University
Andre Shlimon, musician and teacher
Robert Sholl, University of West London and The Royal Academy of Music
Martin Shorthose, Cantor and Choir Director, Antiochian Orthodox Church in the UK. Ex Layclerk at Coventry and Liverpool Cathedrals
Alexander Sigman, composer, researcher and educator
Angela Elizabeth Slater, Composer
Jeremy Silver, conductor, pianist, vocal coach
Nigel Simeone, music teacher, English Martyrs’ Catholic School
Mark Simpson, BBC Philharmonic Composer in Association and former BBC Young Musician of the year 2006
Wendy Skeen, BMus(Hons), Guildhall School of Music & Drama; Freelance pianist and piano teacher
M I Skinner, M.St. (Mus)(Oxon), PG Dip MTPP, ALCM, Dip ABCD. Musician, teacher, conductor, and musicologist
Shirley Smart, jazz cellist, musicianship and improvisation teacher, City, University of London, and Royal College of Music Junior Department
Ben Smith, pianist and composer, postgraduate student, Guildhall School of Music and Drama
Charles J. Smith, Slee Chair of Music Theory, University at Buffalo
David J. Smith, Professor of Music, University of Aberdeen
George Smith, composer and freelance piano/voice teacher, University of Southampton graduate
Harriet Smith, music journalist
Steve Smith, guitarist, multi-instrumentalist
Tim Smith, Director of Music, St. Mary Harrow on the Hill/Arts Faculty Leader, Heathland School
John Snijders, pianist and Associate Professor of Music Performance, Durham University
Ernest So, concert pianist
Peter A. Soave, Concert Accordionist, Founder Peter Soave Music Academy, in Sauris Italy
Stephen Soderberg, Senior Specialist for Contemporary Music (retired), Music Division, Library of Congress
Zoë South, (state-educated) professional opera singer, singing teacher
Clare Southworth, Professor of Flute RAM
Shauna Spargo, amateur violinist, soprano in the local church choir (learned to read music at 6 when I had free violin lessons at a state primary school)
Jeroen Speak, freelance composer and teacher
Simon Speare, Head of Composition and Contemporary Music, Royal College of Music Junior Department
Mic Spencer, Associate Professor of Music, University of Leeds
Jane Spencer-Davis. Accountant specialising in musicians and violist
Mary Stagg, Primary Music specialist
Sarah Steinhardt, piano teacher, Greenwich Academy, CT USA
James Michael Stergiopoulos, retired electronics engineer
Adam Stern, conductor (Seattle Philharmonic, Sammamish Symphony), Seattle WA, USA
Clare Stevens, music journalist
Susanne Stanzeleit, violinist, tutor, Birmingham Conservatoire
Peter Stoller, songwriter, music writer, popular music archivist and historian at Leiber/Stoller Productions
Danny Stone, brass teacher, former classroom teacher (state sector U.K.)
