Music in UK Higher Education 2: Undergraduate and Postgraduate Taught Courses

As a follow-up to my previous post in this series, I now wanted to give details of the spread of undergraduate and postgraduate taught courses available in the UK Music Higher Education sector. These are figures for 2023-24 entry, as offered via the University and Colleges Admissions Service (UCAS) site, and collated earlier this calendar year. They can also be found in the handout for my lecture given at Oxford University in April, ‘Academic Music in the United Kingdom and the Dalliance with Practice’, the full text and slides of which (together with the handout) can be accessed here. Some may change for the upcoming cycle of admissions (for 2024-25 entry), but this gives a good indication of the current state of play.

What I am not at liberty to share here are the precise numbers enrolled on such courses, as this information comes from the Higher Education Standards Authority (HESA), for purely internal use by institutions. However, in my analysis at the end of this piece I will give some broad figures for which I previously obtained permission to use in an article for Times Higher Education. Suffice to say that numbers vary greatly – there are some with recent enrolments of fewer than 5 students, others in the 70s and 80s (three-figure sums on individual programmes are rare outside of the conservatoires, which collate students on many different instruments and voices on single programmes).

I am dividing up the sector as I have done elsewhere, into 1. Russell Group; 2. Mid-Ranking (a category which emerged after the 1992 Further and Higher Education Act, and the founding of the Russell Group in 1994 (arguably in response to the new act), originally comprising 17 institutions, but whose membership has changed considerably in the interim period); 3. Post-1992; 4. Colleges of Higher Education and others; 5. Conservatoires; 6. Private Providers.

As in all of these posts, the information contained therein is derived principally from that in the public domain. Furthermore, there is of course the potential for human error in collating it, and I welcome any corrections. I hope through these posts simply to make valuable information about the sector readily accessible to all with an interest, so that wider analyses or judgements on it can be better informed.


1. Russell Group

University of Oxford – BA Music (option of foundation year)
MSt Music (Musicology); MSt Music (Performance); MSt Music (Composition); MPhil Music (Musicology); MPhil Music (Composition); MPhil Music (Performance); also 1+1 option to combine MSt with an MBA. MPhil courses are taught and apparently sometimes taken as autonomous degrees.

University of Cambridge – BA Music (option of foundation year).
MPhil (Music) (taught).

University of Birmingham – BMus Music; joint courses with Modern Languages or Mathematics.
MA Music: Musicology; MA Music: Instrumental/Vocal Composition; MA Music: Electroacoustic Composition/Sonic Art; MA Music: Mixed Composition; MA Music: Performance pathway; MA Music: Performance Practice pathway;  MA Music: Global Popular Musics; MA Music: Open Pathway with Performance; MA Music: Open Pathway without Performance

University of Bristol – BA Music; joint courses with various languages; MArts Music with Innovation (4 years).
MA Music; MA Composition of Music for Film and Television.

Cardiff University – BMus Music (option of study abroad year); BA Music (option of study abroad year); joint courses with languages, Mathematics, English.
MA Music.

Durham University – BA (Hons) Music (option of foundation year); joint course with Philosophy.
MA Music; MA Music and Science; MA Musicology; MA Ethnomusicology; MA Composition; MA Performance.

University of Edinburgh – BMus (Hon) Music (4 years); BSc Acoustics and Music Technology (4 years); joint course with Mathematics.
MMus Musicology (FT and PT); MMus Composition (FT and PT); MMus Musical Instrument Research; MScR Music; MSc Acoustics and Music Technology (FT and PT); MSc Sound Design.

University of Glasgow – BMus Music; MA Music (4 years); BEng/MEng Electronics with Music (4 or 5 years); joint courses with Archaeology; Classics, Economics; History, Mathematics, Philosophy, Politics, Psychology, Business/Management, Comparative Literature, Computing Science, English, History of Art, Scottish Literature, Theatre Studies, Film/Television Studies, etc. (all generally 4 year MA courses); various languages (5 years).
MMus Musicology; MA Historically Informed Performance Practice; MSc Music Industries; MSc Sound Design & Audiovisual Practice. Formerly an MMus Composition and Creative Practice.

King’s College, University of London – BMus Music.
MMus Music.

University of Leeds – BA Music; BA Music with Enterprise; BSc Music, Multimedia and Electronics; BMus Music (Performance) (4 years); Marts BA Music and Music Psychology (4 years); joint courses with English and Mathematics.
MA Applied Psychology of Music; MA Critical and Applied Musicology; MMus Critical and Experimental Composition; MA Music and Management; MMus Performance; MA Music and Wellbeing.

University of Liverpool – BA (Hons) Music; BA (Hons) Music and Popular Music; BA (Hons) Popular Music; BA (Hons) Music and Technology; BSc Mathematics and Music Technology; BA (Hons) Music and Game Design Studies; BA (Hons) Music Technology with Game Design Studies; BA (Hons) Popular Music and Game Design Studies; various joint courses.
MRes Music (formerly MMus Music); MMus Performance; MA Classical Music Industry (formerly MA Business of Classical Music); MA Music Industry Studies; MA Music and Audiovisual Media; MA The Beatles: Music Industry and Heritage.

University of Manchester – MusB Music; BA Film Studies and Music; BA Music and Drama; joint MusB/GRNCM course with Royal Northern College of Music (4 years).
Musm Music (Musicology) (FT and PT); Musm Music (Ethnomusicology) (FT and PT); Musm Composition (Instrumental and Vocal); Musm Composition (Electroacoustic Music & Interactive Media); Musm Performance Studies.

Newcastle University – BA (Hons) Music (option of year abroad); BA (Hons) Contemporary and Popular Music; BA (Hons) Folk and Traditional Music.
MMus Music; Mlitt Music; MA Creative Art Practice.

University of Nottingham – BA Music; BA Music and Music Technology; BA Music and Philosophy; option throughout of foundation year.
MRes Music.

Queen Mary, University of London – MSc Sound and Music Computing (FT and PT, with option of industry year).

Queen’s University Belfast – BMus Music; BA Music and Audio Production; BA Music and Sound Design; BSc Audio Engineering; BA Music Performance.
MRes Arts and Humanities.

University of Sheffield – BMus Music (option of foundation year); BMus Music (part-time) (6 years); joint courses with English, History, Philosophy, Languages, Korean Studies (latter two 4 years).
MA Musicology (FT and PT); MA Ethnomusicology (FT and PT); MA Composition; MA Music Performance Studies (FT and PT); MA Music Management (FT and PT); MA Psychology of Music (FT and PT); MA Music Psychology in Education; MA Transcultural and Traditional Music Studies (distance/online learning an option) (formerly formerly MA Traditional and World Music; before that MA in Traditional Music of the British Isles and MA World Music Studies); MA Music Psychology in Education, Performance and Wellbeing (Distance Learning)

University of Southampton – BA Music (option of year abroad); BSc Acoustics with Music; joint courses with English, French, German (all 4 years); BA (Hons) Music and Business Management (option of year abroad); BEng (Hon) Acoustical Engineering (3 years, option of foundation year and/or industrial placement year, can go up to 5 years); MEng (Hon) Acoustical Engineering (4 years, option of foundation year and/or industrial placement year, can go up to 6 years).
MMus Music (Musicology); MMus Music (Composition); MMus Music (Performance); MMus Music (Education); MA International Music Management.

University of York – BA (Hons) Music; BA (Hons) Music and Sound Recording; BEng (Hons) Music Technology Systems (option of foundation year); MEng (Hons) Music Technology Systems (4 years, option of foundation year); BEng (Hons) Electronic Engineering with Music Technology Systems (option of foundation year); MEng (Hons) Electronic Engineering with Music Technology Systems (4 years, option of foundation year).
MA Musicology; MA Music: Composition; MA Music Performance: Historical Performance Practice; MA Music Performance: Piano Studies; MA Music Performance: Solo Voice Ensemble Singing; MA Music Performance: Vocal Studies: MA Music Production and Audio Cultures; MA Community Music; MA Music Education: Instrumental and Vocal Teaching; MA Music Education: Group Teaching and Leadership; MSc Audio and Music Technology (hosted by School of Physics, Engineering and Technology).


2. Mid-Ranking

University of Aberdeen – BMus (Hon) Music (4 years); BMus (Hon) Music Education (4 years); joint MA (Hons) courses with languages, History, Computing, Law, English.
MMus Music (FT or PT); MMus Vocal Music.

Bangor University – BA (Hons) Music; BMus (Hon) Music (option of foundation year for both); BA (Hons) Music with Theatre and Performance.
MA Music; MA Music with Education; MA Composition and Sonic Art; MA Performance.

Brunel University London – BA Music (option of placement year; option of part-time, 5-6 years); BA Music (Production) (option of placement year)

City, University of London – BMus (Hons) Music; BSc (Hons) Music, Sound and Technology; BA (Hons) Professional Dance and Musical Theatre; option of sandwich year or study abroad year.
MA Music by Research.

Goldsmiths College, University of London – BMus (Hon) Music (option of foundation year; option of part-time, 4-6 years); BMus Popular Music (option of part-time, up to 6 years) BMus(Hons)/BSc (Hons) Electronic Music, Computing and Technology (4 years; includes foundation or industry year); BA (Hons) Drama: Musical Theatre. Option of foundation year.
MA Music; MA Music (Musicology); MA Music (Contemporary Music Studies); MA Music (Ethnomusicology); MA Music (Popular Music Research); MA Music (Audiovisual Cultures); MA Arts Administration & Cultural Policy: Music Pathway; MA Creative & Cultural Entrepreneurship: Music Pathway; MA Musical Theatre; MMus Composition; MMus Performance & Related Studies; MMus Popular Music; MMus Creative Practice; MMus Sonic Arts; MSc Music, Mind and Brain.

University of Hull – BA (Hons) Music; BA (Hons) Music Production; BA (Hons) Music (Popular Music); BA (Hons) Music (Songwriting); BA (Hons) Music (Performance); BA (Hons) Music (Community & Education).
MMus Music (pathways in Musicology, Composition, Performance, Technology).

Keele University – BA (Hons) Music Production with a Foundation Year; BA (Hons) Music Production and Sound Design (sandwich); BA (Hons) Music Production and Sound Design with a Foundation Year (3.5 years); BA (Hons) Music Production and Psychology (sandwich); BA (Hons) Film Studies and Music Production (sandwich); BA (Hons) Media and Music Production (sandwich); BA (Hons) Business Management and Music Production (sandwich); BSc (Hons) Computer Science and Music Production (sandwich).
MRes Humanities; MA Creative Practice.

University of Kent – BA (Hons) Music, Performance and Production; BSc (Hons) Music Technology and Audio Production; BA (Hons) Music Business and Production

Liverpool Institute for the Performing Arts (LIPA) – BA (Hons) Music; BA (Hons) Music (Songwriting & Performance); BA (Hons) Management of Music, Entertainment, Theatre & Events; BA (Hons) Acting (Musical Theatre); BA (Hons) Acting (Musicianship); BA (Hons) Sound Technology.
MA Music Industry Professional Management.

Open University – BA (Hons) Music; BA (Hons) Arts and Humanities (Music) (3 to 6 years, distance).
MA Music.

University of Reading – BA (Hons) Primary Education and Music.
MA Education (Music Education).

Royal Central School of Speech and Drama, University of London – BA (Hons) Sound Design and Production

Royal Holloway, University of London –BMus (Hons) Music (option of foundation year); BA Music and Sound Design for Film, Television and Interactive Media (option of foundation year); joint courses with English, French, German, Italian, Spanish, Philosophy, Economics, Political Studies, Mathematics, Modern Languages, Theatre, Physics.
MMus Music (formerly called MMus Advanced Musical Studies).

