Response to Charlotte C. Gill article on music and notation – full list of signatories

An article in The Guardian by Charlotte C. Gill (‘Music education is now only for the white and wealthy’, Monday March 27th, 2017), has generated a good deal of attention amongst a wide range of international musicians, music educators, academics, and others. Below is the letter compiled for publication in The Guardian in response to Gill’s article, and a full list of over 700 signatories to date. The letter was compiled by Joan Arnau Pàmies, Kevin Korsyn, Franklin Cox, Barbara Eichner and myself, while Jim Aitchison, Marc Yeats, Camden Reeves and others have been extremely helpfully with its dissemination. It is published on the Guardian website here, and appeared in the print edition for Thursday April 6th, 2017 (‘Risky romanticisation of musical illiteracy’, p. 32). Some replies are printed here.

Also recommended are the response to Gill’s article by Michelle James, and an earlier article on musical literacy by Peter Tregear. See also this excellent responses by Pamela Rose , this by Helen Sanderson,  this by George Bevan, this by George A. Smith, this by Christian Morris, and this by Frances Wilson. Also the coverage on Slipped Disc, in Limelight magazine, and on Arts Professionaland an article from the Latin Mass Society (of which James MacMillan, a signatory below, is a patron), focusing in particular on Gill’s comparison of reading music to learning Latin. Another recent blog article considers the article in the context of changing expectations in UK secondary education, while composer and teacher Des Oliver has made an important podcast with Tigran Arakelyan about the article, and I have also made an extended podcast with Arakelyan, considering the article and wider issues of musical education, notation, literacy, privilege, and more.

For an utterly contrasting view to that of Gill, strongly advocating reading (and sight reading), composition, and musical history, being available to all schoolchildren by right, see this 1945 pamphlet by the Workers’ Music Association (hardly the voice of the wealthy), especially pages 5-6. Speaking personally, I think many of the recommendations in this pamphlet are as relevant now as they were 72 years ago. I have also blogged an inspiring defence of the teaching of Western classical music and literacy by Estelle R. Jorgensen, which I believe to be highly relevant to this debate.

I will happily add other names to the list: if you wish to be added, please post underneath with your name and how you would like to be described.

[Earlier addendum material on related subjects is included at the bottom of this post – this and the above constitute my own thoughts, not those of the signatories]

 

Charlotte C. Gill (‘Music education is now only for the white and wealthy’) argues that ‘to enable more children to learn [music], we must stop teaching in such an academic way.’ While rightly noting the increasing chasm between state and private education in terms of music provision, her conclusions about musical notation and theoretical skills amount to simple anti-intellectualism.

Gill dismisses the study of music ‘theory’ and argues patronisingly that musical notation is ‘a cryptic, tricky language (…) that can only be read by a small number of people’. This claim flies in the face of countless initiatives over two centuries making musical literacy available to those of many backgrounds. As with written language, musical notation enables effective and accurate communication, as well as critical access to huge amounts of knowledge. In many musical fields, those without it will be at a deep disadvantage and dependent upon others.

Gill’s comments about ‘limited repertoires of old, mostly classical music’ are unfounded and presented without evidence: composing, listening, singing, and playing are embedded in much musical education, which also widely encompasses jazz, popular, and non-Western traditions. Claiming that classical music comprises a limited repertory is inaccurate: composers have been adding to its repertory for centuries and continue to do so. We agree with Gill that aural and other skills are equally important as those in notation. However, through her romanticisation of illiteracy, Gill’s position could serve to make literate musical education even more exclusive through being marginalised in state schools yet further.