Denise Stout, Choral Director
George Strickland, freelance oboist, postgrad at Royal Northern College of Music
Ashley Sutherland, music librarian, freelance clarinettist
Owain Sutton, private instrumental teacher
Professor Bill Sweeney, composer
Aleks Szram, Academic Lecturer and Piano Professorial Staff, Trinity Laban Conservatoire of Music and Dance
Caitriona Talbot BA Mod, freelance music tutor, Sefton
Diego Jiménez Tamame, composer
Gábor Tarján, composer, percussionist, Musical Director Het Filiaal
Christopher Tarrant, Lecturer in Music, Anglia Ruskin University
Mark Tatlow, conductor, educator, researcher Department of Culture & Aesthetics, University of Stockholm
Michelle Taylor-Cohen, Violinist, educator & arranger
Alun Thomas, professional violinist /Alexander Technique Coordinator Trinty Laban
Marisa Thornton-Wood, professor of piano, Royal Academy of Music
Paul Timms, music teacher, pianist, violinist & conductor
Phillip Tolley, Choral Music Advocate, British Choirs on the Net
Mikel Toms, conductor
Daniel Tong, pianist. Founder, Wye Valley Chamber Music. Head of Piano in Chamber Music, Birmingham Conservatoire
Julian Tovey, singer and lecturer, Royal Conservatoire of Scotland
Simon Toyne, Executive Director of Music, David Ross Education Trust
Peter Tregear, Professor, Royal Holloway, University of London
John Traill, Director of Music, St. Anne’s College, Oxford University; Director, Oxford Conducting Institute
Natalie Tsaldarikis, pianist, teacher, PhD student, City, University of London
Kathleen Tynan, Head of Vocal Studies and Opera, Royal Irish Academy of Music, Dublin
Fredrik Ullén, pianist, professor of cognitive neuroscience
Luk Vaes, pianist, reseacher, teacher
Maura Valenti BM, The Juilliard School; MM, Yale School of Music; current MPhil student in musicology, University of Oxford
John Van der Slice, composer
Dr Edward Venn, Associate Professor of Music, University of Leeds
Massimiliano Viel, Composer and Professor at Conservatory of Milan, Italy
Simon Vincent, composer, performer, and former Visiting Lecturer at City University London, University of Bayreuth, University of Potsdam and University of Applied Sciences Potsdam
Matthew Vine, volunteer music teacher (Kampala, Uganda)
Andrea Vogle, Percussion Tutor RNCM, JRNCM, Chetham’s School of Music
Zerlina Vulliamy, prospective university music student and DfE Music Scholar RCMJD
Alison Wahl, soprano, singer-songwriter, and music teacher
Charlie Wakely, Physics teacher and amateur musician
Helen Wallace, Kings Place Music Foundation, Soundsense Music
Neil Wallace, Programme Director, Doelen Concert Hall, Rotterdam
Richard Wallace, violist Royal Liverpool Philharmonic Orchestra, viola tutor Bangor University
David Warburton MP, Chair of the All Party Parliamentary Select Committee on Music Education
John Warburton BMus Hons Tonmeister, Associate Lecturer, University of Surrey Department of Music and Media
Dr Michael Ward, concert pianist, conductor and composer
Philippa Ward, pianist, teacher, Wellington, New Zealand
Jenny Warren, maths teacher and classical soprano who learned to sight read at state school
Celia Waterhouse, Piano Teacher, Music Educator, Lead Editor for British Kodaly Academy Songbook
Ashley Wass, pianist
Huw Watkins, composer and pianist
Hannah Watson, secondary school music teacher, violinist
Rachel Watson, cellist, cello teacher with experience of secondary school teaching
Trevor Watt, former music student, now lawyer
Dr Richard Wattenbarger, musicologist, Adjunct Instructor, Music Studies, Temple University, Philadelphia, Pennsylvania
Sarah Watts, Associate in Music Performance at Sheffield University, bass clarinet tutor RNCM, Clarinet tutor at Nottingham University
David Way, violinist/violist/teacher
Philip Wayne, Headmaster, Royal Grammar School, High Wycombe, also Musician
James Webb, Director of Music, Hull Collegiate School
Gillian Webster , Opera Singer and teacher
James Weeks, composer, Associate Head of Composition, Guildhall School of Music & Drama
Marcus Weeks, composer and jazz and reggae trombonist
Richard Whalley, Senior Lecturer in Composition, University of Manchester
Mike Wheeler, music writer and adult education tutor, WEA