University of Salford – BA (Hons) Music: Creative Music Technology (option of foundation year); BA (Hons) Music: Performance (option of foundation year); BA (Hons) Music: Popular Music and Recording (option of foundation year); BA (Hons) Music Management and Creative Enterprise; BEng (Hons) Acoustical and Audio Engineering (option of foundation year); MEng (Hons) Acoustical and Audio Engineering (4 or 5 years); BEng (Hon) Sound Engineering and Production (option of professional experience year).
MA Music (formerly with named pathways); MA Contemporary Performance Practice; MA Socially Engaged Arts Practice; MSc Audio Production; MSc Acoustics (latter two hosted by School of Science, Engineering and the Environment).

SOAS, University of London – multiple joint BA (Hons) courses with music; no single music course.
MA Music (Ethnomusicology) (formerly MA Ethnomusicology; MA Music in Development).

University of St Andrews – MLitt Sacred Music.

University of Surrey – BMus (Hon) Music (option of sandwich); BMus (Hon) Creative Music Technology; BMus (Hons)/BSc (Hons) Music and Sound Recording (Tonmeister) (4 years; sandwich); BA (Hons) Musical Theatre; BA (Hons) Actor Musician; BSc (Hons) Mathematics with Music.
MMus Music (formerly with various named pathways – Composition, Performance, Creative Practice); MA/MFA Musical Theatre.

University of Sussex – BA (Hons) Music; BA (Hons) Music Technology.
MA Music and Sonic Media.

University of Ulster – BMus (Hon) Music; joint courses with Irish, Drama, Education, History; BSc (Hons) Creative Audio. MMus Creative Musicianship (FT or PT) (pathways in Performance Studies; Composition and Creative Audio; Music and Communities).



3. Post-1992 Institutions

Anglia Ruskin University – BA (Hons) Electronic Music Production; BA (Hons) Music Performance; BA (Hons) Music Production; BSc (Hons) Audio & Music Technology; BA (Hons) Musical Theatre; BA (Hons) Music and Sound Production. All available as 3 or 4 years, with either foundation or placement year.
MA Music Therapy.

Bath Spa University – BA (Hons) Music (option of placement year); BA (Hons) Professional Music: Performance and Production; BA (Hons) Commercial Music (option of placement year); BA (Hons) Creative Music Technology (option of placement year); BA (Hons) Creative Music Technology (Games and Interactive Media) (option of placement year); BA (Hons) Musical Theatre; BA (Hons) Drama (Musical Theatre) (option of Professional Placement Year).
MA Commercial Music; MA Composition; MA Music Performance; MA Sound Design; MA Sound (Arts); MA Sound (Production); MMus Songwriting

University of Bedfordshire – BA (Hons) Musical Theatre (optional qualifier of Film Acting); BA (Hons) Radio and Audio (options of foundation or placement year); BA (Hons) Music Technology Top-up (1 year)

Birmingham City University – BA (Hons) Music Business with Professional Placement Year; BSc (Hons) Music Technology with Professional Placement Year; BSc (Hons) Sound Engineering and Production (option of foundation or professional placement year). (Also courses offered by Royal Birmingham Conservatoire).

Bishop Grosseteste University – BA (Hons) Music and Musicianship.

University of Bolton – BA (Hons) Musical Theatre; BA (Hons) Musical Theatre (top-up) (1 year).

Bournemouth University – BA (Hons) Music and Sound Production (sandwich).

University of Brighton – BA (Hons) Digital Music and Sound Arts; BA (Hons) Music Business and Media.
MA Digital Music and Sound Arts.

Buckinghamshire New University – BA (Hons) Music Production and Performance (option of foundation year); BA (Hons) Music Business (option of foundation year); BA (Hons) Music Production and Business (option of foundation year); BA (Hons) Audio and Music Production (option of foundation year); BA (Hons) Electronic Music Production (option of foundation year); BA (Hons) Musical Theatre (option of foundation year); BA (Hons) Professional Dance and Musical Theatre (Dancebox Studios and Theatre Works); BA (Hons) Songwriting (option of foundation year); BSc (Hons) Sound Design (option of foundation year).
MA Music and Audio Production; MA Music Business.

Canterbury Christ Church University – BA (Hons) Music (option of foundation year); BA (Hons) Commercial Music; BA (Hons) Creative Music Production and Technology (option of foundation year); BA (Hons) Musical Theatre.
MMus Master of Music.

University of Central Lancashire – BA (Hons) Music Production (option of foundation year); BA (Hons) Music Production and Performance (option of foundation year); BA (Hons) Electronic Music Production and Performance; BSc (Hons) Live Audio Engineering and Music Production; BSc (Hons) Entrepreneurial Audio Production; BA (Hons) Music Theatre.
MA Music; MA Music Industry Management and Promotion.

University of Chester – BA (Hons) Music Production and Performance; BA (Hons) Popular Music Performance; BA (Hons) Music Production; BA (Hons) Music Journalism (option of foundation year); BA (Hons) Musical Theatre Performance.
MA Popular Music.

University of Chichester – BA (Hons) Music; BA (Hons) Music Performance; BA (Hons) Music Performance (Film Acting); BA (Hons) Commercial Music; BA (Hons) Musical Theatre (many sub-options); BA (Hons) Musical Theatre Performance; BA (Hons) Musical Theatre and Arts Development; BMus (Hons) Performance (4 years); BMus (Hons) Instrumental Teaching (4 years); BMus (Hons) Jazz Performance (4 years); BMus (Hons) Vocal Performance (4 years); BA (Hons) Jazz and Cabaret Performance; BMus (Hons) Vocal Teaching (4 years); MusB (Hons) Orchestral Performance (4 years); Ba (Hons) Song Writing and Cabaret Performance; BA (Hons) Music with Jazz Studies; BA (Hons) Music with Teaching; BA (Hons) Music with Workshop Leadership; BA (Hons) Music with Arts Development; BA (Hons) Audio Production and Music Technologies.
MA Music Performance; MA Music Teaching; MA Composition for Film, TV and Games (formerly MA Music Industry Innovation and Enterprise; MA International Music Business); and through University of the Creative Arts – MA/MSc International Music Management; MMus Composition for Screen (formerly MMus Music Performance through LCCM).

University Centre Colchester at Colchester Institute – BA (Hons) Popular Music: Performance and Production; BA (Hons) Musical Theatre; BA (Hons) Music for Performance and Teaching.

Coventry University – BA (Hons) Popular Music Performance and Songwriting.

University of the Creative Arts (Kent/Surrey) – BA (Hons) Music & Sound Production (optional foundation year, taking to 4 years; optional professional practice year, taking to 5 years,4 without foundation year); BA/BSc (Hons) Music Business & Management (optional foundation year and professional practice year, as for Music & Sound Production); BMus (Hons) Composition for Screen (same options of foundation/professional practice year).

De Montfort University – BSc (Hons) Music Production; BA (Hons) Music Technology; BA (Hons) Performance in Musical Theatre; BA (Hons) Performance Level 6 Top-up (1 year).
MA Music, Technology and Innovation.

University of Derby – BA (Hons) Popular Music (optional foundation year); BSc (Hons) Music Production (optional foundation year); BSc (hons) Sound, Light and Live Event Engineering.
MA Music Production; MA Music Therapy; MSc Audio Engineering (hosted by College of Science and Engineering).

Edge Hill University – BA (Hons) Music Production; BA (Hons) Musical Theatre.
MA Collaborative Performance Practice.

Edinburgh Napier University – BA (Hons) Music; BSc (Hons) Sound Design (4 years).
MA Music; MSc Sound Design.

Falmouth University – BA (Hons) Music; BA (Hons) Popular Music; BA (Hons) Creative Music Technology; BA (Hons) Creative Music Production (online, 2 years); BA (Hons) Professional Music (Performance); BA (Hons) Professional Music (Songwriting); BA (Hons) Professional Music (Electronic Music); BA (Hons) Professional Music (Production); BA (Hons) Professional Music (Business);  BA (Hons) Career Musician (3 years; 2 years online option);  BA (Hons) Music Production & Sound Engineering; BA (Hons) Electronic Music & Business (Online, 2 years); BA (Hons) Electronic Music Production (optional online, 2 years); BA (Hons) Musical Theatre; BA (Hons) Music & Sound for Film & TV; BA (Hons) Music Business; BSc (Hons) Live Sound; BA (Hons) Songwriting & Music Performance (optional online, 2 years) BA (Hons) Sound Design (3 or 4 year options); BA (Hons) Game Development: Audio (optional foundation year); BA (Hons) Music Production & Sound Engineering (Level 6 Top-up) (1 year); BA (Hons) Electronic Music Production (Level 6 Top-Up) (1 year).
MA Music Business.

University of Gloucestershire – BA (Hons) Popular Music; BA (Hons) Sound and Music Production; BA (Hons) Music Placement (optional placement year).
MSc Sound and Music Production; MA by Research Music and Sound.

Glyndŵr University, Wrexham – BSc (Hons) Music and Sound Technology (optional foundation year); BSc (Hons) Professional Sound and Video

University of Greenwich – BA (Hons) Professional Dance and Musical Theatre.

University Centre Grimsby – BA (Hons) Music Production; BA (Hons) Popular Music Performance.

University of Hertfordshire – BA/BSc Music Production; BSc (Hons) Music and Sound Design Technology; BSc (Hons) Music Composition and Technology for Film and Games (sandwich); BSc (Hons) Songwriting & Music Production; BSc (Hons) Audio Recording & Production; BA/BSc Live Sound and Lighting Technology (sandwich).
MA Creative Music Production; MSc Music and Sound for Film and Games; MSc Audio Engineering.

University of the Highlands and Islands – BA (Hons) Applied Music (4 years); BA (Hons) Popular Music (4 years); BA (Hons) Music Business (4 years); BA (Hons) Gaelic and Traditional Music (4 years); BSc (Hons) Audio Engineering (4 years).
MMus Music; MA Music and the Environment.

University of Huddersfield – BMus (Hon) Music (sandwich); BMus (Hon) Music Technology and Composition: BMus (Hon) Music Performance (sandwich); BMus (Hons) Popular Music; BSc (Hons) Sound Engineering and Music Production (sandwich); BA (Hons) Creative Music Production; BSc (Hons) Sound Engineering and Audio Technology (sandwich); BA (Hons) Music and Sound for Screen; BA (Hons) Music Journalism.
MMus Musicology; MMus Music Performance; MMus Popular Music Practice; MA Creative Music Production; MSc Music Technology and Sound Production.

Kingston University – BA (Hons) Music Technology.
MA Music; MA Music Education; MMus Music Performance; MMus Composing for Film and Television.

Leeds Arts University – BMus (Hons) Popular Music Performance.

Leeds Beckett University – BSc (Hons) Music Technology; BA (Hons) Music Production; BA (Hons) Music Performance and Production; BA (Hons) Music Industries Management; BSc (Hons) Audio Engineering.
MA Popular Music & Culture; MA Music Production; MA Music for the Moving Image; MA Sonic Arts; MA Sound Design; MSc Sound & Music for Interactive Games; MSc Audio & Acoustics.

University of Lincoln – BA (Hons) Music; BA (Hons) Musical Theatre; BA (Hons) Sound and Music Production.
MRes Performing Arts (Drama, Dance, Music).

Liverpool Hope University – BA (Hons) Music (optional foundation year); BA (Hons) Music Production and Musical Theatre (optional foundation year); BA (Hons) Music and Music Production (optional foundation year); BA (Hons) Dance and Musical Theatre (optional foundation year); BA (Hons) Dance and Music; numerous joint courses with Music Production or Musical Theatre.
MA Contemporary Performance.

Liverpool John Moores University – BA (Hons) Musical Theatre Practice; BSc (Hons) Audio and Music Production (sandwich).
MA Musical Theatre; MA Audio and Video Forensics.

University of East London – BA (Hons) Music Performance and Production (optional foundation year); BA (Hons) Music Journalism (optional foundation year); BA (Hons) Music Technology and Production (optional foundation year); BA (Hons) Sound and Music for Theatre (optional foundation year); BA (Hons) Sound and Music for Media (optional foundation year); BA (Hons) Sound and Music for Games (optional foundation year); BA (Hons) Musical Theatre.
MA/MFA Sound and Music for Games; MA/MFA Sound and Music for Media; MA/MFA Sound and Music for Performance; MA/MFA Sound and Music for Production; MA/MFA Sound and Music for Theatre; MA Contemporary Performance Practices.