Alex Abercrombie, pianist and mathematician
Louise Ableman, freelance pianist and piano teacher
Richard Abram, editor
Juliet Abrahamson, erstwhile music teacher, and festival director
Peter Adriaansz, Composer, composition teacher, Royal Conservatory, The Hague
Jean-Louis Agobet, composer, professor of composition at Bordeaux Conservatory (France)
James Aikman, Composer in Residence, Indianapolis Chamber Orchestra
Jim Aitchison, composer and graphic score artist
Helen Alexander, freelance musician
Helen Alipaz, Piano teacher and former music tutor at Ruskin Mill College, Nailsworth
Timothy Allan, singer, academic
Ralph Allwood, music teacher
Claire Alsop, Musician
Dr Pedro Alvarez, composer, Adjunct Lecturer, Western Australian Academy of Performing Arts
Peter Amsel, author and composer (of notated music); former Musical Director of the Espace Musique Concert Society. Ottawa, Canada
Paul Andrews, Anglican priest with PhD in music, former music librarian and choral conductor
Samuel Andreyev, composer and teacher
Leonie Anderson, viola player and teacher
Tigran Arakelyan, youth orchestra conductor, Off the Podium podcast
Genevieve Arkle, PhD candidate in Music, University of Surrey
Newton Armstrong, Senior Lecturer in Composition, City, University of London
Christophe Astier, Clarinetist, Ensemble Orchestral de Toulouse, France
Jessica Aszodi, vocalist, doctoral candidate, Queensland Conservatorium of Music
Man Bun Au, Classical guitarist, Adjunct Lecturer, Hong Kong Baptist University
John Aulich, composer, freelance tutor in composition and theory, and recording artist.
Patrick Ayrton, conductor and harpsichordist, Professor at the Royal Conservatoire of The Hague
Emily Baines: State school educated performer, lecturer, musical director and DMus candidate (Guildhall School of Music & Drama)
Brendan Ball, trumpeter and educator
Joshua Ballance, Music student
Simon Ballard, Concert Pianist and Composer
Nicholas Bannan, Associate Professor of Music, University of Western Australia
Richard Bannan, singer, conductor and Head of Singing, King’s College School, Wimbledon
Stephen Barber, Retired music teacher
Alejandro Barceló, musicologist and music theorist
Daniel Barkley, composer and PhD candidate at Queen’s University, Belfast
Matthew Barley, cellist
Keith Barnard, composer
Lester Barnes, composer, producer, and former music teacher
Kristina Baron-Woods, Lecturer in Music Theatre, University of Western Ontario
Richard Barrett, composer, Institute of Sonology, The Hague
Bernardo Barros, composer, improviser, Ph.D. Candidate/Teaching Assistant at New York University
Pam Barrowman, clarinettist, singer, teacher
Stephen Barton, composer (Titanfall 1 & 2, Call of Duty)
Nicholas Bartulovic, freelance composer, student of Politics, Philosophy, and History, Ashland University
Jane Becktel B.Mus.(Hons) Dip. Ed., Choir director
Pierre-Michel Bédard, Organist, composer, teacher at Limoges Conservatory
Adam Bell, composer, doctoral student, Brunel University
Prof David J. Benson FRSE, author of Music: A Mathematical Offering (CUP 2006)
Margaret Bent CBE, FBA, Emeritus Fellow, All Souls College
Niels Berentsen, PhD (Royal Conservatoire of The Hague)
Peter van Bergen, director LOOS Foundation/Studio LOOS, The Hague
Rebecca Berkley, Lecturer in Music Education, University of Reading
Mark Berry, Senior Lecturer in Music, Royal Holloway, University of London
Dr Steven Berryman, Director of Music City of London School for Girls
Noel Bertram, Retired Head of Cumbria County Music Service
Dr Christopher Best, freelance composer, fiction writer and university lecturer
George Bevan, Director of Music, Monkton School
Dr. C.M. Biggs, performer; Director of Piano Studies, Cambrian College
Sue Bint, Music teacher, violinist
Sylvia Bisset, private piano teacher
James Black, MSt. in Musicology, University of Oxford
Deborah Blackmore BSc ACA scientist, chartered accountant and trustee of a children’s music education charity
Kate Blackstone, freelance musician, PhD researcher, University of Leeds
Darren Bloom, composer, Lead Tutor for Composition and Musicianship, Junior Trinity
Yvonne Bloor, Master of music, teacher and composer
Andrew Bottrill, pianist
Mark Bowden, freelance composer; Reader in Composition, Royal Holloway, University of London
Geraint Bowen, director of music at Hereford Cathedral
Andrew Bowie, jazz musician, Professor of Philosophy and German, Royal Holloway, University of London
Laura Bowler, composer, vocalist, Lecturer in Composition at Royal Northern College of Music and Guildhall School of Music and Drama
Karen Boyce, pianist/accompanist and music teacher. New Zealand
Martyn Brabbins, ENO Music Director, RCM Visiting Professor, Huddersfield Choral Society music director
Susan Bradley, freelance tuba, ophicleide, serpent, cimbasso player
David Braid, composer
Heather Bradshaw, violinist in the City of Birmingham Symphony Orchestra
Andrew Brewerton, Principal, Plymouth College of Art
Lewis Brito-Babapulle MA, MSt, FRCO. Head of Academic Music, Trinity School, Croydon
Per Broman, Professor of Music, Bowling Green State University
Anne Brown, primary school music teacher
Harvey Brown, secondary music teacher and musician
Janice Brown, piano teacher
Mariko Brown, teacher, pianist, and composer
Martha Watson Brown Oboist, Composer and teacher of Music Theory
Thomas Brown, composer
Robin Browning, conductor; Conducting Instructor, University of Southampton
Kevin Brunkhorst, Chair, Music Department, St Francis Xavier University, Antigonish, Nova Scotia, Canada
John Bryan, performer and Professor of Music, University of Huddersfield
Jason Thorpe Buchanan, composer, PhD Candidate, Eastman School of Music; Artistic Director, the [Switch~ Ensemble]
Lisete Da Silva Bull, professional musician, teacher, educator
James Bunch, Lecturer in composition-theory, KM College of Music and Technology, Chennai, Tamil Nadu, India
Sarah Burn, freelance music editor and typesetter; completing a PhD involving notation and critical editing
Steven Burnard Violist BBC Philharmonic , learnt to read music at state school aged 7
Martin Butler, composer, pianist, Professor, University of Sussex
Peter Byrom-Smith, composer
Thomas Caddick, Director of the Tobias Matthay Pianoforte School
Dr Edward Caine, Composer, pianist and researcher for Ex Cathedra
Sara Caine, singer & oboist, GP
Jacqui Cameron, Education Director, Opera North
William Cameron, musician
Rachel Campbell, Sydney Conservatorium of Music
Jay Capperauld, composer, saxophonist
Christian Carey, composer and Associate Professor of Music, Westminster Choir College
Gerry Carleston, B Mus, retired violinist and teacher
Stephen Carleston, organist & choir-trainer, music examiner and arranger
Tim Carleston, lay clerk, St George’s chapel, Windsor Castle
Gary Carpenter FRNCM, HonRAM, FRSA. Composer, composition professor Royal Academy of Music and Royal Northern College of Music, BASCA Director
Dr Paul Carr, composer
Philip Cashian, Head of Composition, Royal Academy of Music
Alan Cassar, composer and arranger
Peter Castine, composer, managing editor Computer Music Journal
Sam Cave, BA(Hons) PGdip (RCM), guitarist and composer, tutor in guitar at Brunel University
Roland Chadwick, Composer, Guitarist, Teacher
Oliver Chandler, Visiting Tutor in Historical Musicology, Royal Holloway, University of London
Alexandros Charkiolakis, musicologist, MIAM – Istanbul Technical University
James Chater, musicologist and composer
Eugenia Cheng, mathematician, educator and pianist
Anthony Cheung, composer, pianist, teacher (University of Chicago), co-artistic director of the Talea Ensemble
Pablo Santiago Chin, Adjunct Instructor, Music Theory and Composition, Saint Xavier University
Unsuk Chin, composer
Ray Chinn, violin teacher
Peter Cigleris, clarinetist, BMus (Hons), PGDip, Royal College of Music
Artur Cimirro, composer and pianist from Brazil
Keith W Clancy, artist/composer/computer musician, Melbourne, Australia
Colin Stuart Clarke, Classical music journalist
Raymond Clarke, pianist
Nicholas Clapton, singer and singing teacher
James Clarke, composer, Researcher, University of Leeds
Julian Clayton, conductor
Robert Coates FRCO(CHM), ARCM. Composer, organist and teacher, Harøy, Norway
Jacques Cohen, Conductor & Composer
Jonathan Cohen, former presenter, Music Time for BBC TV School’s programmes
Chris Collins, Head of Music, Bangor University
Rob Collis, singer and composer
Sarah Connolly, opera singer and teacher
Saskia Constantinou, Media Consultant and arts festival director
Dr. David Conway, music historian, Honorary Research Fellow, University College London
James Cook, University Teacher in Music, University of Sheffield
Rachel Cook BA MA, Pianist, orchestral musician and educator
Imogen Cooper, pianist
Brian Cope, composer, music educator and PhD candidate at the University of Edinburgh
Roger Coull, violinist leader of the Coull Quartet, and conductor
Tom Coult. Composer, Visiting Fellow in Creative Arts, Trinity College Cambridge
Emma Coulthard, flautist, author and head of Cardiff County and the Vale of Glamorgan Music Sevuce
Franklin Cox, Associate Professor of Theory, Cello, and Composition, Wright State University
Mairi Coyle. Participation & Outreach Manager, National Children’s Orchestras of GB
Stephen Coyle, composer and PhD candidate at Queen’s University, Belfast
Ruth Crouch, Assistant Leader at Scottish Chamber Orchestra & violin teacher at Royal Conservatoire of Scotland & St. Mary’s Music School
Francis Cummings, violinist and Director of Music at Sistema Scotland, Royal Conservatoire of Scotland
Simon Cummings, composer, writer, researcher, PhD candidate, Birmingham Conservatoire
Fiona Cunningham, CEO, Sistema England
Harriet Cunningham, music critic, writer and doctoral student at UTS, Australia
David Curran, freelance music educator, PhD Candidate, Royal Holloway, University of London
Caroline Curwen, PhD student Psychology of Music, Sheffield University
Dr. Mat Dalgleish, Senior Lecturer in Music Technology and Course Leader for MSc Audio Technology, University of Wolverhampton
Giovanni D’Aquila, composer, composition teacher
John Daszak, opera/concert singer
Steven Daverson, composer, Lecturer in Composition and Sonic Arts, Brunel University London
Colin Davey, Education Programmes Manager, Royal School of Church Music, teacher and conductor
Julian Davis, amateur pianist, Professor of Medicine, University of Manchester
Gavin Davies, freelance violinist
Edward Davies, Head of Music, St Mary Redcliffe and Temple School, Bristol
Jill Davies MusB, classical music artist manager and concert promoter, passionate amateur musician
Tansy Davies, composer
Rebecca Dawson, General Manager, Music at Oxford
Rebecca Day, Visiting Lecturer, Royal Holloway, University of London; Tutor in Music Theory and Analysis, University of Oxford
Caroline D’Cruz, B.Mus, ARCM, LRAM pianist and choral conductor
Nathan James Dearden, Performance Manager and Visiting Tutor in Music Composition, Royal Holloway University of London
Cornelis de Bondt. Composer, teacher Royal Conservatoire, Den Haag, NL
Lonnie Decker, Musician and Educator
João Pedro Delgado, viola, PhD researcher, Universidade de Évora, ESART-IPCB
Caroline Delume, Guitarist, teacher
Simon Desbruslais, trumpet soloist and Director of Performance, University of Hull
Dr. Luis Dias, founder and project director of Child’s Play India Foundation (www.childsplayindia.org), a music charity working to bring music education to India’s disadvantaged children
Josephine Dickinson, former music teacher, composer, and poet
Joan Dillon, Director of The Academy of Sacred Music/Voice Teacher
Alison Dite, pianist and teacher from Cardiff
Sarah Dodds, piano teacher, Associate Lecturer in music, The Open University
Emily Doolittle, composer, Athenaeum Research Fellow, Royal Conservatoire of Scotland
Sean Dowgray, percussionist, D.M.A: UC San Diego
John Duggan, composer, singer, teacher
Andrew Eales, pianist, writer and teacher
Leslie East, Chair, The Association of British Choral Directors; former CEO, ABRSM
Christiana Eastwood, Head of Music at The Granville School, Sevenoaks
Professor Sir David Eastwood, Vice Chancellor, University of Birmingham
Jason Eckardt, Professor, City University of New York
Dr Paul Max Edlin, composer, Director of Music Queen Mary University of London, Artistic Director Deal Festival of Music and the Arts
Katheryne Perri Edwards, music educator for 37 years
Malcolm V. Edwards, Professor Emeritus of Music, University of Calgary, Alberta, Canada
Barbara Eichner, Senior Lecturer in Music, Oxford Brookes University