Simon Whiteley, BMus, Lay Clerk at St George’s Chapel, Windsor Castle, and founder member of The Queen’s Six, a cappella ensemble
Adam Whittaker, Post-doctoral researcher (Music and Music Education), Birmingham City University
Dr Anthony Whittaker, composer, piano teacher and examiner
Sally Whitwell, composer, pianist. BMus(Hons) ANU, Australia
Joanna Wicherek, pianist and teacher
Judith Wiemers, PhD student at Queen’s University Belfast
Charles Wiffen, Assistant Dean, College of Liberal Arts, Bath Spa University
Louise Wiggins, PhD student, University of Bristol; harpist; and peripatetic music teacher
Emma Wild, Freelance Violist
Christopher Wiley, National Teaching Fellow and Senior Lecturer in Music, University of Surrey
John Willan, former EMI producer and Managing Director London Philharmonic
Ceri Williams, music teacher
David Carlston Williams, Organist and Music Teacher
Victoria Williams AmusTCL BA music theory teacher
James Williamson. Composer, PhD candidate at the University of York
Chesterton K. Whiteman, adjunct professor of composition, Oral Roberts University
Dr Alexandra Wilson, Reader in Music, Oxford Brookes University
Andrew Wilson, Freelance musician, and Head Teacher, Teesside High School
Jay Wilkinson, flute and theory teacher
Katherine Williams, Lecturer in Music and Head of Performance, Plymouth University
Frances Wilson LTCL (AKA The Cross-Eyed Pianist); pianist, writer, and teacher
Jayne Lee Wilson, Music Lover & Reviewer, FoR3 Forum
Natalie Windsor, BaHons PgCert (Birmingham Conservatoire), Mezzo soprano, jazz singer and music teacher
Lorraine Womack-Banning, pianist, piano teacher, adjudicator
Jaye Wood, BA Hons, freelance classical piano and voice teacher
Toby Wood, Music recording engineer and producer
Liz Woodhouse, piano teacher
Ronald Woodley, Professor of Music, Birmingham Conservatoire, Birmingham City University
Catherine Woodman. Head of Keyboard Studies at Redmaids High School and examiner
Kenneth Woods, Artistic Director, English Symphony Orchestra
Christopher Woolmer, Organist, teacher, Director of Music, Oakwood School, Purley
David Wordsworth, conductor and agent
Dr Emily Worthington, freelance clarinettist/Lecturer, University of Huddersfield
Andrew Wright, School of Education, University of Buckingham
Elspeth Wyllie, Pianist, Teacher, member of the ISM
Catherine Wyn-Rogers, opera singer and teacher
Anna Wyse, B.Eng. M.Sc.(Eng), AIEMA
Joshua D. Xerri, Sub-Organist (St Alphege, Solihull), singer, composer
Amit Yahav, pianist, doctoral student, Royal College of Music
Paul Yarish, pianist, Registered Piano Technician, organ student
Marc Yeats, composer and visual artist
Nina C. Young, Assistant Professor of Music Composition & Multimedia Performance, Rensselaer Polytechnic Institute
Toby Young, composer, Junior Research Fellow, University of Oxford
Jay Alan Yim, composer, Associate Professor of Music, Northwestern University
Alistair Zaldua, composer and conductor, visiting lecturer in Music, Canterbury Christ Church University
Mirjam Zegers, music consultant, teacher, amateur pianist
Nicolas Zekulin, Chief Executive & Artistic Director, National Youth Orchestras of Scotland
Patrick Zuk, Associate Professor in Music, Durham University
Julio Zúñiga, composer, graduate student, Harvard University
Rasmus Zwicki, composer
[ADDENDUM: Since first placing this letter online, I have been alerted to two relevant phenomena: the Department of Music at Harvard University have now removed a requirement to study theory, or Western art music history, from their core curriculum . Worse, Texan musicologist Kendra Leonard has created a ‘Privilege Walk’ for musicians, a way of publicly shaming those who, for example, were taught music theory (no. 12), care about notated music (no. 19), can read more than one clef (no. 36), or had advanced instruction in a foreign language (no. 39). It is not clear from Leonard’s biography if she teaches regularly at an institution, but certainly such ‘privilege walks’ exist elsewhere in the US; I will blog more about this on another occasion. In case anyone is unclear, as stated above this addendum does not form part of the letter to which signatories put their name and represents a personal view.]