University of West London* – BMus (Hon) Music Performance (optional foundation year); BMus Popular Music Performance (optional foundation year); BMus Composition (optional foundation year); BA (Hons) Songwriting; BA (Hons) Music Technology (optional foundation year); BA (Hons) Electronic Music Production (optional foundation year); BSc (Hons) Sound Engineering (optional foundation year); BSc (Hons) Audio Software Engineering (optional foundation year); BA (Hons) Recording, Mixing and Production (optional foundation year); BMus (Hons) Performance and Recording (optional foundation year); BA (Hons) Musical Theatre (optional foundation year); BA (Hons) Musical Theatre Performance; BA (Hons) Sound and Music for Gaming (optional foundation year); BA (Hons) Popular Music and Worship; BA (Hons) Hip Hop Performance and Production (optional foundation year); BA (Hons) Recording, Mixing and Production (option of foundation year); BA (Hons) Song Writing and Cabaret Performance; BA (Hons) Music Management; BMus (Hon) Performance and Music Management (optional foundation year); BA (Hons) Music Technology (Top-Up) (1 year); BA (Hons) International Music Business – Top Up (1 year).
MA Advanced Music Technology; MA Music Industry Management and Artist Development; MA Music and Performing Arts Education; MA Record Production; MMus Performance (Classical, Jazz, Popular); MMus Composition; MMus Electronic Music Composition; MMus Composition for Film and Television.

London Metropolitan University – BSc Music Technology and Production (FT with sandwich, 4 years; or PT, 6 years); BA (Hons) Music Business (FT 3 years; or PT option, including foundation year – 4 years) (4 years).

London South Bank University – BA (Hons) Music and Sound Design.

University of the Arts London – BA (Hons) Music Production; BA (Hons) Sound Arts.
MA Sound Arts.

Manchester Metropolitan University – BA (Hons) Music and Sound Design (optional foundation year).

UCEN Manchester – BA (Hons) Musical Theatre; BA (Hons) Music Production and Composition; BA (Hons) Vocal Studies and Performance.

Middlesex University – BA (Hons) Music; BA (Hons) Music Business and Arts Management.
MA Music Business; MA Arts Management; MA Classical Music Business.

University of Northampton – BA (Hons) Popular Music (optional foundation year); BA (Hons) Music Production (optional foundation year); BA (Hons) Music Production (top-up) (1 year); BA (Hons) Popular Music (top-up) (1 year).

Northumbria University – BA (Hons) Music (optional with foundation and sandwich year, 5 years).
MRes Arts.

Nottingham Trent University – BA (Hons) Music Production; BA (Hons) Music Performance; BSc (Hons) Sound Engineering and Audio Production; BSc (Hons) Audio and Music Technology; BA (Hons) Music Business.
MA Music Business; MA Music Business (London); MSc Creative Technologies.

Oxford Brookes University – BA (Hons) Music.
MA Music.

University of Plymouth – BA (Hons) Music (sandwich); BA (Hons) Musical Theatre (optional foundation); BSc (Hons) Audio and Music Technology.
MA Music; MA Music Production; ResM Computer Music.

Plymouth Marjon University (= University of St Mark & St John) – BA (Hons) Musical Theatre; BA (Hons) Music Business.

Arts University Plymouth – BA (Hons) Sound Arts.

University of Portsmouth – BSc (Hons) Music Technology (sandwich); BA (Hons) Musical Theatre (sandwich); BA (Hons) Creative Music Technology (Top-Up) (1 year).
MA/MSc Creative Technologies.

Queen Margaret University, Edinburgh – MSc Music Therapy.

Ravensbourne University London – BA (Hons) Music and Sound Design.

University of Roehampton – MA Music Therapy.

University Centre Rotherham – BA (Hons) Popular Music Performance and Production.

Solent University (Southampton) – BA (Hons) Popular Music Performance and Production; BMus (Hons)/BSc (Hons) Popular Music Performance (optional foundation year; multiple courses on different sites); BSc (Hons) Popular Music Production; BA (Hons) Musical Theatre; BA (Hons) Music Business; BA (Hons) Digital Music (optional foundation year).

Staffordshire University – BA (Hons) Music Production (optional foundation year); BA (Hons) Musical Theatre; BSc (Hons) Sound Design (optional foundation year).
MA/MSc Modern Music Practices.

University of Sunderland – BA (Hons) Modern Music Industries; BA (Hons) Music (Top-up) (2 years).

Teesside University – BA (Hons) Music Production; BA (Hons) Musical Theatre (Top-up) (1 year).

University of South Wales – BA (Hons) Popular and Commercial Music; BA (Hons) Music Producing; BA (Hons) Music Business.

University of Wales Trinity Saint David – BA Musical Theatre (2 years); BA Perfformio (Performance) (2 years); BMus Vocal Performance; BA Creative Music Technology; BA (Hons) Theatr Gerddorol (Musical Theatre) (2 years); BMus (Hons) Vocal Performance; BA Commercial Music Producer (Top Up).
MA Advanced Vocal Studies; MA Performance (Repetiteur and Accompaniment) (both at Wales Academy of Voice & Dramatic Arts); MA Sound (Swansea College of Art); MA Commercial Music Producer (including Online Blended option); MA Music Business (including Online Blended option) (latter two at Tileyard Education, London).

University of the West of England – BSc (Hons) Creative Music Technology (sandwich); BSc (Hons) Audio and Music Technology (sandwich).
MA Music Therapy.

University of the West of Scotland – BSc (Hons) Music Technology (4 years); BA (Hons) Commercial Music (4 years).
MA Music (Songwriting/Sound Production/Industries).

University of Westminster – BA (Hons) Music Production, Performance and Business (optional foundation year).
MA Audio Production (FT and PT); MA Music Business Management (FT and PT); MA Live Music Management (FT and PT); MRes Creative Practice (FT and PT).

University of Winchester – BA (Hons) Popular Music: Production and Performance; BA (Hons) Music Production, Performance and Business with Foundation; BA (Hons) Musical Theatre.

University of Wolverhampton – MA Creative Practice and Performance (Music); MA Musical Theater Performance; MSc Audio and Creative Technology (formerly had MA courses in Music and Music Technology).

University of Worcester – BA (Hons) Musical Theatre.

York St John University – BA (Hons) Music; BA (Hons) Music Production; BSc (Hons) Music Technology; BA (Hons) Musical Theatre; BA (Hons) Music Production & Music Business; BA (Hons) Music: Community Music.
MA Musical Composition; MA Music Production; MA Community Music; MA Musical Leadership.

University Centre at the Heart of Yorkshire Education Group – BA (Hons) Actor Musician.

4. Others – Colleges of Higher Education, etc.

Bedford College Group – BA (Hons) Music Technology (Top Up) (1 year).

Greater Brighton Metropolitan College – BA (Hons) Music Performance; BA (Hons) Music Production; BA (Hons) Musical Theatre; BA (Hons) Music Business and Management.

Burnley College – BA (Hons) Music Production and Performance (optional foundation, but still 3 years).

University Centre Calderdale College –BA (Hons) Creative Arts with Music Production (Top-up) (1 year).

Cardiff and Vale College – BMus Music Performance and Recording (Top-up) (1 year); BA (Hons) Electronic Music Production (Top-up) (1 year).

dBs Institute of Sound & Digital Technologies – MA Electronic Music Production; MA Music Production & Sound Engineering; MA Innovation in Sound (all awarded by Falmouth University).

New College Durham – BA (Hons) Popular Music (Top-Up) (1 year).

Edinburgh College of Art – MPhil Art (has music element).

Glasgow School of Art – MDes Sound for the Moving Image.

South Gloucestershire and Stroud College – BA (Hons) Musical Theatre.

Hereford College of Arts –BA (Hons) Popular Music (Top Up) (1 year).

Hull College – BA (Hons) Music (Popular Performance/Creative Music Production) Top-up (1 year); BA Performance (Musical Theatre) (Top-up) (1 year).

Lincoln College – BA (Hons) Musical Instrument Craft (various sub-options).

City of Liverpool College University Centre – BA (Hons) Performing Arts (Acting/Dance/Musical Theatre) (Top-Up) (1 year); BA (Hons) Music (Popular/Production) (Top-Up) (1 year).

Loughborough College – BA (Hons) Contemporary Music, Performance and Production.

Middlesbrough College – BSc (Hons) Sound and Music Technology.

Morley College – BA (Hons) Music (Performance or Production) (Top Up) (1 year).

National Film and Television School – MA Composing for Film and Television; MA Sound Design for Film and Television

Newcastle College University Centre – BA (Hons) Music Production;  BA (Hons) Musical Theatre (Top-up) (1 year).

City College Plymouth – BA (Hons) Music Practitioner (Top-Up).

Rose Bruford College – BA (Hons) Audio Production (Technology/Music/Sound Design); BA (Hons) Actor Musicianship.
MA/MFA Actor Musicianship.

Sheffield College – BA (Hons) Music Performance and Production (Top-up) (1 year).

ThinkSpace Education – MA Professional Media Composition; MA Orchestration for Film, Games & Television; MA Sound Design for Video Games; MA Composing for Video Games; MA International Music Business; MA Songwriting & Music Production; MFA Songwriting, Production and Music Business; MFA Media Composition & Orchestration; MFA Video Game Composition and Orchestration; MFA Video Game and Media Composition; MFA Video Game Music and Audio.

West Suffolk College – BA (Hons) Commercial Music Production (part-time, 6 years).

East Sussex College – BA (Hons) Music Production and Creative Recording (Top-up) (1 year).


5. Conservatoires

Only degree courses, and only in music, are listed here.

Royal College of Music (RCM) – BMus (Hon) Music (4 years).
MPerf Performance; MComp Composition; MMus Performance; MMus Composition; MSc Performance Science; Med Education.

Royal Academy of Music (RAM), University of London – BMus (Hon) Music (4 years); BMus (Hon) Composition (4 years); BMus (Hon) Jazz (4 years).
MA Performance or Composition; MA Musical Theatre; MMus Performance or Composition.

Guildhall School of Music and Drama (GSMD) – BMus (Hons) Music.
MA Music Therapy; MA Opera Making and Writing; MMus/MComp in Composition; MMus/Mperf in Performance (Artist/Orchestral Pathways).

Trinity Laban Conservatoire of Music and Dance – BMus (Hons) Music Performance (4 years; also optional foundation year); BMus (Hons) Music Performance Jazz Studies (4 years); BA (Hons) Music Performance and Industry; BA (Hons) Musical Theatre Performance.
MA Music; MA Music Education and Performance; MMus Music.

Leeds Conservatoire – BA (Hons) Music (Classical) (optional foundation year); BA (Hons) Music (Classical with Jazz); BA (Hons) Music (Classical with Popular); BA (Hons) Music (Classical with Folk, Roots and Blues); BA (Hons) (Classical with Production); BA (Hons) Music (Jazz) (optional foundation year); BA (Hons) Music (Jazz with Classical); BA (Hons) Music (Jazz with Folk, Roots and Blues); BA (Hons) Music (Jazz with Popular); BA (Hons) Music (Jazz with Production); BA(Hons)  Music (Popular Music) (optional foundation year); BA (Hons) Music (Popular with Classical); BA (Hons) Music (Popular with Jazz); BA (Hons) Music (Popular with Folk, Roots and Blues); BA (Hons) Music (Popular with Production);BA (Hons) Music (Folk, Roots and Blues); BA (Hons) Music (Folk, Roots and Blues with Classical); BA (Hons) Music (Folk, Roots and Blues with Jazz); BA (Hons) Music (Folk, Roots and Blues with Popular); BA (Hons) Music (Folk, Roots and Blues with Production); BA (Hons) Music Production; BA (Hons) Music (Production with Classical); BA Music (Production with Folk, Roots and Blues); BA (Hons) Music (Production with Jazz); BA (Hons) Music (Production with Popular); BA (Hons) Music (Songwriting) (optional foundation year); BA (Hons) Musical Theatre; BA (Hons) Music (Film Music) (optional foundation year); BA (Hons) Actor Musician; BA (Hons) Music (Business); BA (Hons) Music Production (Top-up) (1 year); BA (Hons) Popular Music (Top-up) (1 year).
MA Music; MA Musical Direction; MA Musical Theatre Company; MA Musical Theatre Creatives

Royal Northern College of Music (RNCM) – BMus (Hons) Music; BMus (Hons) Popular Music.
MMus Music; MPerf Performance.