Aaron Einbond, composer, Lecturer in Music, City, University of London
Dr Graham Elliott; Executive Director American Youth Philharmonic Orchestras; Washington DC, USA
Lynne Ellis, Chief Executive Officer, Berkshire Maestros and lead of the Berkshire Music Hub
Daniel Elphick, Teaching Fellow, Royal Holloway, University of London
Mark Elvin, Bass Guitarist, Double Bassist, Tubist, Composer/Arranger/Transcriber, Educator, Conductor
Nick Ereaut, jazz musician, singer-songwriter, music teacher
Nancy Evans, Director of Learning and Participation, Birmingham Contemporary Music Group
Tecwyn Evans, conductor
Nick Evans-Pughe, Performer and school instrumental teacher’ (PGDip in instrumental teaching in which l researched the learning by children of (western classical) notation.)
Mark Everist, Professor of Music, President of the Royal Musical Association (signing in a personal capacity)
Judith Exley. Flute teacher and composer. Wellington, New Zealand
Pauline Fairclough, University of Bristol
Daniel Fardon, PhD student in Composition and Teaching Associate at University of Birmingham
Miguel Farías. Composer, PHD(c) in Latin American Studies, associated Professor universidad academia de humanismo Cristiano , Chile
Tony Faulkner, Independent classical recording producer and engineer
Greta Fenney, therapist
Adam Fergler, composer, arranger, and conductor
Laetitia Federici, freelance pianist and peripatetic piano teacher
Anneke Feenstra, mother of a musician
Cal Fell BA Hons LRAM Freelance musician State Educated
Professor Brian Ferneyhough, Stanford University
Coia Ibàñez Ferrater, Director of Xilofon Elementary School of Music
Jeremy Filsell, Professor of Organ, Peabody Conservatory, Baltimore USA
Janet Fischer, Soprano, Teacher, Managing Director Fulham Opera
Jonathan Fischer, TV Composer, Songwriter
Chris Fisher-Lochhead, composer and violist
Dr Kevin Flanagan, Senior Lecturer in Music, Anglia Ruskin University
Dr Alexandra Fol, composer; conductor and organist at Missione Maria Ausiliatrice, Montréal, Canada
Miriam Forbes, Director of Music, Witham Hall School
Peter Foster. Music Teacher
Christopher Fox, composer, Professor of Music, Brunel University, editor of TEMPO
Cheryl Frances-Hoad, composer
Luke Fraser MMus, composer and Piano Teacher for Arts First
Brigid Frazer, Kodaly based Early Years Music Specialist
Judith Fromyhr, Senior Lecturer in Music, Australian Catholic University
Tor Frømyhr, Coordinator of Strings Australian National University
Hugh Fullarton, Organist and Master of the Choristers at Holy Trinity Anglican Cathedral, Wangaratta
Alvaro Gallegos, music scholar, journalist and record producer
Sir James and Lady Jeanne Galway, flautists
Tom Gamble, MMus Guitarist
Brian Garbet, composer, PhD candidate, University of Calgary, Canada
Ash Gardner, DJ, multi-instrumentalist, music educator, New York, NY
James Gardner, composer, University of Canterbury, Christchurch, New Zealand
Eloise Garland, Musician, Teacher, and Deaf Awareness Campaigner
Tim Garrard, Director of Music, Westminster School
Mark Gasser, pianist
Ben Gaunt, Senior Lecturer Leeds College of Music, Tutor Open College of the Arts
Andrew Georg, repetiteur, State Opera of South Australia, organist
Patricia Giannattasio, Professor of Music, Bergen College in New Jersey; PhD candidate at The Graduate Center
Sean K. Gilde, ‘cellist with Astaria String Quartet, Head of Strings Dragon School Oxford
Don Gillthorpe, Director of Music and Performing Arts, Ripley St. Thomas CE Academy
Hannah Gill, pianist, organist, choral conductor and music teacher
Karen Giudici (Turner) ex professional freelance clarinettist, current primary and secondary music teacher
Rob Godman, Composer, Reader in Music at the University of Hertfordshire
Nigel Goldberg, Artistic Director, Youth Music Centre
Miles Golding BMus, LTCL, LRSM, free-lance violinist, teacher of violin, viola, music theory
Richard Gonski, Conductor Torbay Symphony Orchestra
Howard Goodall CBE, Composer, Broadcaster, Music Historian
Liz Goodwin, teacher, founder/director Flutewise
Sumanth Gopinath, Associate Professor of Music Theory, University of Minnesota–Twin Cities
Adam Gorb, Head of School of Composition, Royal Northern College of Music
Stephen Goss, Professor, University of Surrey
Mark Gotham, Affiliated Lecturer, University of Cambridge
Dr. Barbara Graham, Retired Professor, Ball State University and amateur violist
Dr Michael Graham, postgraduate researcher, Royal Holloway; tutor, Rhondda Cynon Taff music service
Penny Grant, Singing Teacher and Soprano
Simon Gravett dip.TCL, Head of Music the Elmgreen School
Coady Green, The University of Melbourne, Melbourne Conservatorium of Music.
Robert Green, pianist, accompanist, jazz musician
Gavin Greenaway, composer, conductor, pianist
Helen Grime, composer, Senior Lecturer of composition at Royal Holloway University of London
Nicole Grimes, Assistant Professor of Musicology, University of California, Irvine
Jennifer Guppy, British national, resident in France. Class music teacher, at a Primary school and private piano and flute teacher
Christine Gwynn, conductor, pianist, coach, music workshop leader
Kerry L Hagan, Composer, Lecturer, University of Limerick
Stefan Hagen, Dilettant
Iain Hallam, singer and musical director of a cappella choruses
Marc-André Hamelin, pianist
Benedict Hames, viola player, Symphonie Orchester des bayerischen Rundfunk
Ross Hamilton, Peripatetic Percussion Teacher, Cornwall Music Service Trust
Helen Hampton, Director, Popchoir
Radka Hanakova, pianist
J. P. E. Harper-Scott, Professor of Music History and Theory, Royal Holloway University of London
Patrick Harrex, composer and Musical Director of Brighton & Hove Arts Orchestra
Dr. John Mark Harris, music educator and pianist
Sadie Harrison, secondary school peripatetic teacher of piano and music theory; composer and lecturer
Tom Harrold, composer, Honorary Associate Artist of the Royal Northern College of Music
Edward-Rhys Harry, conductor, composer
Béla Hartmann, pianist
Andrea Hartenfeller, organist, singer, teacher, Hesse/Germany
Per Hartmann, music publisher, Edition HH Ltd
David Harvey, D.Phil music, composer, guitarist, technologist, ex-CTO Sibelius, Tido
Waka Hasegawa, pianist, piano duettist and piano teacher
Katie Hassell, Senior Spacecraft Engineer, pianist and cellist
Arngeir Hauksson, Guitarist, Lutenist and music teacher
Jeremy Hawker B.mus, M.Teach, L.mus, professional guitarist and instrumental tutor at Townsville Grammar School
Steve Hawker, Inclusion Manager, Cornwall Music Service Trust
Sam Hayden, composer and academic, Trinity Laban Conservatoire of Music and Dance
Morgan Hayes, Professor of Composition, Royal Academy of Music
Benjamin Hebbert, Director, Benjamin Hebbert Violins Limited
Piers Hellawell, composer and Professor of Composition, Queen’s University of Belfast, Northern Ireland
Andrew Henderson, singer, keyboard player, secondary school Director of Music, primary school governor, committee member, MMA – Music Teaching Professionals
Áine Heneghan, Assistant Professor of Music Theory, University of Michigan
James Heron, violinist and violist
Ken Hesketh, composer, Lecturer, Royal College of Music
Helen Heslop, piano student, concert promoter
Anne-Marie Hetherington, Music Director and Head of Creative Arts in a successful secondary school, singing teacher, conductor
Gavin Higgins, composer
Rolf Hind, pianist, composer and teacher (Guildhall School of Music and Trinity Laban)
Maggie Hinder, GRSM ARCM ARCO, freelance music teacher and chorister
Alistair Hinton, composer, curator, The Sorabji Archive
James Hockey, musician, teacher, conductor
Jason Hodgson BMus (composer, disabled, and now studying MMus)
Ros Hoffler ABRSM examiner
Alison Holford, cellist and lover of sight-reading
Klaas ten Holt, composer, writer, composition teacher at Prins Claus Conservatorium, Groningen, the Netherlands
Michael Hooper, Lecturer in Music, University of New South Wales, Australia
Julian Horton, Professor of Music, Durham University
Tim Horton, pianist
Janet Hoskyns, Professor Emerita, Birmingham City University
Stephen Hough, pianist
Yvonne Howard, Opera/ Concert Singer & Professor of Singing
Dr Jocelyn Howell
George Huber, singer and mathematician
Dr David Russell Hulme, Director of Music and Reader, Aberystwyth University, musicologist and conductor
Alexander Hunter, composer and performer, Australian National University
Derek Hurst, Associate Professor of Composition, Berklee College of Music and Boston Conservatory
David Hutchings, conductor
Anne Margaret Hyland, Lecturer in Music Analysis and Admissions tutor at the University of Manchester
Miika Hyytiäinen, composer, doctoral student, University of the Arts Helsinki
Michael Ibsen, Classical Guitarist Mmus, British Columbia Conservatory of Music
Grahame Gordon Innes, composer
Professor John Irving, Trinity Laban Conservatoire of Music and Dance, London
Steven Isserlis, cellist
Dr Jenny Jackson, composer & private piano teacher
Stephen Jackson, conductor, choral director, composer and arranger
Julian Jacobson, musician
Alison James, Head of Music, Kelvin Hall School, professional musician, performance moderator
Lara James, tutor of saxophone, Royal Welsh College of Music and Drama, Senior Associate teacher, Bristol University
Willem Jansen, performer and teacher, The Netherlands
Joel Jarventausta, composer and conductor, masters student at the Royal College of Music
Kate Johnson, Promotion & Communications Director, Music Sales Limited
Stephen Johnson, writer, broadcaster & composer
Fergus Johnston, Composer
Allan Herbie Jones, composer, musician, teacher.
David Jones, Head of Accompaniment, Royal Northern College of Music; Deputy Head, Junior RNCM
Gordon Jones, singer, former member of The Hilliard Ensemble
Jeremy Peyton Jones, composer, Reader in music, Goldsmiths University of London
Julia Jones Teacher of Music, City of London School
Georgina Jordan, pianist and teacher
Susanna Jordan, tutti 1st violin, Royal Liverpool Philharmonic Orchestra
Frauke Jurgensen, musician, Lecturer, University of Aberdeen
Jari Kallio, music journalist
Matthew Kaner, Professor of Composition Guildhall School of Music and Drama
Rob Keeley, composer and pianist, King’s College
Susan Keeling, music graduate, arts administrator, amateur musician, parent
N W Kenyon, retired teacher
Dorothy Ker, Composer, Senior Lecturer, University of Sheffield
Dr Steve Kershaw, jazz musician, Oxford University Department for Continuing Education
Isla Keys MA (Hons) ATCL PGCE, music teacher, singing & piano teacher, committee member MMA-Music Teaching Professionals
Christopher Kimbell, Visiting Tutor in Historical Musicology, Royal Holloway, University of London; peripatetic teacher in music theory
Owen Kilfeather, composer and writer
Andrew King, Professor of English Literature – and avid reader of music
George King, Head and Senior Lecturer (retired), Department of Art History, Visual Arts and Musicology, University of South Africa
Helen Kingstone, Postdoctoral Researcher in History, Leeds Trinity University (and pianist and choral singer)
Professor Andrew Kirkman, Peyton and Barber Professor of Music, University of Birmingham
Patricia Kleinman, Musicóloga
Grahame Klippel, Guitarist, Kingston University
Ruth Knell,  violinist, English National Ballet. Learnt to read music initially at the age of 6/7 in recorder lessons at an infant school on a council estate in the 60s
Annabel Knight, head of recorder, Birmingham Conservatoire
Kathryn Knight, CEO Tido Music and a director/founder of Sing Up
Matthew Lee Knowles, composer + piano teacher
Allan Kolsky, Orchestra Musician, Syracuse, NY
Kevin Korsyn, Professor of Music Theory, University of Michigan, Ann Arbor
Toni J. Krein, President of the Association of Swiss Professional Orchestras
Uday Krishnakumar, Composer
Prof. Dennis Kuhn, Head of the percussion and timpani dept, University of Music and Performing Arts Mannheim, Germany
Henny Kupferstein, piano teacher
Yannis Kyriakides, Composer, teacher Royal Conservatory, The Hague
Dr David Lancaster, Director of Music at York St John University
Vanessa Lann, composer, teacher
Jerry Lanning, conductor and arranger
Thomas Larcher, musician
David Lawrence, conductor
Andrew C Leach, organist, choirman in four cathedral occasional choirs
Elizabeth Eva Leach, Professor of Music, University of Oxford
Yekaterina Lebedeva, concert pianist, professor of piano Trinity Laban Conservatoire, visiting lecturer City, University of London
Norman Lebrecht, writer and broadcaster