Royal Birmingham Conservatoire (RBC) – BMus (Hons) Performance (4 years); BMus (Hons) Composition (4 years); BMus (Hons) Jazz (4 years); BMus (Hons) Music Technology (4 years).
MMus Choral Composition; MMus Composition; MMus Instrumental Performance; MMus Jazz; MA Musicology; MA/MFA Professional Voice Practice; MMus Orchestral Performance (Strings); MMus Vocal Performance; MMus Brass Band Conducting; MMus Orchestral Conducting; MMus Experimental Performance; MMus Music Technology.

Royal Conservatoire of Scotland (RCS) – BMus (Hons) Performance (4 years); BMus (Hons) Composition (4 years); BMus (Hons) Joint Principal Study (4 years); BMus (Hons) Jazz (4 years); BMus (Hons) Traditional Music (4 years); BMus (Hons) Traditional Music – Piping (4 years); BA Musical Theatre; BA (Hons) Contemporary Performance Practice (4 years); BEd (Hons) Music (4 years).
MA Psychology in the Arts (Music); MMus/MA Repetiteurship; MMus Keyboard; MMus/MA (no qualifier); MMus/MA Strings; MMUs Opera; MMus/MA Brass; MMus/MA Composition; MMus/MA Guitar and Harp; MMus/MA Piano for Dance; MMus/MA Jazz; MMus/MA Timpani and Percussion; MMus/MA Traditional Music; MMus/MA Piano Accompaniment; MMus/MA Chamber Music; MMus/MA Woodwind; MMus/MA Conducting; MMus/MA Vocal Performance; MMus Performance and Pedagogy; MA Musical Theatre – Performance; MA Musical Theatre – Musical Directing; MEd Learning and Teaching in the Arts.

Royal Welsh College of Music & Drama (RWCMD) – BMus (Hons) Music (4 years); BMus (Hons) Jazz (4 years); BA (Hons) Musical Theatre.
MMus Music Performance; MMus Music Performance (Intensive); MMus Orchestral Performance; MMus Orchestral Performance (Intensive); MA Advanced Opera Performance; MMus Chamber Music Performance; MMus Multi-Instrument Woodwind Performance; MMus Collaborative Piano; MMus Orchestral Conducting; MMus Brass Band Conducting; MMus Choral Conducting; MA Repetiteur Studies; MMus Historical Performance; MA Opera 360: The Opera Industry (FT & PT); MA Opera Directing; MA Jazz; MMus Composition; MMus Composition (Intensive); MMus Composer-Performer; MMus Collaborative Creative Practice; MA Musical Theatre; MA Stage & Event Management; MA Arts Management (FT & PT).


6. Private Providers

Only those offering courses via UCAS for 2023-24 entry are listed here. Some others such as the dBS Institute are directly linked with other providers (in that case Falmouth), so are not listed here.

Academy of Contemporary Music (ACM) (Guildford, also with site in London) – BA (Hons) Commercial Songwriting (2 or 3 years, including option of 3 years including foundation year); BA (Hons) Music Composition (2 or 3 years, including option of 3 years including foundation year); BA (Hons) Creative Musicianship ( – Guitar/Bass/Drums/Keys/Other Instruments) (3 years); BA (Hons) Creative Entrepreneurship – Composition/Performance/Songwriting (2 or 3 years); BA (Hons) Music Production (2 or 3 years); BA (Hons) Live Production & Technical Arts (2 or 3 years); BA (Hons) Management & Entrepreneurship (3 years); BA (Hons) Rap & MC (2 or 3 years); BA (Hons) Songwriting (3 years); BA (Hons) Game-Development: Art/Audio/Design/Programming (2 years); BA (Hons) Live Production & Technical Arts (2 years); MCCI Commercial Songwriting (3 years); MCCI Music Composition (3 years); MCCI Creative Entrepreneurship – Composition/Performance/Songwriting/Production (2 or 3 years); MCCI Music Production (3 years); MCCI Live Production & Technical Arts (3 years); MCCI Management and Entrepreneurship (3 years); MCCI Rap & MC (3 years). Degrees accredited by Guildford College, Middlesex University, University of Surrey.
MA/MSc Creative Industries Futures (via Middlesex University).

British and Irish Modern Music Institute (BIMM) University (multiple branches in London, Brighton, Bristol, Birmingham, Birmingham, also in Dublin and Hamburg) – BA (Hons) Electronic Music Production; BA (Hons) Music Production; BA (Hons) Music Production & Music Business; BA (Hons) Sound Production; BMus (Hon) Popular Music Performance; BMus (Hon) Popular Music Performance & Songwriting; BA (Hons) Popular Music Performance and Music Business; BA (Hons) Popular Music Performance and Music Production; BA (Hons) Music Business; BA (Hons) Music Business & Event Management; BA (Hons) Music Marketing, Media and Communication; BA (Hons) Popular Music Performance & Event Management; BA (Hons) Musical Theatre and Dance; BMus (Hons) Songwriting; BA (Hons) Songwriting & Music Business; BA (Hons) Songwriting & Music Production. Degree-awarding powers since 2019; university status since 2022.
MA Popular Music Practice (available at seven locations, including London); MA Learning and Teaching in the Creative Industries (available only at Brighton and Bristol).

Futureworks, Manchester – BA (Hons) Music Production; BSc (Hons) Audio Engineering and Production. Appears to have own degree-awarding powers.

Institute of Contemporary Music Performance (London) – BMus (Hon) Popular Music Performance; BMus (Hon) Popular Music Performance (Bass/Guitar/Drums/Keys/Vocals); BA (Hons) Creative Musicianship; BA (Hons) Creative Musicianship (Bass/Guitar/Drums/Keys/Vocals/Other Instruments); BA (Hons) Songwriting; BA (Hons) Creative Music Production; BA (Hons) Music Production for Film, TV and Games; BA (Hons) Music Production and Entrepreneurship; BA (Hons) Audio Engineering and Production (3 years); BA (Hons) Digital Marketing  (and Content Creation) (3 years); BA (Hons) Digital Marketing and Music Management; BA (Hons) Music Business and Entrepreneurship. Appears to have own degree-awarding powers.
MA Songwriting; MA Music Performance; MA Creative Music Production; MA Music Business; MMus Popular Music Performance.

Liverpool Media Academy (LMA) (also has branch in London) – BA (Hons) Musical Theatre; BA (Hons) Music Performance & Industry. Degrees accredited by Staffordshire and Northampton Universities.

London College of Creative Media (LCCM) – BA (Hons) Music Business Management; BMus (Hons) Contemporary Music Performance and Production – Bass, Drums, Guitar, Piano/Keys, Sax, Trumpet, Vocals, Production, Songwriting; BMus (Hons) Commercial Music Technology; BMus (Hons) Composition for Film, Games, and other Media. Degrees accredited by Open University and Falmouth University.
MMus Contemporary Music Production; MMus Contemporary Music Performance.

Point Blank Music School (London, also branches in Los Angeles, Ibiza, Mumbai, Hangzhou) – BA (Hons) Music Production & Sound Engineering (2 years or 3 years; or 3 or 4 with Foundation Year) (also option of 3 years online); BA (Hons) Music Industry Management (2 year, option of foundation year); BA (Hons) Music Production and Sound Engineering (2 or 3 years, option of foundation year); BA (Hons) Music Production & DJ Performance (2 years or 3 years; or 3 or 4 with Foundation Year); BA (Hons) Music Production and Vocal Performance (2 or 3 years; option of foundation year); BA (Hons) Music Industry Management (2 or 3 years, option of foundation year). Degrees accredited by Middlesex University.

SAE Institute (international franchise, originally in Sydney, Australia, British branches in London, Liverpool, Glasgow) – BA/BSc (Hons) Audio Production (2 years). Degrees accredited by Hertfordshire University, formerly Middlesex University.

Waterbear College of Music, Brighton and Sheffield – BA (Hons) Professional Music (Performance); BA (Hons) Professional Music (Production); BA (Hons) Professional Music (Songwriting).
MA Music Performance, Production & Business; MA Music Industry Enterprise (in conjunction with Falmouth University).


Undergraduate courses

There are five principal categories of undergraduate music degrees:

  • Plain Music (generally with no other qualifier in the title).
  • Music Technology/Production/etc: this term is an umbrella one for most courses focused upon technology.
  • Musical Theatre.
  • Popular/Commercial Music.
  • Music Performance.

There are also other degrees in Music Journalism, Film/Media Music, Music and Gaming and Music Business/Industry, but none of these has as many students across the sector as the above (though Music Business/Industry may be growing).

Russell Group institutions are overwhelmingly centred around plain ‘Music’ courses (offered at every institution), with just a few also offering Popular or Tech courses. Mid-ranking institutions, with the exception of Keele, Kent and SOAS, all offer plain ‘Music’ courses, but are divided between around half centred on these (Aberdeen; Bangor; Brunel; Royal Holloway; Ulster), and others offering music tech or (in three cases) popular music. The post-1992s, only 13 of which over plain ‘Music’ courses (Bath Spa; Canterbury Christ Church; Chichester; Edinburgh Napier; Falmouth; Huddersfield; Lincoln; Liverpool Hope; Middlesex; Northumbria; Oxford Brookes; Plymouth; York St John) are overwhelmingly focused on practice-based subjects, in particular music technology and musical theatre, but also music performance; the Colleges of HE and private providers are similar. The conservatoires are different types of institutions, much more strongly focused around performance.

As regards degree titles, traditionally (from the first major growth of the sector after 1945) there were two: the BMus (Bachelor of Music) and the BA (Bachelor of Arts) in Music. Overall, the BMus had a greater concentration on technical aspects of music, including composition in particular, while the BA placed greater emphasis on reading of literature, and in particular did not grant performance a central role (the role of performance in undergraduate degrees has long been complicated). However, the meanings of the titles morphed considerably in subsequent years, so that today it is often difficult to read much meaning into them except at those institutions which offer both, where the traditional type of divide tends still to apply. BSc degrees became available from the 1970s, usually involving some degree of technology, but were still relatively unusual as late as 1990. These grew considerably in number in the intervening period, though it is relatively rare for departments only to offer them. A small few music technology degrees stressing engineering are also called BEng.

On the basis of figures from 2020-21 (an unusual year, for sure, because of the COVID pandemic, but figures do not differ significantly from those in the few years leading up to it), the balance of students on these is as follows:

University Departments (not Conservatoires)

Music: 1381 (19.5%)
Tech: 2214 (31.2%)
Popular Music: 773 (10.9%)
Musical Theatre: 1558 (22%)
Performance: 453 (6.4%)
Other: 389 (5.4%)

Conservatoires

Music: 30 (1.6%)
Tech: 137 (7.4%)
Popular Music: 260 (14%)
Musical Theatre: 115 (6.2%)
Performance: 1000 (54%)
Other: 273 (14.7%)

All

Music: 1411 (15.8%)
Tech: 2351 (26.3%)
Popular Music: 1033 (11.6%)
Musical Theatre: 1673 (18.7%)
Performance: 1453 (16.3%)
Business/Management: 269 (3%)
Other: 393 (3%)


It is therefore clear that plain ‘Music’ courses are very far from dominating the sector. These, together with those Performance courses offered at conservatoires, are the only ones which would afford a central place for classical music, or music history, analysis, repertoire and in some cases the study of non-Western musics, though most also have significant modules in composition and performance, and also frequently popular music, music technology, music business are available as modular options (more on this in a future post on curricula). However, popular music courses gain significantly fewer students than plain ‘Music’ ones, though this should be offset by the fact that popular music is often a principal concern on music technology courses as well.


Postgraduate taught courses

I am not at present at liberty to share information on the breakdown of student numbers on these courses, so my analysis is of necessity briefer. But it can suffice to say that there has been a significant net increase in PGT students since the introduction of the 2016 Master’s Degree Loan Scheme, enabling PGT students to access student loans for the first time.

The types of courses frequently offered break down into a wider range of categories, as follows (these are not in order of student numbers but type):

(i) Music/Musicology, offered by almost all RG, most mid-ranking, 8 post-92s, 3 conservatoires.
(ii) Ethnomusicology, offered by 3 RGs, 2 mid-ranking.
(iii) Composition/Electroacoustic Composition/Sound Art, offered by 9 RGs, 5 mid-ranking, 6 post-92s, 1 College of HE, 8 conservatoires, and BIMM.
(iv) Performance, offered by 9 RGs, 7 mid-ranking, 10 post-92s, 8 conservatoires, 4 private providers.
(v) Music Technology/Production, offered by 2 RGs, 2 mid-ranking, 18 post-92s, 1 College of HE, 1 conservatoire, 4 private providers.
(vi) Sound/Sound Design, offered by 2 RGs, 5 post-92s, 1 College of HE.
(vii) Popular/Commercial Music, offered by 2 RGs, 1 mid-ranking, 4 post-92s, 2 conservatoires.
(viii) Music/Sound for Film/Video/Games, offered by 3 RGs, 1 mid-ranking, 7 post-92s, 3 Colleges of HE.
(ix) Musical Theatre, offered by 3 mid-ranking, 3 post-92s, 1 College of HE, 4 conservatoires.
(x) Music Industry/Business/Management, offered by 5 RGs, 2 mid-ranking, 10 post-92s, 1 College of HE, 1 conservatoire, 2 private providers.
(xi) Music Psychology, offered by 2 RGs, 1 mid-ranking, 1 conservatoire.
(xii) Music Therapy, offered by 5 post-92s, 1 conservatoire.
(xiii) Music Education, offered by 3 RGs, 2 mid-ranking, 3 post-92s, 3 conservatoires, and BIMM.

Other more occasional courses exist in Historically-Informed Performance/Performance Practice; Music and Science; Musical Instrument Research; Creative Practice (including Music): Arts/Arts and Humanities/Humanities (including Music); Sound and Music Computing/Computer Music; Audio Engineering; Contemporary Music Studies; Socially Engaged Arts Practice; Community Music; Acoustics; Sacred Music; Music and the Environment; Modern Music Practices; Opera Making and Writing; Creative Industries Futures.

The titles MA and MMus are very common for postgraduate taught degrees, though the content can be very heterogenous. By the 1970s the majority of universities offering UG courses also offered PGT ones, but by the 1980s study of advertising for such courses demonstrates how hard individual institutions worked to distinguish theirs from others. The title MSc usually reserved for courses focused on technology and/or computing, but occasionally for Music Business/Industry/Management or Music Therapy. There is no obvious consistency of usage of this term. York may have been the first to offer an MA/MSc in Music Technology and the University of Huddersfield was an earlier pioneer in an MA in Performance or Composition. By the year 2000, still only a small few post-92 universities were offering PGT courses, and the number had not increased that significantly by 2010. However, this has now increased following the introduction of the Master’s Degree Loan Scheme in 2016, as mentioned earlier. A detailed quantitative study commissioned by the government in 2019 to consider the effect of the new scheme on PGT recruitment as a whole (in all subjects) found a 36% increase in overall numbers, though little data to suggest significant changes in the demographic profiles of students.


Music in UK Higher Education 1: Departments and Faculties

Over the course of the last 5-6 years, I have been progressively researching many aspects of music in higher education (HE) in the UK, including its history and development, the rise and fall of certain types of courses and their recruitment, staff-student ratios across departments, student satisfaction, curricular issues, the presence of practitioners in faculties, and so on. Some of this is based upon data provided by the Higher Education Standards Authority (HESA) which is permitted for internal use within institutions only, so I cannot give details of that here except where I have been specifically authorised for in other publicly-available writings. Other such research is based upon plenty of information in the public domain (including quite simply information about faculties, courses, etc., which universities are legally obliged to publish on their websites), also that from other organisations dealing with university admissions and so on, and historic data from various yearbooks which detail courses available (old editions of the British Music Yearbook and British Music Education Yearbook are especially useful in this respect, as are some wider university guides), not to mention numerous individual histories of specific universities and wider historical writing on HE in general.

Scholarly writing on music in higher education is overwhelmingly dominated by that from a pedagogical/educationalist perspective; this is vital, but so is historical writing and that based upon data showing the current state of the sector at any one time. Amongst the relatively few published resources I would cite are Noel Long, Music in English Education: Grammar School, University and Conservatoire (London: Faber and Faber, 1959); the reports Making Musicians: A Report to the Calouste Gulbenkian Foundation (London: Calouste Gulbenkian Foundation, 1965) and Training Musicians: A Report to the Calouste Gulbenkian Foundation on the training of professional musicians (London: Calouste Gulbenkian Foundation, 1978); an important data set in ‘University Music Departments’, in Arthur Jacobs (ed.), Music Education Handbook: A Directory of Music Education in Britain with Reference Articles and Tables (London & New York: Bowker, 1976), pp. 86-102; Dorothy Taylor, Music Now: A Guide to Recent Developments and Current Opportunities in Music Education (Milton Keynes: Open University Press, 1979); another worthwhile data set in ‘UK Music Degree Courses: A Complete Guide’, The Musical Times, vol. 136 no. 1830 (1995), 417-24; Helena Gaunt and Ioulia Papageorgi, ‘Music in universities and conservatoires’, in Susan Hallam and Andrea Creech (eds.), Music Education in the 21st Century in the United Kingdom: Achievements, analysis and aspirations (London: Institute of Education, 2010); Edward Breen, Thurston Dart and the New Faculty of Music at King’s College London: A 50th anniversary biography (London: King’s College London, 2015); Gareth Dylan Smith, ‘Popular Music in Higher Education’, in Ioulia Papageorgi and Graham Welch (eds.), Advanced Musical Practice: Investigations in Higher Education Learning (Abingdon and New York: Routledge, 2016), pp. 33-48, and several essays in Björn Heile, Eva Moreda Rodríguez and Jane Stanley (eds.), Higher Education in Music in the Twenty-First Century (Abingdon and New York: Routledge, 2019). Other resources are primarily journalistic (as are some of the above) or in the form of reports produced by some educational or policy institutions. I have no doubt that there is considerable scope for wider historical and institutional research into music in higher education, both in the UK and globally, not just into how it is taught, but quite simply what is taught and where?

My research in this domain will inform some forthcoming academic articles, and also for reports I produce within my university. That which is based upon information freely published or otherwise in the public domain I wish to share here in a series of blog posts of which this is the first. I would invite constructive comments and reflections from all others with an interest in the sector. I have published a range of articles in the last few years for a wider general readership relating to music in HE, which are now available open access – see my much-commented on piece for the Spectator in 2021 and piece questioning automatic linking of ‘classical’ with ‘colonial’ in The Critic in 2022, as well as three articles on the role of practice in music and the arts in higher education in Times Higher Education (THE) (here, here and here) drawing upon wider debates in which I have been involved on practice and research (an ever-growing body of scholarship across numerous disciplines, surely not least because many of the protagonists have such a degree of vested interests in it), for which a range of links can be found on this blog here. Also in Times Higher, I have published an article looking critically at ethnographic/autoethnographic work in music and elsewhere, another calling for the statutory provision of core subjects, and aspects of a core curriculum, in all regions of the country, and most recently a further contribution to the ‘decolonisation’ debate, arguing that without proper historical teaching about global empires, it amounts simply to parroting of received dogma (this is not yet OA, but will be soon, and I will add the link to that here when it is).

This is a key moment for the UK music HE sector. While overall numbers of students have not fallen in the last 10 years and have actually risen slightly, there has been a major decline in the academic study of music, as compared to more practically-focused training. The blurring of boundaries between the two is more far advanced in the UK than in any European country of which I am aware (where, in general, a university degree is about studying musicology), and this has both positives and negatives. Undoubtedly the wider decline in music provision at primary and secondary level is a factor as explored in the report Music Education: State of the Nation, compiled in 2019 by the All-Party Parliamentary Group for Music Education, the Incorporated Society of Musicians and the University of Sussex . What this all means for the future of university study of music in particular, and quite simply what university departments can do to survive, are key questions. In the period since 1945, there were only ever a small few closures of departments – St. Andrew’s (1988); Leicester (1991); Aberystwyth (1992); and temporarily Aberdeen (1992) (reopening in the early 2000s) – but since 2004 there have been a numerous others where departments have closed or all undergraduate programmes have been suspended – Reading (2004); Exeter (2004); Roehampton (2010); East Anglia (2011); Lancaster (2015); Essex (2016); Abertay Dundee (2019); Cumbria (2022); and Wolverhampton (2022). Other departments such as Keele, Brunel and Kingston have considerably modified their offerings, away from musicology and away from classical music.

However, in the period since 1992 in particular there have also been numerous new departments and courses which have opened, in particular since the 1992 Further and Higher Education Act, which enabled former polytechnics and colleges of higher education to apply for full university status. The growth in music courses in this part of the sector has concentrated on popular/commercial music, music technology and more recently musical theatre. Other relevant developments include the effective trebling of tuition fees to £9K per annum effective from 2012, in conjunction with other cuts to teaching budgets in England, Wales and Northern Ireland, which meant that students were saddled with much greater debt than ever before, and the removal of caps on undergraduate recruitment from 2015-16, creating more ferocious competition between departments. The UK’s withdrawal from the European Union effective from January 2020 has caused increased fees for EU students, the impact of which on recruitment is still in an early stage (also complicated by the pandemic). Also recently, and in particular following the 2017 Higher Education and Research Act, which amongst other things established the Office for Students (OfS), which took over some of the responsibilities of the then-abolished Higher Education Funding Council for England (HEFCE). The architect of this act, Lord Johnson (formerly Jo Johnson, brother of the former Prime Minister), who was Minister of State for Universities, Science, Research and Innovation from 2015 to 2018, made clear very recently his aim that the OfS would encourage the growth of ‘alternative education providers’ (paralleling the growth of academies and free schools at primary/secondary level) which stand outside of the more directly state-regulated sector. As such, some private music providers have been able to obtain university status and/or access to student loans. The growth of these institutions has also in some ways undercut the rest of the sector, subject to fewer checks and balances, not required to share information about recruitment, progression, and so on, often offering 2-year degrees, having little if any research dimension, and in general no more than at most token academic content. The results of the growth of private higher education providers has been surveyed very critically in a US context in an article by economics professor Dennis A. Ahlburg (‘Skunks in an English Woodland: Should England embrace for-profit Higher Education’?, Political Quarterly, vol. 90, no. 2), and I believe we would do well to digest this critique in the UK.

The situation specifically for classical music (a term I prefer in the broad sense to the academically-sanctioned ‘Western Art Music’) is particularly acute, as it is at all levels of education. Classical music is an educated tradition, which as such has a more symbiotic relationship with education than other Western traditions (popular, folk, vernacular) which for much of their history have developed relatively autonomously of educational institutions. At the time of writing, there is a major public debate following the announcements of closures to English National Opera and other institutions by Arts Council England as well as other funding cuts, as well as the more recent BBC announcement of the ending of the BBC Singers, the only salaried professional vocal ensemble in the country, and casualisation of 20% of jobs in BBC orchestras. Commentary following this has often focused on the dwindling representation of classical music in education, and the implications both for the training of musicians and the generation of new audiences, and there are fears that if this process continues, when combined with other factors such as increased difficulty in international musical exchange since Brexit, the whole classical music world in the UK, one of the most extensive in the nineteenth century and beyond, could become seriously damaged and deeply inferior to that in many European countries.