Kelvin Lee, PhD Candidate in Musicology at Durham University, Conductor
Christian Leitmeir, Magdalen College, University of Oxford
Erik Levi, Visiting Professor in Music, Royal Holloway University of London
Sally Lewis, pianist and teacher
Rebecca Leyton-Smith, Cellist and Cello Teacher at Uppingham School
Mu-Xuan Lin, Composer, and Lecturer at California State University Long Beach
PerMagnus Lindborg, composer, Assistant Professor, School of Art, Design, and Media, Singapore
Dr Alexander Lingas, Reader in Music, City, University of London; Fellow, European Humanities Research Centre, University of Oxford; Music Director, Cappella Romana
Tomasz Lis, concert pianist, teacher
Maureen Lister, Euphonium player
Rodney Lister, faculty department of composition and theory, Boston University School of Music, faculty The New England Conservatory Preparatory School
Lore Lixenberg, Experimental voice artist, Mezzo, Composer
Daniel Lloyd, Musician and author of No Notes piano music (tablature) designed to help beginners make a start with learning how to read and to play piano music.
Rick Longden, Lecturer in Music, Musician etc
Dave Longman, drummer, percussionist, teacher and author of “Skins Drum Performance Method”
Nick Loveland, COO, Birmingham Town Hall and Symphony Hall
Sonia Lovett, television director of opera and classical music concerts
Shay Loya, Lecturer in Music, City, University of London
Neil Luck, composer, performer, music educator
Karl Lutchmayer, Senior Lecturer, Trinity Laban Conservatoire of Music and Dance
Frances M Lynch, singer, director, composer, teacher
Graham Lynch, composer
Tracey Mair, freelance piano and vocal tutor
Joshua Banks Mailman, Instructor of Music Theory, University of Alabama
Charles MacDougall, founding member of VOCES8, currently Choral Specialist for The Voices Foundation
Nigel McBride, Composer, BMus (Hons), MSt. in Composition (Oxon.), DPhil in Music (Oxon.)
Rachel McCarthy, doctoral candidate and visiting tutor, Royal Holloway, University of London
Paul McCreesh, conductor, founder and artistic director, Gabrieli
Maggie McCoy, Choral Arts administrator and choral musician
Elizabeth Macdonald, violist and arts administratorGeraldine McElearney, GSM,singing and piano teacher
Simon McEnery, singer, musical director (Salisbury Chamber Chorus), Associate Lecturer at the University of Chichester
Neil McGowan, Production Staff, Stanislavsky-Muzykalny Opera/Ballet Theatre, Moscow
Andrew McGregor, Broadcaster, BBC Radio 3
Jennifer Mackerras, recorder player; Alexander Technique tutor at Royal Welsh College of Music and Drama
John McLeod, composer
Sir James MacMillan, composer, conductor
Peter McMullin, Printed Music Specialist, Blackwell’s Music Shop
Stuart McRae, Composer, Lecturer, Royal Conservatoire of Scotland
Jason Matthew Malli, composer, sound designer, performer, producer, educator, arts advocate
Martin Malmgren, pianist
Kevin Malone, Reader in Composition, University of Manchester
Julien Malaussena Composer
Jane Manning, singer
Marshall Marcus, CEO European Union Youth Orchestra, President Sistema Europe
Daniel Margolin QC, lawyer, amateur musician and parent
Kypros Markou, Professor of Music, Wayne State University, Detroit, MI (graduate from Royal College of Music, London and New England Conservatory, Boston)
Katherine Marriott, mezzo-soprano
Daniela Mars, Flutist
Les Marsden, Founding Music Director/Conductor: The Mariposa (CA) Symphony Orchestra, Composer, Lecturer, University of California and Instrumental Musician
Andy Marshall, Senior Lay Clerk, Bristol Cathedral
Chris Marshall, Head of Professional Development, Birmingham Conservatoire
Barnaby Martin, composer
Domingos de Mascarenhas (DPhil) musicologist
Sandy Matheson, Nordoff Robbins music therapist
Alison Mathews MMus BMus(hons)RCM ARCM, composer, private teacher, pianist
Colin Matthews, composer
David Matthews, composer
James Mayhew, artist and narrator
Gijs van der Meijden (The Netherlands). Microbiologist by profession, not a musician in any practical sense, but a deep lover thereof
Cecília Melo, Magistrate
Virgílio Melo, composer
Miguel Mera, head of Music, City, University of London
Chris Mercer, composer, Lecturer, Northwestern University
Nathan Mercieca, Teaching Associate, Gonville and Caius College, Cambridge University
Jonathan Midgley, lay clerk, Ely Cathedral
Max Midroit, pianist
Chloe Millar, violinist, freelance musician and teacher
Richard Miller, Composer, Arranger/Orchestrator, Royal Liverpool Philharmonic’s Christopher Brooks Composition Prizewinner, Director of Music, St Michael’s Church, Camden
Sasha Valeri Millwood, MA (Cantab.) MMus (GSMD), musician, musicologist, & doctoral researcher, University of Glasgow
David Milsom, Head of Performance, University of Huddersfield
Ruth Milsom, freelance teacher of piano and music theory, and accompanist
William Alberto Penafiel Miranda, 
Composer/Pianist at Queens College (Aaron Copland School of Music
Madeleine Mitchell, state-school educated violinist, professor, Royal College of Music
Cara Ellen Modisett, pianist, Episcopal music director and essayist
Kerry A. Moffit, Master Sergeant (Retired), United States Air Force Bands and Music Career Field, Royal Caribbean Cruise Lines Orchestra Musician (lead and jazz trumpet), Grammy winner, and professional musician for 40+ years.
Alison Moncrieff-Kelly, cellist, music educator, and examiner
Josephine Montgomery, violinist, early years string teacher
Ivan Moody, composer, CESEM – Universidade Nova, Lisbon
Adrian Moore, composer, Reader in Music, University of Sheffield
Gillian Moore, Director of Music, South Bank Centre
Eva Moreda Rodriguez, Lecturer in Music, University of Glasgow
Dittany Morgan, former Sub principal Viola BBC symphony and teacher of Violin/ Viola
Huw Morgan, freelance choral director and organist
Kate Morgan, Director of Music, Harrogate Ladies’ College
Katie Morgan, flautist, music writer, and flute and music theory teacher
Michael Morse, composer, educator
Tim Motion, Photographer and musician
Catherine Motuz, trombonist
Thomas Mowrey, former producer for Deutsche Grammophon and Decca
Theresa Muir, Ph.D. Musicology, conductor and singer
John Mulroy chorister at the Royal Opera House, Covent Garden
Gordon Munro, Director of Music, Royal Conservatoire of Scotland
Tommy Murtagh, cellist and educator
Rachel Musgrove, director, daytime choirs for retirees
Rachel Neiger, Pianist and teacher
Lisa Nelsen, Flute player, artist for Yamaha International, Tutor for Junior Guildhall School and former Specialist Flute Tutor at Wells Cathedral School, UK
Thi Nguyen , GSMD, IoE (MA in Music Education), violinist and teacher
Mike Nichols, Bassist. ACM lecturer, ABRSM consultant. Regularly work in orchestras and non reading bands
George Nicholson, composer, Professor in Composition, University of Sheffield
Marten Noorduin, Postdoctoral research assistant, University of Oxford
Kirk Noreen, Founder/Director, Ensemble Sospeso, New York, Composer
Mariko North, pianist
Dr Patrick Nunn, Lecturer in composition, Royal Academy of Music, London
Chi-chi Nwanoku MBE, double bassist, Founder, Artistic Director Chineke!
Richard Nye, BA (Hons) FLCM PGCE, teacher and composer
Michael Nyman, composer
Lady Anita O’Brien, Violinist/ Music Teacher
Dolors Olivé Vernet, music teacher, Headmaster, Teresa Miquel i Pàmies Elementary School
Des Oliver, composer
Philip Olleson, Emeritus Professor of Historical Musicology, University of Nottingham, and Immediate Past President, The Royal Musical Association
Nicholas Olsen, composer
Clare Orrell, primary school headteacher and music graduate
Jill Osborn BMus, private piano teacher
Richard Osmond, Director of Music, Haberdashers’ Aske’s Boys’ School
Ursula O’Sullivan, music teacher and musician, CSN College of Further Education, Cork, Ireland
Rebecca Oswald, composer, pianist, former faculty at the University of Oregon School of Music
Luke Ottevanger, Director of Music, composer
Martijn Padding, head of composition department, Royal Conservatory, Den Haag
Ian Pace, pianist, Lecturer, Head of Performance, City, University of London
Professor Carrie Paechter, Head of .Educational Studies, Goldsmiths, University of London
Christopher Painter, composer, brass bandsman, lecturer, music publisher, trumpet player. Barry, South Wales
Joan Arnau Pàmies, composer, Aural Skills Instructor, Northwestern University
Dr Tom Pankhurst, Music Teacher and Author
Tom Parkinson, composer and sound designer, Royal Holloway, University of London
Ben Pateman, Flautist and retired music producer
Anthony Payne, composer
Jenny Pearson, freelance cellist, teacher at Severn Arts Worcester
Michael Pearson, professional violinist
Jane Peckham BMus, MA, School Governor, Double Bassist
Tim Pells, Head of Guitar and Lecturer, Colchester Institute and Centre for Young Musicians
Chris Pelly, Concerts Series Administrator, University of Leeds
Damian Penfold, conductor and primary school governor
Ian Penwarden-Allen, choral conductor and teacher of music
Selah Perez-Villar, pianist and music educator
Lola Perrin, piano teacher, composer
Dr. Jeffrey Peterson, Associate Professor of Vocal Coaching/ Opera Conductor
Baylor University, Waco, TX
Theodore R Peterson, Composer
Joe Pettitt BMus(hons), bassist, bandleader and teacher of jazz bass and electric guitar at Westminster School and Trinity School, Croydon
Stephen Pettitt, writer and critic
James Philips, Classical Guitarist and self taught music reader
John Pickard, composer and Head of Music, University of Bristol
David Pickett, Former Prof., Indiana University School of Music, conductor, musicologist, tonmeister
Oliver Pickup, composer
David Pickvance, film and TV composer, composer-in-residence to the BBC
Jenni Pinnock, composer and instrumental tutor
David Pinto, performer with the Jaye Consort and musicologist, contributing editor to two volumes of Musica Britannica
John Pitts, composer and music teacher
Stephen Plaice, librettist, Writer in Residence Guildhall School of Music and Drama
Tamasine Plowman MA
Lara Poe, composer and pianist, graduate student at RCM
Irini Urania Politi, artist, teacher, amateur musician
Rosie Pollock, BMus MA (learned notation aged 6/7)
Benjamin Pope, Conductor working with the Royal Philharmonic Orchestra and Orchestras
Francis Pott, Professor of Composition & Head of Research, London College of Music, University of West London
Caroline Potter, Reader in Music, Kingston University
Eleri Angharad Pound, freelance harpist and composer, amateur choir singer
Jonathan Powell, pianist
Mark Powell, Conducting Scholar / ALP Faculty, Eastman School of Music
Steph Power, composer, critic, writer on music
Gillian Poznansky, flute player and examiner
Scott Price, Director of Music, The Cardinal Vaughan Memorial School
Dr Nicholas Stefano Prozzillo
Toby Purser, conductor
Peter Puskás, promoter and artist manager
Irene Quirmbach, violin instructor at the Francis W. Parker School in Chicago, IL (USA), active freelance violinist
Giovanni Radivo, concertmaster, Orchestre national de Lyon (France)
Caroline Rae, Reader in Music and pianist, Cardiff University
Lorenda Ramou, pianist, musicologist
Sanna Raninen, Research Associate, University of Sheffield
Torsten Rasch, composer
Nadia Ratsimandresy, ondist and Professor of onde Martenot and ondéa, Conservatoire à Rayonnement Régional de Boulogne-Billancourt
Manvinder Rattan, CEO and Head of Conductor Training, Sing for Pleasure
Sir Simon Rattle, conductor, principal conductor, Berlin Philharmonic Orchestra, conductor-elect, London Symphony Orchestra
Robert Rawson, Reader in Music, School of Music and Performing Arts, Canterbury Christ Church University
Steven Reale, Associate Professor of Music Theory, Youngstown State University, Youngstown, OH
Carla Rees, Music Programme Leader, Open College of the Arts
Camden Reeves, Professor and Head of Music, University of Manchester
John Reid, pianist and teacher
Chris Rice, Director, Altarus Records
Sally Richardson, Artist Manager; owner of Tashmina Artists
Christiaan Richter, composer
Dr Tim Ridley, Director of Music, Glenalmond Gollege
Judith Robinson, Creative Project Leader for Education, Sound and Music
Heather Roche, clarinettist, co-editor of TEMPO
Dr Marc Rochester, lecturer in music history and criticism, Yong Siew Toh Conservatory of Music, National University of Singapore
Paul Rodmell, Head of Music, University of Birmingham
Carlos Rodriguez, pianist, conductor and MBA from ChileJames Roe, President & Executive Director, Orchestra of St. Luke’s, New York City
Martin Roscoe, pianist, Professor, Guildhall School of Music and Drama
Pamela Rose, ABRSM Theory Examiner, Music Educator
Daniele Rosina, Director of Orchestral Studies University of Birmingham, Conducting Tutor, Birmingham Conservatoire
Luke Roskams, retired violinist
Tish Roskams, B.Mus retired music teacher
Toby Roundell, composer and educationist
Rebecca Rowe, composer and music educator
Cyrilla Rowsell, Kodály specialist, teacher at GSMD and for the British Kodály Academy, co-author of Jolly Music
Edward Rushton, composer and pianist
Julian Rushton, Emeritus Professor of Music, University of Leeds
Isabelle Ryder, private piano teacher
Leo Samama, composer, musicologist, educator and author (The Netherlands)
Abel Sanchez-Aguilera, pianist and biochemist, Madrid
Helen Sanderson, Winston Churchill Fellowship in guitar education, Artistic Director of National Youth Guitar Ensemble, CEO of Guitar Circus, guitar professor at RWCMD
Anthony Sandle, opera singer
James Savage-Hanford, freelance singer and Visiting Tutor in Theory & Analysis at Royal Holloway, University of London
Melinda Sawers, Director of Music, Wadhurst, Melbourne Grammar School (Australia)
Paul Scanling, Music Director, Marietta Symphony Orchestra
Brian Schembri, Artistic Director and Principal Conductor, Malta Philharmonic Orchestra
Jonathan Schranz, Choral Conductor, London
Thomas Schmidt, Professor of Music, University of Manchester
William James Schmidt, pianist & composer, MMusPerf (University of Melbourne), MA (MUK Vienna)
Christian Schruff, Journalist – Musikvermittler, Berlin
Annelies Scott ARAM, cello and music theory teacher
Fred Scott, founder, Soundpractice Music
Matthew Scott, Professor of Composition, University of Southampton; Head Of Music, National Theatre (retired)
Peter J D Scott, Teaching Fellow, University of Bristol
Robert Secret ARAM, conductor & viola player
Florian Scheding, University of Bristol
Jeffrey Siegfried, saxophonist, doctoral candidate, University of Michigan, Ann Arbor
Linda Shaver-Gleason, PhD Musicology, University of California, Santa Barbara
Susan Sheppard, teacher of cello at RNCM and Trinity Laban and teacher of Latin
Daniel Sherer, professor of architecture, Columbia University and lifelong pianist and music lover
Rachel Shirley, Music teacher; PhD researcher in Music Education, Lancaster University
Andre Shlimon, musician and teacher
Robert Sholl, University of West London and The Royal Academy of Music
Martin Shorthose, Cantor and Choir Director, Antiochian Orthodox Church in the UK. Ex Layclerk at Coventry and Liverpool Cathedrals
Alexander Sigman, composer, researcher and educator
Angela Elizabeth Slater, Composer
Jeremy Silver, conductor, pianist, vocal coach
Nigel Simeone, music teacher, English Martyrs’ Catholic School
Mark Simpson, BBC Philharmonic Composer in Association and former BBC Young Musician of the year 2006
Wendy Skeen, BMus(Hons), Guildhall School of Music & Drama; Freelance pianist and piano teacher
M I Skinner, M.St. (Mus)(Oxon), PG Dip MTPP, ALCM, Dip ABCD. Musician, teacher, conductor, and musicologist
Shirley Smart, jazz cellist, musicianship and improvisation teacher, City, University of London, and Royal College of Music Junior Department
Ben Smith, pianist and composer, postgraduate student, Guildhall School of Music and Drama
Charles J. Smith, Slee Chair of Music Theory, University at Buffalo
David J. Smith, Professor of Music, University of Aberdeen
George Smith, composer and freelance piano/voice teacher, University of Southampton graduate
Harriet Smith, music journalist
Steve Smith, guitarist, multi-instrumentalist
Tim Smith, Director of Music, St. Mary Harrow on the Hill/Arts Faculty Leader, Heathland School
John Snijders, pianist and Associate Professor of Music Performance, Durham University
Ernest So, concert pianist
Peter A. Soave, Concert Accordionist, Founder Peter Soave Music Academy, in Sauris Italy
Stephen Soderberg, Senior Specialist for Contemporary Music (retired), Music Division, Library of Congress
Zoë South, (state-educated) professional opera singer, singing teacher
Clare Southworth, Professor of Flute RAM
Shauna Spargo, amateur violinist, soprano in the local church choir (learned to read music at 6 when I had free violin lessons at a state primary school)
Jeroen Speak, freelance composer and teacher
Simon Speare, Head of Composition and Contemporary Music, Royal College of Music Junior Department
Mic Spencer, Associate Professor of Music, University of Leeds
Jane Spencer-Davis. Accountant specialising in musicians and violist
Mary Stagg, Primary Music specialist
Sarah Steinhardt, piano teacher, Greenwich Academy, CT USA
James Michael Stergiopoulos, retired electronics engineer
Adam Stern, conductor (Seattle Philharmonic, Sammamish Symphony), Seattle WA, USA
Clare Stevens, music journalist
Susanne Stanzeleit, violinist, tutor, Birmingham Conservatoire
Peter Stoller, songwriter, music writer, popular music archivist and historian at Leiber/Stoller Productions
Danny Stone, brass teacher, former classroom teacher (state sector U.K.)
Denise Stout, Choral Director
George Strickland, freelance oboist, postgrad at Royal Northern College of Music
Ashley Sutherland, music librarian, freelance clarinettist
Owain Sutton, private instrumental teacher
Professor Bill Sweeney, composer
Aleks Szram, Academic Lecturer and Piano Professorial Staff, Trinity Laban Conservatoire of Music and Dance
Caitriona Talbot BA Mod, freelance music tutor, Sefton
Diego Jiménez Tamame, composer
Gábor Tarján, composer, percussionist, Musical Director Het Filiaal
Christopher Tarrant, Lecturer in Music, Anglia Ruskin University
Mark Tatlow, conductor, educator, researcher Department of Culture & Aesthetics, University of Stockholm
Michelle Taylor-Cohen, Violinist, educator & arranger
Alun Thomas, professional violinist /Alexander Technique Coordinator Trinty Laban
Marisa Thornton-Wood, professor of piano, Royal Academy of Music
Paul Timms, music teacher, pianist, violinist & conductor
Phillip Tolley, Choral Music Advocate, British Choirs on the Net
Mikel Toms, conductor
Daniel Tong, pianist. Founder, Wye Valley Chamber Music. Head of Piano in Chamber Music, Birmingham Conservatoire
Julian Tovey, singer and lecturer, Royal Conservatoire of Scotland
Simon Toyne, Executive Director of Music, David Ross Education Trust
Peter Tregear, Professor, Royal Holloway, University of London
John Traill, Director of Music, St. Anne’s College, Oxford University; Director, Oxford Conducting Institute
Natalie Tsaldarikis, pianist, teacher, PhD student, City, University of London
Kathleen Tynan, Head of Vocal Studies and Opera, Royal Irish Academy of Music, Dublin
Fredrik Ullén, pianist, professor of cognitive neuroscience
Luk Vaes, pianist, reseacher, teacher
Maura Valenti BM, The Juilliard School; MM, Yale School of Music; current MPhil student in musicology, University of Oxford
John Van der Slice, composer
Dr Edward Venn, Associate Professor of Music, University of Leeds
Massimiliano Viel, Composer and Professor at Conservatory of Milan, Italy
Simon Vincent, composer, performer, and former Visiting Lecturer at City University London, University of Bayreuth, University of Potsdam and University of Applied Sciences Potsdam
Matthew Vine, volunteer music teacher (Kampala, Uganda)
Andrea Vogle, Percussion Tutor RNCM, JRNCM, Chetham’s School of Music
Zerlina Vulliamy, prospective university music student and DfE Music Scholar RCMJD
Alison Wahl, soprano, singer-songwriter, and music teacher
Charlie Wakely, Physics teacher and amateur musician
Helen Wallace, Kings Place Music Foundation, Soundsense Music
Neil Wallace, Programme Director, Doelen Concert Hall, Rotterdam
Richard Wallace, violist Royal Liverpool Philharmonic Orchestra, viola tutor Bangor University
David Warburton MP, Chair of the All Party Parliamentary Select Committee on Music Education
John Warburton BMus Hons Tonmeister, Associate Lecturer, University of Surrey Department of Music and Media
Dr Michael Ward, concert pianist, conductor and composer
Philippa Ward, pianist, teacher, Wellington, New Zealand
Jenny Warren, maths teacher and classical soprano who learned to sight read at state school
Celia Waterhouse, Piano Teacher, Music Educator, Lead Editor for British Kodaly Academy Songbook
Ashley Wass, pianist
Huw Watkins, composer and pianist
Hannah Watson, secondary school music teacher, violinist
Rachel Watson, cellist, cello teacher with experience of secondary school teaching
Trevor Watt, former music student, now lawyer
Dr Richard Wattenbarger, musicologist, Adjunct Instructor, Music Studies, Temple University, Philadelphia, Pennsylvania
Sarah Watts, Associate in Music Performance at Sheffield University, bass clarinet tutor RNCM, Clarinet tutor at Nottingham University
David Way, violinist/violist/teacher
Philip Wayne, Headmaster, Royal Grammar School, High Wycombe, also Musician
James Webb, Director of Music, Hull Collegiate School
Gillian Webster , Opera Singer and teacher
James Weeks, composer, Associate Head of Composition, Guildhall School of Music & Drama
Marcus Weeks, composer and jazz and reggae trombonist
Richard Whalley,  Senior Lecturer in Composition, University of Manchester
Mike Wheeler, music writer and adult education tutor, WEA
Simon Whiteley, BMus, Lay Clerk at St George’s Chapel, Windsor Castle, and founder member of The Queen’s Six, a cappella ensemble
Adam Whittaker, Post-doctoral researcher (Music and Music Education), Birmingham City University
Dr Anthony Whittaker, composer, piano teacher and examiner
Sally Whitwell, composer, pianist. BMus(Hons) ANU, Australia
Joanna Wicherek, pianist and teacher
Judith Wiemers, PhD student at Queen’s University Belfast
Charles Wiffen, Assistant Dean, College of Liberal Arts, Bath Spa University
Louise Wiggins, PhD student, University of Bristol; harpist; and peripatetic music teacher
Emma Wild, Freelance Violist
Christopher Wiley, National Teaching Fellow and Senior Lecturer in Music, University of Surrey
John Willan, former EMI producer and Managing Director London Philharmonic
Ceri Williams, music teacher
David Carlston Williams, Organist and Music Teacher
Victoria Williams AmusTCL BA music theory teacher
James Williamson. Composer, PhD candidate at the University of York
Chesterton K. Whiteman, adjunct professor of composition, Oral Roberts University
Dr Alexandra Wilson, Reader in Music, Oxford Brookes University
Andrew Wilson, Freelance musician, and Head Teacher, Teesside High School
Jay Wilkinson, flute and theory teacher
Katherine Williams, Lecturer in Music and Head of Performance, Plymouth University
Frances Wilson LTCL (AKA The Cross-Eyed Pianist); pianist, writer, and teacher
Jayne Lee Wilson, Music Lover & Reviewer, FoR3 Forum
Natalie Windsor, BaHons PgCert (Birmingham Conservatoire), Mezzo soprano, jazz singer and music teacher
Lorraine Womack-Banning, pianist, piano teacher, adjudicator
Jaye Wood, BA Hons, freelance classical piano and voice teacher
Toby Wood, Music recording engineer and producer
Liz Woodhouse, piano teacher
Ronald Woodley, Professor of Music, Birmingham Conservatoire, Birmingham City University
Catherine Woodman. Head of Keyboard Studies at Redmaids High School and examiner
Kenneth Woods, Artistic Director, English Symphony Orchestra
Christopher Woolmer, Organist, teacher, Director of Music, Oakwood School, Purley
David Wordsworth, conductor and agent
Dr Emily Worthington, freelance clarinettist/Lecturer, University of Huddersfield
Andrew Wright, School of Education, University of Buckingham
Elspeth Wyllie, Pianist, Teacher, member of the ISM
Catherine Wyn-Rogers, opera singer and teacher
Anna Wyse, B.Eng. M.Sc.(Eng), AIEMA
Joshua D. Xerri, Sub-Organist (St Alphege, Solihull), singer, composer
Amit Yahav, pianist, doctoral student, Royal College of Music
Paul Yarish, pianist, Registered Piano Technician, organ student
Marc Yeats, composer and visual artist
Nina C. Young, Assistant Professor of Music Composition & Multimedia Performance, Rensselaer Polytechnic Institute
Toby Young, composer, Junior Research Fellow, University of Oxford
Jay Alan Yim, composer, Associate Professor of Music, Northwestern University
Alistair Zaldua, composer and conductor, visiting lecturer in Music, Canterbury Christ Church University
Mirjam Zegers, music consultant, teacher, amateur pianist
Nicolas Zekulin, Chief Executive & Artistic Director, National Youth Orchestras of Scotland
Patrick Zuk, Associate Professor in Music, Durham University
Julio Zúñiga, composer, graduate student, Harvard University
Rasmus Zwicki, composer