In this and subsequent blogs, like anyone else I am not immune to the possibility of human error in my data, but will generally try and correct any errors I or others find. Furthermore, as individuals come and go from departments, my data may become out-of-date or some may already be (these lists were compiled initially in February 2023). As such, I do invite others either to contact me privately or post on here with constructive information in this respect. I also recognise that some of the issues affecting Scotland are somewhat different to those in the rest of the United Kingdom, as Scotland continues to offer free tuition to all Scottish students.


Types of Music Departments in the UK

Here and elsewhere, the primary focus of my research is on undergraduate provision. There are universities which offer some post-graduate taught courses in or related to music, but do not have a music department (such as Reading or University College London, both of which offer music education). In another blog I will detail existing post-graduate taught courses, but in general those departments upon which I focus have full music departments and offer degrees for undergraduates.

I divide higher education providers for music into six fundamental categories:

(a) Russell Group: those members of the organisation founded in 1994, currently comprising 24 universities which offer music degrees. At the time of writing there are 18 of these: Birmingham; Bristol, Cambridge; Cardiff; Durham; Edinburgh; Glasgow; King’s College, University of London; Leeds; Liverpool; Manchester; Newcastle; Nottingham; Oxford; Queen’s University Belfast; Sheffield; Southampton; York.

(b) Mid-Ranking: those full universities which are neither Russell Group nor post-1992 (see below), 15 of which offer full music degrees: Aberdeen; Bangor; Brunel; City, University of London; Goldsmiths College, University of London; Hull; Keele; Kent; Liverpool Institute for the Performing Arts (LIPA); Royal Holloway, University of London; Open University; Salford; Surrey; Sussex; Ulster. There are three others which skirt the boundaries of this category: Reading (which had a music department until 2004), which offers a degree in Primary Education and Music; Royal Central School of Speech and Drama, University of London, which offers one degree in Sound Design and Production; and SOAS, which ran a sole music degree, with tiny numbers, until 2020 or 2021, but now offers only joint degrees with music.

(c) Post-1992: institutions which were polytechnics or colleges of higher education, or occasionally another name before 1992, but which now (or following mergers with other institutions) have full university status. 66 of these offer music degrees: Anglia Ruskin; Bath Spa; Bedfordshire; Birmingham City (though the music department here largely comprises the Royal Birmingham Conservatoire); Bishop Grosseteste; Bolton; Bournemouth; Brighton; Buckinghamshire New; Canterbury Christ Church; Central Lancashire; Chester; Chichester; University Centre Colchester; Coventry; University of the Creative Arts; De Montfort; Derby; East London; Edge Hill; Edinburgh Napier; Falmouth; Gloucestershire; Glyndŵr, Greenwich, University Centre Grimsby; Hertfordshire; Highlands and Islands; Huddersfield; Kingston; Leeds Arts; Leeds Beckett; Lincoln; Liverpool Hope; Liverpool John Moores; London Metropolitan; London South Bank; University of the Arts London; Manchester Metropolitan; UCEN Manchester; Middlesex; Northampton; Northumbria; Nottingham Trent; Oxford Brookes; Plymouth; Plymouth Marjon; Arts University Plymouth; Portsmouth; Ravensbourne; University Centre Rotherham; Southampton Solent; Staffordshire; Sunderland; Teesside; University Centre at the Heart of Yorkshire; South Wales (largely encompassed by the Royal Welsh College of Music and Drama); Wales Trinity Saint David; West London; West of England; West of Scotland; Westminster; Winchester; Worcester; York St John; University Centre at the Heart of Yorkshire.

(d) Others (Colleges of Higher Education, etc.): those other institutions offering degree-level courses. 8 of these offer full courses: Greater Brighton Metropolitan College (Brighton MET); Burnley College; South Gloucestershire and Stroud College; Lincoln College; Loughborough College; Middlesbrough College; Newcastle College University Centre; Rose Bruford College; West Suffolk College. A further 12 offer solely ‘Top-Up’ courses, equivalent to the final year of an undergraduate degree, enabling students to upgrade an existing qualification to become a degree: Bedford College Group; University Centre Calderdale College; Cardiff and Vale College; New College Durham; Hereford College of Arts; Hull College; City of Liverpool College University Centre; Morley College; City College Plymouth; Sheffield College; East Sussex College.

(e) Conservatoires: institutions with a greater focus on performance and 1-1 tuition, but offer full music degree courses, of which there are 9: Royal College of Music (RCM); Royal Academy of Music (RAM); Guildhall School of Music and Drama (GSMD); Trinity Laban Conservatoire of Music and Dance; Leeds Conservatoire; Royal Northern College of Music (RNCM); Royal Birmingham Conservatoire (RBC); Royal Conservatoire of Scotland (RCS); Royal Welsh College of Music & Drama (RWCMD).

(f) Private Providers. Here I list the 9 providers offering undergraduate degree courses via UCAS: Academy of Contemporary Music (ACM); British and Irish Modern Music Institute University (BIMM); Futureworks, Manchester; Institute of Contemporary Music Performance (ICMP); Liverpool Media Academy (LMA); London College of Creative Media (LCCM); Point Blank Music School; SAE Institute; Waterbear College of Music. Some of these are more akin to franchises than simple physical institutions – BIMM, Point Blank and SAE have branches in various localities and in other countries. Some others which might be listed here, such as the dBS Institute, are almost wholly directed by other universities (in this case Falmouth), so I do not classify them as independent providers, though I am aware that some of the categorisations are open to challenge.

Categories (a)-(c) and (e) are those for which most information is available, and so form the basis of my study. Notwithstanding some blurring of the differentation between universities and conservatoires/practical training schools mentioned earlier, differences still remain (and conservatoires require certain provisions to be able to call themselves as such), not least in terms of the nature of the staffing base, as I will detail below.

The use of some such categories is certainly open to question in terms of how much they reveal. There is no necessary reason to believe that research-intensive universities deliver any better teaching than others, and so the Russell Group should not be seen as an equivalent of the US Ivy League. Furthermore, 1992 is now three decades ago, and the trajectory of various institutions can be more significant than their provenance. At the time of writing, in terms of the nature of their offers, faculties, research record, etc., it would be difficult without prior knowledge to know in exactly which category the likes of Huddersfield, Keele, Kent or Oxford Brookes, for example, belong. Nonetheless, the categories do still have some wider purchase – at a conference in London on Higher Education in Autumn 2022 which I attended, a representative from the organisation Unifrog, who help students with making application choices, revealed that by some considerable measure the most frequent search criterion used by applicants was whether an institution is a member of the Russell Group or not. There is also a real distinction between the Russell Group and many of the post-92s in terms of the role that research plays – only 25 out of the 66 post-1992 institutions listed above were submitted for the 2021 Research Excellence Framework, and none of the Colleges of HE or private providers (though most of the conservatoires were).

Using data derived from HESA figures, which I received permission to use in one of the Times Higher articles I published last year, the following is the breakdown of numbers of students in different parts of the sector who were admitted in the 2020-21 academic year, excluding those who entered Colleges of HE and private providers for which data is either unavailable or incomplete:

Russell Group: 1778 students (25.1% of university students, 19.9% of those in whole sector)
Mid-Ranking: 775 students (10.9% of university students, 8.7% of those in whole sector)
Post-1992: 4534 students: (64% of university students; 50.7% of those in whole sector)
Conservatoires: 1853 students (20.7% of whole sector).

2020-21, which was at the height of the COVID-19 pandemic, may seem an unrepresentative year, but I can aver that figures for the previous few years were not significantly different in terms of the distribution or overall numbers.

Thus claims that the Russell Group would ‘hoover up’ the majority of students following the lifting of caps have proved unfounded. By far the largest numbers are those in post-1992 institutions, which for the most part offer degrees which do not coincide with what may be preconceptions of what a music degree entails. These are primarily vocationally-oriented degrees in music technology, commercial music, musical theatre, but not generally of the level of intensity of those in conservatoires. Data on employment prospects, and as such the relationship between such vocational offerings and actual vocations available, is unclear, as the current means of reporting this enables many institutions to give single figures for all creative and performing arts, which can be skewered because of the role of courses in Design, which are dominant in the creative arts and for which many jobs are available in various parts of industry (see also David Kernohan, ‘What are creative arts courses?’, Wonkhe Explainer, 14 December 2022). The future of many such music courses in light of intentions made clear by some politicians, and the 2019 Augur Review, to end ‘low-earning degrees’, as various creative/performing arts degrees do not tend to score well on this measure.

Many protagonists on music in higher education with a public profile, including myself, come from Russell Group or mid-ranking institutions. The type of sector they and their colleagues (and research collaborators) tend to see on a daily basis is not representative of that experienced by the majority of students, which should always be taken into account when aiming for broader conclusions.


Faculties

The following data is compiled from the websites of universities, with extra details added where made available through colleagues working there. Some of the staff websites are more user-friendly than others, and some individual staff pages are not ‘live’, or have not been updated to account for changes in personnel. As such, there will inevitably be some degree of approximation, and of course staff will continue to change. Nonetheless, this data should give a reasonable snapshot of the situation at the time of writing.

I count here salaried academic staff in the departments in question, as far as I have been able to establish about their status (again, there may be some errors). I have not included visiting/associate/hourly-paid lecturers, other freelance staff, emeritus professors, research fellows, or technical staff. For this reason, for now I have limited this list to categories (a)-(c) above; at other types of institutions (especially conservatoires) are largely staffed by hourly-paid faculty. In some full universities this can also be the case, where there is a significant divide between research and research expertise and the demands of teaching, with a lot of teaching undertaken by hourly-paid staff or doctoral students. But this list gives an indication of which staff are given the most valued types of positions (for better or worse) at present. The relationship between salaried and hourly-paid staff may change or need to change in music as a result of greater integration of practitioners, and (as argued in some of my THE pieces) the need both to value their contributions and status more, as well as working to better integrate them into the values and practices of university education.

The categorisation is based primarily upon the areas of research or wider expertise made clear with respect to the staff in question, where these are clear. It should be borne in mind that some staff teach in part or whole in areas other than those of their primary research. Some categories are a bit blurred; in the UK the distinction between ‘historians’ and ‘theorists’ is nothing like as clear as in the US, and many (including myself) straddle both categories. For the most part the study of musical aesthetics is undertaken by those in the categories of history and analysis. Music technology is also a broad category, relating to a range of activities. Here I have added particular categories for those whose work is focused on composition and technology, or sound art and technology.

It is rarely the case that part-time salaried staff are indicated as such on university websites; in the absence of comprehensive data on this aspect, further approximation has to be assumed. Also, it is often unclear whether some staff have temporary or permanent contracts. Where I am aware, I have not counted temporary staff (as they are usually covering for permanent staff on sabbatical or research leave), but again there may be more approximations as a result.