[ADDENDUM: Since first placing this letter online, I have been alerted to two relevant phenomena: the Department of Music at Harvard University have now removed a requirement to study theory, or Western art music history, from their core curriculum . Worse, Texan musicologist Kendra Leonard has created a ‘Privilege Walk’ for musicians, a way of publicly shaming those who, for example, were taught music theory (no. 12), care about notated music (no. 19), can read more than one clef (no. 36), or had advanced instruction in a foreign language (no. 39). It is not clear from Leonard’s biography if she teaches regularly at an institution, but certainly such ‘privilege walks’ exist elsewhere in the US; I will blog more about this on another occasion. In case anyone is unclear, as stated above this addendum does not form part of the letter to which signatories put their name and represents a personal view.]

 


Those 300-word statements on Practice-as-Research for the RAE/REF – origins and stipulations – ‘academic butt-covering’ or more problematic?

I wrote that my last blog post on the issue of composition and performance as research constituted final thoughts on the subject, at least for now, but one issue has been on my mind which I wanted to clarify for myself and others. This was to do with the ubiquitous 300-word statements included with many submissions to the RAE or REF. In the public debate on the subject, Camden Reeves (1h 38’14”) spoke of an ‘artificial privileging of certain types of composition over others’ and described (1h 40’55”) the 300-word statements as ‘ridiculous’, going on to say that ‘at a lot of universities, the 300 [word] statement was seen as the kind of research report’. Alexander Lingas (1h 43’12”) asked the panel whether ‘by having the 300-word statement, that it privileges certain type of things, so that by doing that, you end up encouraging particular types of things which actually, I have to say, are very congenial to the type of musicologically-informed performance, because that’s precisely the type of thing that 300-word statements is good for to say – why do you make those wacky decisions when you perform this music? – well, it’s because, in 300 words, and so it’s a type of academic butt-covering’.

Miguel Mera (1h 45’35”) claimed that ‘there was no requirement to complete 300 words with any submission . . . you didn’t have to’. But this was far from clear from the REF 2014 report, which contained the following comments:

In brief, the additional 300 words to make further evident the research imperatives and/or research process of an output (paragraph 71(b) of the ‘Panel criteria’) were used inconsistently and the question of the research imperative was not always well-articulated. (p. 16)

As in 2008 the best outputs in PaR were distinguished by clearly articulated research objectives. In a number of instances, the presentation of practice needed no more than a well-turned 300 word statement to point up the research inquiry and its findings, since the concerns outlined were then amply apparent within the practice itself (which was made available for assessment by a variety of means including DVD or CD recordings, photographic materials, scripts and scores, databases, etc.). (p. 99)

More generally, the 300 word statements too often displayed a misunderstanding of what was being asked for and provided evidence of impact from the research, or a descriptive account akin to a programme note, rather than making the case for practice as research. (p. 100)

Scott McLaughlin, in his report on the debate, noted Mera’s comments but added that ‘I get the sense that many Universities insisted on them’. In Paul Allain and Jen Harvie, The Routledge Companion to Theatre and Performance (London and New York: Routledge, 2014), we find the claim that

all submitted PaR has to be accompanied by a 300-word statement outlining the research imperatives and context, further supported by other forms of evidence. (p.234)

Similarly, in Michael Biggs and Henrik Karlsson, ‘Evaluating Quality in Artistic Research’, in Biggs and Karlsson (eds), The Routledge Companion to Research in the Arts (London and New York: Routledge, 2011), in the context of submissions in art and design for RAE 2008, the authors write of ‘the additional requirement of a 300-word statement arguing for the significance and impact of each submission’ (p. 414). Robin Nelson, in his Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances (Basingstoke: Palgrave Macmillan, 2013), refers to ‘a simple verbal articulation of the research inquiry – such as might be achieved in as few as 300 words’, which ‘proves useful in almost all cases’ (p. 11), not specifically mentioning the RAE/REF or a requirement, but likely written with this in mind.

So where did the idea come from that 300 words was a requirement? It was first presented in Section 3 of the RAE 2001 report on Publications, entitled ‘Panels’ Criteria and Working Methods’, and said specifically that:

3.58.8 Those submitting practice as research may include (in the ‘other relevant details’ field of form RA2) a succinct statement of not more than 300 words for each item in this category listed under RA2; for this purpose practice is defined as all outputs listed in paragraph 3.58.12 b) to e) below. These statements should make clear how the practice embodies research as defined in the RAE. They may, where appropriate, include an indication of the aims, methods, procedures, innovation, significance, and context of the practice. It should be noted that the submission of such statements is not a requirement; the Panel will not expect them when the status of the practice as research is self-evident.

The RAE 2008 guidelines on submissions contained the following text:

94. Brief, additional information may also be given in RA2 ‘other relevant details’ to identify relevant, factual circumstances concerning any output. It need not be supplied in every case. It may be, for example:

• to identify a keynote address to a conference
• to identify an invited conference paper especially where the perceived status of the conference is high
• to indicate the significance or impact of an applied research outcome
• to identify the research content or author’s contribution in edited works, translations, or co-authored works.

In the case of a non-text output, it may be used to give further information on the whereabouts of a work or to note that a photographic, electronic or other record exists. It may not be used to volunteer opinions about the relative quality of an output. See panel criteria statements for further guidance, including the word limit for this text, which, unless otherwise stated, will be 300 words.

The panel criteria for music within Panel O for RAE 2008 included the following:

Researchers should accordingly submit such evidence as they deem necessary to enable subpanel members to assess it within the following guidelines:
a. Research output: this may be submitted alone where it is deemed to constitute
sufficient evidence of the research in itself.
b. Statement: it is recommended that a statement of up to 300 words is submitted in the ‘Other relevant details’ field of RA2, in cases where the research imperatives and the research significance of an output (such as: an artefact, curation, digital format, installation, performance or event, screening, tape, textbook, translation or video) might further be made evident by a descriptive complement. The statement might include: a brief description of the project and its stage of development; a rationale outlining questions addressed; a summary of approaches/strategies undertaken in the work; a digest of further evidence (if any) to be found in sub-paragraph 13c below. As previously indicated, the 300-word statement should also be used to clarify the relative contributions of researchers working on a collaborative research project. The sub-panel will ignore any evaluative commentary on the perceived quality of the research.