Russell Group Faculties

Birmingham: 3 Historical; 1 History/Performance; 3 History/Analysis; 2 Composition; 2 Composition/Tech; 2 Performance; 1 Ethnomusicology; 1 Tech/Sound Art.
Bristol: 5 Historical; 3 Composition; 1 Music and Film; 1 Popular Music; 2 Other
Cambridge: 4 Historical; 1 Theory/Analysis; 2 Composition; 1 Music/Science; 1 Music Sociology; 2 Ethnomusicology; 1 Performance.
Cardiff: 5 Historical/Aesthetics/Analysis; 1 Historical; 3 Historical/Contemporary; 1 Historical/Cinema; 5 Composition; 3 Ethnomusicology; 1 Popular.
Durham: 4 Historical (one employed by Russian Studies department); 1 History/Religion; 2 Theory/Analysis; 2 Psychology; 3 Composition; 2 Ethnomusicology; 1 Tech; 2 Performance.
Edinburgh: 2 Historical; 2 Acoustics; 1 Tech; 1 Screen/Media; 1 Composition; 1 Composition/Tech; 1 Pop/Jazz; 1 Performance; 1 Psychology; 1 Psychology/Education; 1 Ethnomusicology.
Glasgow: 3 Historical; 1 Historical/Performance; 1 Historical/Contemporary; 1 Popular; 2 Composition; 4 Sonic Arts; 1 Popular.
King’s College, London: 9 Historical/Analysis/Aesthetics; 1 Historical/Sound; 1 Historical/Composition; 2 Composition; 4 Ethnomusicology; 1 Jazz;
Leeds: 4 Historical; 1 Historical/Contemporary; 6 Psychology; 1 Philosophy; 1 Aesthetics; 1 Performance Practice; 2 Management; 1 Popular; 1 Popular/Analysis; 2 Theory/Analysis; 1 Film; 2 Composition; 1 Composition/Tech; 1 Tech; 1 Tech/Composition/Performance; 1 Contemporary Context; 1 Various/Performance; 1 Film/Theatre.
Liverpool: 1 Historical; 1 Historical/Analysis/Aesthetics; 1 Theory/Analysis; 1 Aesthetics; 1 Critical Musicology; 1 Psychology; 8 Pop/Jazz; 1 Composition/Tech; 1 Composition/Screen; 5 Tech; 4 Industries; 3 Performance; 2 Gaming; 1 Ethnomusicology.
Manchester: 6 History/Analysis/Aesthetics; 3 Theory/Analysis; 6 Composition; 3 Ethnomusicology; 1 Performance; 1 Jazz; 1 Media/Film.
Newcastle: 6 Historical; 1 Historical/Ethnomusicology; 2 Theory/Analysis; 5 Ethnomusicology; 3 Composition; 1 Composition/Tech; 2 Pop; 1 Pop/Performance; 1 Performance; 1 Business/Enterprise; 1 Education.
Nottingham: 4 Historical/Analysis/Aesthetics; 1 Psychology; 2 Composition; 1 Tech; 1 Pop; 1 Screen; 1 Ethnomusicology; 1 Performance.
Oxford: 12 Historical; 1 History/Analysis; 1 Theory/Analysis; 1 Education; 3 Composition; 1 Popular; 1 Sound Studies; 1 Ethnomusicology; 3 Performance.
Queen’s Belfast: 4 Historical; 1 Composition; 5 Composition/Tech; 1 Performance/Tech; 1 Sound.
Sheffield: 3 Historical; 4 Psychology; 4 Ethnomusicology; 2 Composition; 1 Composition/Tech; 1 Education; 1 Pop; 1 Musical Theatre; 1 Management.
Southampton: 5 Historical; 1 Historical/Management; 1 Theory/Analysis; 1 Performance; 1 Performance/Tech/Composition; 2 Composition; 1 Tech; 1 Ethnomusicology.
York: 1 Historical; 2 Historical/Performance; 1 Analysis; 3 Composition; 2 Composition/Tech; 1 Composition/Performance; 2 Psychology; 1 Psychology/Media; 2 Education; 3 Performance; 1 Popular/Analysis; 1 Popular/Recording/Sociology; 1 Popular/Composition; 1 Sound Production/Recording.

Totals:
79 Historical
58 Composition/Sonic Arts
27 Theory/Analysis
24.5 Ethnomusicology
24 Performance
23.5 Pop/Jazz
19.5 Tech/Science
18 Music Psychology
8.5 Music Business/Management/Industry
6.5 Music for Screen/Film/Media
5.5 Education
5.5 Philosophy/Aesthetics (and some others in History or Analysis who engage with this)
2.5 Sound/Sound Studies
2 Acoustics
2 Gaming
1.5 Recording/Production
1.5 Musical Theatre
1 Music Sociology
1 Critical Musicology
1 Performance Practice
0.5 Music and Religion

+2 Other

(where a faculty member belongs in two categories, I add 0.5 to the total for each. For Historical/Analysis/Aesthetics, I have divided into 0.5 Historical, 0.5 Analysis, as these are the bigger categories. For the likes of Performance/Tech/Composition, I have added 0.5 to the first two, as these tend to be the most significant.).



Mid-Ranking Faculties

Aberdeen: 3 Historical/Aesthetics; 1 Theory/Analysis; 3 Composition; 1 Performance; 1 Performance/Community; 1 Community; 1 Tech; 1 Ethnomusicology.
Bangor: 1 Historical/Popular; 3 Composition; 1 Performance; 1 Education/Community; 1 Traditional.
Brunel: 2 Composition; 2 Performance; 1 Tech; 1 Education.
City: 1 Historical/Analysis/Aesthetics: 1 Historical/Analysis/Aesthetics/Performance; 5 Composition/Tech; 1 Recording/Production; 3 Ethnomusicology; 4 Musical Theatre; 1 Musical Theatre Production.
Goldsmiths: 3 Historical; 1 Historical/Performance; 4 Composition; 1 Popular Composition; 3 Performance; 1 Ethnomusicology; 4 Pop; 4 Tech/Production; 4 Other.
Hull: 1 Historical/Film; 1 Historical/Performance; 1 Jazz; 2 Tech/Production; 1 Performance; 1 Popular Performance; 1 Psychology; 1 Composition/Production.
Keele: 1 History/Aesthetics; 1 Composition/Tech; 1 Ethnomusicology; 1 Tech.
Kent: 1 Composition; 1 Psychology/Performance; 1 Performance/Tech; 1 Performance; 1 Pop; 1 Tech.
LIPA: 1 Songwriting/Production; 1 Songwriting/Performance; 1 Pop; 1 Pop/Gender; 1 Production; 3 Popular Performance; 1 Performance/Composition.
Open: 5 Historical; 1 Historical/Performance; 2 Screen; 1 Screen/Cultural History; 1 Music and Theology; 1 Pop; 1 Tech; 1 Ethnomusicology. (Here I have not included the category of ‘Staff Tutors’).
Royal Holloway: 6 Historical; 3 Composition; 2 Performance; 2 Composition/Tech; 3 Ethnomusicology.
Salford: 1 Historical/General; 4 Tech/Production; 1 Performance; 3 Composition; 1 Pop; 1 Pop/Electronics/Sound; 1 Pop Performance; 1 Enterprise/Engagement; 1 Instruments; 1 Ethnomusicology.
SOAS: 6 Ethnomusicology.
Surrey: 1 Historical; 1 Historical/Screen; 1 Historical/Pop; 1 Composition; 1 Composition/Performance; 6 Tech/Audio; 1 Pop; 1 Performance; 1 Performance/Tech. (Musical Theatre delivered by the Guildford School is not clear in terms of salaried staff here).
Sussex: 1 Opera/Musical Theatre; 1 Composition; 3 Composition/Tech; 1 Composition/Performance; 1 Pop; 4 Tech.
Ulster: 1 Historical/Contemporary; 1 Pop; 1 Composition; 1 Composition/Tech; 1 Performance/Composition.

Totals:
31.5 Composition
25.5 Tech/Electronics/Production/Recording
24 Performance
23 Historical
16 Ethnomusicology
13.5 Pop/Jazz
4.5 Musical Theatre (possibly more through Surrey)
2 Aesthetics
2 Community
1.5 Theory/Analysis
1.5 Music Psychology
1.5 Music Education
1 Instruments
0.5 Opera

+4 Other


Post-1992 Faculties

Anglia Ruskin: 2 Musical Theatre; 8 Music Therapy; 4 Tech/Audio; 1 Composition; 1 Composition/Performance.
Bath Spa: 1 Historical/Ethnomusicology; 2 Composition; 1 Composition/Tech; 1 Jazz; 1 Musical Theatre; 1 Ethnomusicology.
Bedfordshire: No salaried music staff are made clear via the website.
Birmingham City: not included since the staff are largely employed by the Royal Birmingham Conservatoire.
Bishop Grosseteste: 1 Historical; 1 Performance.
Bolton: 1 Screen/Composition.
Bournemouth: 5 Tech/Audio; 1 Composition/Tech.
Brighton: 1 Aesthetics (not just music); 4 Composition/Sound Art; 1 Pop/Sociology.
Buckinghamshire: 1 Performance/Sociology; 1 Tech/Composition; 1 Composition/Sound Art; 1 Sound/Media; 1 Engineering/Production; 1 Pop/Performance/Production; 1 Audio/Sound; 1 Management; 1 Recording/Production
Canterbury Christ Church: 2 Historical/Performance; 5 Composition/Sonic Art; 1 Performance/Tech.
Central Lancashire: 1 Business/Industry; 1 Composition/Tech; 1 Pop; 2 Musical Theatre; 1 Performance.
Chester: 1 Popular Performance; 1 Composition; 1 Tech/Production; 2 Pop; 1 Journalism; 1 Musical Theatre.
Chichester: 4 Performance; 5 Musical Theatre; 1 Orchestral. (Many Associate Lecturers and instrumental/vocal tutors).
Colchester: 1 Popular Performance; 1 Screen; 1 Screen/Performance; 1 Education; 1 Musical Theatre.
Coventry: 1 Composition; 1 Composition/Tech; 1 Performance; 1 Pop; 1 Game Audio.
Creative Arts: 1 Historical; 1 Composition/Screen; 1 Composition/Tech; 1 Journalism.
De Montfort: 1 Composition; 7 Composition/Tech; 1 Performance/Tech; 1 Audio.
Derby: 2 Pop/Tech; 2 Production.
East London: 4 Composition; 1 Songwriting/Production; 1 Production/Sound Design; 1 Composition/Tech; 1 Performance.
Edge Hill: 3 Production; 3 Musical Theatre.
Edinburgh Napier: 1 Media/Pop/Cultural Studies; 3 Composition; 3 Performance; 1 Composition/Pop Performance; 1 Pop; 1 Education.
Falmouth: 3 Composition; 1 Composition/Tech; 2 Musical Theatre; 3 Pop; 3 Tech/Audio; 5 Performance.
Gloucestershire: 1 Composition; 3 Business; 2 Production; 1 Performance; 1 Pop.
Glyndŵr: 1 Performance; 1 Tech/Production. (There may be a few more here).
Greenwich: the Dance/Musical Theatre degree is offered via Bird College – staff do not appear to be on academic contracts. A few Sound Design staff appear to contribute to a wider course.
Grimsby: Unclear from website.
Hertfordshire: Unclear from website.
Highlands and Islands: 2 Business; 2 Pop; 2 Composition; 5 Performance; 1 Education.
Huddersfield: 1 Historical; 4 Composition; 3 Composition/Tech; 3 Performance; 4 Tech/Sound Production; 1 Pop; 1 Screen.
Kingston: 1 Composition; 3 Composition/Performance/Tech; 1 Composition/Tech; 1 Pop/Performance; 1 Education.
Leeds Art: 5 Popular Performance; 1 Performance; 1 Tech/Production.
Leeds Beckett: 2 Screen/Video; 8 Composition/Performance/Tech (one of these Songwriting); 9 Tech/Sound Production; 2 Performance/Production; 3 Performance; 2 Business; 2 Other.
Lincoln: 1 Ethnomusicology; 1 Pop/Sound Design; 2 Composition; 2 Performance.
Liverpool Hope: 2 Production; 1 Performance; 1 Pop.
Liverpool John Moores: 1 Pop; 1 Ethnomusicology; 1 Music and Literature.
London Metropolitan: 3 Tech/Production.
London South Bank: 2 Sound Design.
University of the Arts London: 1 Composition/Sound Art/Historical Performance; 4 Composition/Sound Art.
Manchester Metropolitan: 1 Gaming; 3 Sound Design; 1 Composition/Recording.
UCEN Manchester: None listed.
Middlesex: 3 Composition; 1 Composition/Historical; 4 Management/Industry/Business; 5 Pop; 1 Jazz Composition/Performance; 1 Tech.
Northampton: 5 Pop; 2 Pop/Production.
Northumbria: 2 Historical; 1 Performance/Instruments; 1 Pop.
Nottingham Trent: 1 Performance.
Oxford Brookes: 3 Historical; 1 Pop; 1 Sound; 1 Screen; 1 Composition.
Plymouth: 1 Education; 1 Psychology; 1 Musical Theatre; 1 Composition/Computing.
Plymouth Marjon: no dedicated salared music staff listed on website.
Arts University Plymouth: 2 Sound Art/Tech.
Portsmouth: 1 Tech/Audio; 1 Composition/Tech; 1 Music/Theatre/Other; 1 Musical Theatre.
Ravensbourne: 3 Sound Design/Recording/Audio; 1 Musical Theatre Composition/Performance; 1 Performance/Composition.
University Centre Rotherham: Not clear from website.
Southampton Solent: 4 Popular Performance; 1 Pop; 1 Art/Music; 2 Composition (1 songwriting, 1 sound); 1 Management; 1 Performance/Sound; 1 Performance; 1 Sound/Tech; 1 Production.
South Wales: not included since the staff are largely employed by the Royal Welsh College of Music and Drama.
Staffordshire: 2 Tech/Engineering; 2 Sound Design; 2 Composition/Tech. (This list may not be complete as the website is very patchy).
Sunderland: 1 Composition/Performance; 1 Composition/Sound Art; 1 Performance.
Teesside: 3 Tech/Production.
University Centre at the Heart of Yorkshire: Not clear from website.
Wales Trinity Saint David: 3 Tech.
West London: 1 Historical; 3 Tech; 1 Pop; 1 Pop/Tech/Recording; 3 Musical Theatre; 4 Performance (one non-Western); 2 Performance/Recording; 2 Production/Recording; 2 Composition; 1 Songwriting/Recording; 1 Sound/Sociology; 2 Management; 1 Screen.
West of England: 7 Tech/Audio.
West of Scotland: 2 Performance; 3 Pop Studies; 3 Composition; 1 Composition/Tech; 1 Tech.
Westminster: 1 Performance/Composition/Tech; 2 Performance; 1 Performance/Industry; 1 Composition; 1 Tech/Production; 1 Music/Film. (May be others – website information patchy).
Winchester: 3 Musical Theatre; 1 Tech/Production.
Worcester: all academic staff for Musical Theatre here appear to be Theatre staff without specific music expertise.
York St John: 3 Production; 2 Community; 2 Composition; 2 Performance; 1 Historical/Various

Totals (excluding Bedfordshire, Birmingham City (conservatoire), Grimsby, Hertfordshire, Plymouth Marjon, University Centre Rotherham, South Wales (conservatoire), University Centre at the Heart of Yorkshire):
87.5 Tech/Electronics/Production/Recording
80 Composition
74 Performance
37.5 Pop/Jazz
25.5 Musical Theatre
17.5 Historical
16.5 Management/Business/Industry
13 Screen/Film/Media/Gaming
9.5 Sound Design
8 Music Therapy
5 Music Education
3.5 Ethnomusicology
3.5 Sound/Sound Studies
1.5 Music Sociology
1 Music Psychology
1 Aesthetics
1 Music Journalism
0.5 Instruments

+ 9.5 Other

Colleges of HE, etc.

Here I only include those institutions which offer full degrees, rather than just top-up ones.

Brighton MET: 2 Recording/Production
Burnley College: unclear from website
South Gloucestershire and Stroud College: 1 Musical Theatre
Lincoln College: unclear from website
Loughborough College: unclear from website
Middlesborough College: 1 Recording/Production
Newcastle College University Centre: 1 Music unspecified; 1 Production
Rose Bruford: 1 Sound; 1 Performance
West Suffolk College: unclear from website

Totals (though information too patchy):
4 Recording/Production
1 Performance
1 Musical Theatre
1 Sound
1 Music unspecified

I am not listing here faculties at conservatoires, because of the great difficulty in establishing which faculty members count as research/academic staff and which not. Terms such as ‘Professor of Violin’ does not necessarily have the same meaning as a Professor in a university (and certainly would not necessarily imply a research position such as would require them to be submitted to the REF). I am also not including private providers since the precise status of staff is also not clear.

As mentioned above, many institutions also employ a considerable number of hourly-paid or visiting lecturers; at some these may be responsible for a large percentage of the teaching. But these have a different type of status (considerably more precarious), are often impossible to count, and are almost never research staff. This is just a list of salaried academic staff.

Grand Totals
169.5 Composition/Sonic Art
134 Tech/Electronics/Production/Recording
122 Performance
119.5 Historical Musicology
74.5 Pop/Jazz
44 Ethnomusicology
32 Musical Theatre (possibly more)
27 Theory/Analysis
23 Music Business/Management/Industry
21.5 Music for Screen/Film/Media/Gaming
20.5 Music Psychology
12 Music Education
9.5 Sound Design
8 Music Therapy
6 Music Philosophy/Aesthetics
5.5 Sound/Sound Studies
2.5 Music Sociology
2.5 Performance Practice/Instruments
2 Acoustics
2 Community Music
1 Critical Musicology
1 Music unspecified
0.5 Music and Religion
0.5 Opera Studies


Categories Unpacked

The categories above are sure to be seen as problematic by some. The grouping together of music technology, electronics, production and recording might be argued to conflate a range of quite distinct activities, and some of the work in ‘Electronics’ in particular might be better grouped with composition. Similarly the ‘Historical Musicology’ not only spans a period of over a millennium, encompassing often radically different types of work, but also the work of some involved in this (including myself) overlaps with theory/analysis and aesthetics, while there are a small number whose work on popular musics or sound studies can be historical in nature. ‘Performance’ is also a broad category, involving performers in a range of different genres requiring different skills and expectations; the same is true of ‘Composition’. It also needs to be noted that a lot of individual and group performance teaching is undertaken by hourly-paid lecturers, usually specialists on a particular instrument/voice. But all categorisations inevitably involve some degree of simplification, and I think this one should help to understand and interpret the broader picture.

So, first of all I wish to consider from this the numbers of those academics whose work is centered around scholarly investigation of music (which we can broadly call ‘musicology’, even though some subsets of this, including music sociology, some ethnomusicology, or music education, may have more in common with other disciplinary fields than musicology), compared to those involved more often in practical music-making or other practical activity. I am including pop/jazz and film/screen/media/gaming within scholarly investigation, where the academics are not clearly indicated as composers in these fields (though this may lead to some minor inaccuracies), and similarly sound/sound studies, but sound design, musical theatre, music therapy and tech/science/electronics/production/recording are all classified as practical activities (even though some of these may include a detached and critically self-reflective component). Then the totals are as follows:

Russell Group: 202.5 scholarly (65.5%); 104.5 practical (33.8%); 2 other (0.6%).
Mid-Ranking: 62.5 scholarly (48.8%); 61.5 practical (48%); 4 other (3%).
Post-92: 101.5 scholarly (26.3%); 275 practical (71.2%); 9.5 other (2.4%).
Colleges of HE, etc: 2 scholarly (25%); 6 practical (75%).

TOTALS: 368.5 scholarly (44.3%); 447 practical (53.8%); 15.5 other (4%).

The picture is clear – the Russell Group have a stronger tendency towards scholarly investigation, though still a sizeable component of practical activity; the two things are roughly matched in Mid-Ranking institutions; and there is a very strong tendency towards practical activity in Post-92 institutions and Colleges of HE, etc. Nonetheless, of the latter group, Bolton, Bournemouth, Derby, East London, Edge Hill, Glyndŵr, Greenwich, Leeds Art, London Met, London South Bank, University of the Arts London, Nottingham Trent, Arts University Plymouth, Ravensbourne, Staffordshire, Sunderland, Teesside, Wales Trinity St David, West of England, Winchester, Worcester have no obvious scholarly representation on the faculty, while the scholarly component at Buckinghamshire New, Central Lancashire, Chichester, De Montfort, Kingston, Lincoln, Liverpool Hope, Manchester Met, Portsmouth, Westminster and York St John is very small. Even amongst those institutions submitting to the REF in 2021 (Anglia Ruskin, Bath Spa, Canterbury Christ Church, Central Lancashire, Chester, Chichester, Coventry, De Montfort, East London, Edinburgh Napier, Huddersfield, Kingston, Leeds Art, Leeds Beckett, Lincoln, Liverpool Hope, Middlesex, Oxford Brookes, Plymouth, Portsmouth, West London, Winchester, Worcester and York St John) the majority of submissions were practice-based.

Representation of scholars is also thin at Brunel, Kent, LIPA, Sussex, Ulster amongst Mid-Ranking institutions, in the case of Sussex in particular a significant shift from their earlier profile. There are no Russell Group institutions with no practitioners, but this category is dominated by composers. Across the sector as a whole, there are more practitioners than scholars, but the margin is not huge.

There can surely be few subjects in which the gap between the Russell Group and the Post-92 institutions is so strong. It is hard to imagine a good deal of Russell Group lecturers teaching in the Post-92s, and vice versa. Only a small minority of Post-92 university music departments resemble the more traditional types, with a focus upon critical scholarly inquiry. Over three decades after the 1992 Education Act, the distinction between what were once universities and polytechnics is still very strong. Only with the advent of the Russell Group (arguably in response to the 1992 Act, to preserve differentials) comes the category of the Mid-Ranking, and in many ways these institutions face the biggest questions of disciplinary and institutional identity, and whether the students they aim to recruit are those likely otherwise to choose Russell Group, or alternatively Post-92, Colleges of HE, or private institutions. The profiles of Royal Holloway on one hand, or Kent on the other, differ very significantly.

The Post-92 institutions have a huge bias towards music of now, with little representation of music of previous centuries (including scholars working on historical popular music, jazz or technology) or other world traditions. There is however often a chasm between the dominant focus on commercial music in their courses and curricula and the relatively few staff with a significant commercial profile, at least in terms of composition and performance. For those institutions submitting to the REF this may relate to the relative difficulty of framing a good deal of commercial music (or mainstream classical, jazz, community music) as ‘research’, as I argued here. In music, the types of iconoclastic or avant-garde work which are most ‘REF-friendly’ (in the case of composition often very systematic work, or which uses brand new instruments or technology, or unusual techniques) can be at odds with those more familiar and popular types which can attract students, perhaps more so than in some other artistic disciplines, with such a strong chasm between the avant-garde and the popular in music.

Historical musicology and ethnomusicology are absent from the salaried faculties of most post-92 institutions. Wider approaches from the humanities or social sciences are not really represented either; these areas are undoubtedly concentrated in Russell Group institutions. In the Mid-Ranking sector, Aberdeen, Goldsmiths, the Open University, Royal Holloway and Surrey have fair representations of historical work, while City, Holloway and SOAS have a significant focus upon ethnomusicology. Musical theatre courses, again concentrated in the post-92 sector, rely heavily upon associate/visiting lecturers.

Amongst academics with a historical focus, there is a strong concentration upon the nineteenth and twentieth centuries. Early music, meaning the whole Western repertoire of the pre-baroque (roughly pre-1600) period, is quite well represented in the RG, with 5 lecturers at Oxford, and 14 across the other institutions; at 3 mid-ranking (Bangor, the Open University and Royal Holloway); and 3 in the post-92 sector (Birmingham City, Northumbria, and Oxford Brookes).

More widely, the sector has more academics in the field of contemporary composition and sonic art than in any other category. Only a relative few of these could be said to be commercial composers, and even amongst the rest there is a general bias towards ‘new music’. As noted in my first blog post on new music published last year, this situation has been critiqued by various people, most notably musicologist Nicholas Cook, who argues that the representation of new music is out of all proportion to student interest in it. This almost certainly relates to the demands of the REF mentioned above, but it is a strange situation when students are considerably more likely to be taught by those with some expertise in a niche area of new music than one with expertise in Bach, Beethoven or bebop jazz. I will return to the area of new music in academia in the ‘New Music’ blog series.

There are various other conclusions which might be drawn from this data, including relating to the career prospects of academics in certain disciplinary fields. I will leave those for others to consider, and in future blog posts in this series will consider degree courses and curricula, as well as more on the historical development of the sector.





The RAE and REF: Resources and Critiques

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 or 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.

Recent Commentary

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, also on account of 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 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.