Then for REF 2014, the statement of panel criteria and working methods included the following statement:

49. For non-text or practice-based outputs (including patents, software and standards documents), all subpanels welcome the submission of a description in
REF2 of the research process and research content, where this is not evident within the output (maximum 300 words), as described in ‘guidance on submissions’ (paragraph 127a).
(p. 25)

Then for Panel D, with included music submissions, the following:

b. Information about the research process and/or content: Submitting units may include a statement of up to 300 words in cases where the research imperatives and research process of an output (such as an artefact, curation, database, digital format, installation, composition, performance or event, screening, tape, creative writing, database, textbook, translation or video) might further be made evident by descriptive and contextualising information. Where the location or medium of the output is essential to a proper understanding of the research being presented this should be explained in the 300 words. The sub-panels will ignore any additional material that includes evaluative commentary on the perceived quality of a research output (p. 87)

The 300-word limit was further reinforced on p. 99.

It is clear then that whilst the 300 words was not strictly a requirement, there was a very strong incentive to include them with most submissions. How many, reading the words from 2001, are going to view their submissions, or those of their department’s faculty members as having a ‘self-evident’ status as practice-as-research? How many reading the 2008 guidelines are going to go against what is ‘recommended’?

Nicholas Cook, who was on the Music Panel which worked towards producing the 2001 definitions, wrote about the process in his article ‘Performing Research: Some Institutional Perspectives’, in Mine Doğantan-Dack (ed), Artistic Practice as Research in Music: Theory, Criticism, Practice (Farnham: Ashgate, 2015) pp. 11-32. In the RAE 1996, the first such accepting performance submission, according to Cook:

Detailed criteria for the assessment of performance as research were not in place, and when the outcomes were announced there was a widespread perception that the assessment of performance submissions had been surprisingly generous. Given some unease on the part of 1996 panel members, and the expectation that this outcome would prompt a significant increase in performance submissions for the following exercise, a major priority for the 2001 Music Panel (which was convened well in advance of the submission date) was to set the assessment of performance as research on a more principled basis: this was necessary to provide the panel with clear and transparent procedures for its evaluation, to guide institutions’ decisions about what work to submit to the RAE, and to inform their future planning. This panel, which I chaired, for the first time included professional performers, though they were based in the academic sector. (p. 22)

The panel realised that simply mapping criteria from composition-as-research over to performance would be insufficient, not least because the former rested on nebulously defined notions of quality and there were new difficulties entailed in the acceptance of submissions of film and commercial music (the research qualities of the latter of which, I have argued elsewhere, appear to me more tenuous). Whether market success, recognition by peers, or ideals of originality were to be primary criteria all proved difficult in discussion, as Cook points out (pp. 22-3). This now quite notorious definition of research was adopted:

2.12. ‘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, industry, and to the public and voluntary sectors; scholarship; the invention and generation of ideas, images, performances, 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 routine analysis of materials, components and processes such as for the maintenance of national standards, as distinct from the development of new analytical techniques. It also excludes the development of teaching materials that do not embody original research.

As for performance, the following definition was adopted:

3.58.12 d. Performances: in accordance with the RAE definition of research, performance will be accepted as research where it applies or embodies new or substantially improved knowledge or insights, for instance in terms of interpretation, historical performance practice, or technical innovation. Performance is understood to include conducting and direction as well as instrumental or vocal execution; all forms of public output are eligible for submission, including publicly disseminated live or studio recordings, broadcasts, and public performances. In the case of broadcasts and public performances, institutions must be able to supply a recording (which need not be in the public domain). Reference may be made to such factors as the venue of the performance, the standing of broadcasting organizations or record companies involved in its dissemination, and prizes or other marks of recognition); relevant information should be provided in the ‘Other relevant details’ field of form RA2.

This is, I believe, a basically good definition, though it is difficult to define when interpretation does or does not embody ‘new or substantially improved knowledge or insights’ (I would say most good performances do), and I worry about ‘the standing of broadcasting organizations or record companies’ acting as a proxy for judging work in terms of its standing in economies of prestige or market utility. But this is not strictly relevant to the 2001 stipulation about 300-word statements given above, about which Cook says:

That last remark was aimed at composers working in established styles: we did not wish to inflict a burden of pointless documentation on institutions – or on ourselves, for that matter. (The perhaps intellectually shabby idea of ‘self evidence’ reflects the pragmatic approach to composition I described.) Nevertheless the invitation to submit succinct statements excited considerable opposition from the subject community, not all of it reasonable in our view. In the formal processes of consultation that preceded the finalisation of the criteria, certain respondents rejected our assumption that the content of performances or other forms of practice as research could be reduced to words, and accused us of intending to assess the succinct statements rather than the performances. Of course we never made any such assumptions or held any such intentions. The point is very simple, and I have already referred to it. Academic writings are self-documenting. That is the source of the conventions of good academic writing to which Candlin referred. But this is obviously not the case of performances: as Susan Hellauer (1997) says, ‘You can’t sing a footnote’. It follows that you can’t expect an assessor to be able to reconstruct from a performance the research process that has given rise to it. (Think of David Milson submitting a performance arising out of his AHRC Creative and Performing Arts Fellowship.) Once more, this is the point on which the other members of the UKCGE [UK Council for Graduate Education] study group were insisting, except that they were talking about a 40,000 word dissertation whereas we on the panel were talking about a 300 word statement. By inviting those submitting practice as research to provide such a statement, then, we were giving them the opportunity to ensure the assessor understood the research component. We were empowering them to set the terms on which they were to be assessed, and to present their work in the best possible light. (p. 25)

I disagree with Cook; a sensitive listener with some familiarity with the work in question and performance practice might very well be able at least to assess, if not necessarily reconstruct in every detail, the research process which has given rise to one of David Milsom’s performances. A 40 000 word dissertation would certainly elaborate the process to a high degree, if done well, but I am not really sure that a 300 word statement could – or rather, if some point can be elucidated in 300 words but not clearly heard from the performance without such guidance, I would question the extent to which it is embodied in that performance.

An article from 2003 by Peter Thompson (‘Practice as Research’, Studies in Theatre and Performance 22/3, pp. 159-180) gave further details on how this debate was conducted amongst those involved in drama and related disciplines, reproducing correspondence. Drama Professor Franc Chamberlain made the following observation:

To argue that the work itself is best disseminated by performing it seems reasonable to me (although I can imagine a number of counter-arguments), but I’m not convinced that this necessarily follows for research outcomes. Yet I’m not sure that anyone is really suggesting that we shouldn’t document the research outcomes in order to disseminate them – we’re only discussing which mode is most effective for evaluation. Perhaps the A4 (300 words) sheet, though no one would argue that it, in itself, is the dissemination of the research: that can happen in any way which the researchers consider appropriate for the community they wish to reach – if that’s a DVD or a book or a painting or a website, I have no problem.
[….] I don’t have to have been in Nigel Slater’s kitchen in order to follow a recipe – something which may well be an outcome of his PaR – I just use the recipe to make the food: and then I eat it!
(p. 166)

I would be very concerned at the implications for musical or other performance if scores, or scripts were seen simply as ‘recipes’ which are to be followed, thus removing most creative input from the performer (or chef).

Performance Arts Professor Susan Melrose wrote the following:

On the broader question, there is significant history, elements of which can be chased up on the website of the UK Council for Graduate Education. The Performing Arts sector’s advice to the Quality Assurance Agency was quite specific, and ran along the lines of the appropriateness of a mixed-mode higher-degree submission, which might include the submission of an ‘artefact or performance’, together with an appropriately-weighted written component (the weighting to be determined by individual universities). The QAA itself concluded that mixed-mode submissions (in, for example, creative and performing arts) were appropriate, and published that view in the documents (available for inspection) which emerged after the consultation process.

From this perspective, then, ‘just the “doing” itself ’ has not been entertained in the sector with regard to higher-degree submissions, any more than it was entertained by the 2001 RAE Panel. That Panel brought judgement to bear upon practice (and its ‘succinct statement’ of 300 words) as research. (pp. 177-8)

It is clear from this that – at least to some involved in the process in 2001 – the written component was certainly seen as something necessary.

So the debate on the 300 words, which to all intents and purposes I think should be seen as a requirement, even if the letter of the guidelines does not strictly say this, continues. Whilst in agreement with McLaughlin’s response to Reeves’ point about how the requirement put at a disadvantage those musicians less verbally articulate amounts to ‘a particularly hollow form of special-pleading’ – as I myself have said, 300 words is not in itself that much of an imposition – otherwise I have a lot of sympathy with the positions outlined by Reeves and Lingas, and worry about two points in particular. One is whether reading 300-word statements becomes a substitute for listening carefully to work; I have been in a situation where I have been forced to ask which if any of those passing judgement on my 5-CD recording of Michael Finnissy’s five-and-a-half-hour The History of Photography in Sound – for which I also produced a near-300 page accompanying monograph – had actually spent the five-and-a-half hours listening to it just once. But also, as Reeves says, whether this essential stipulation ends up disproportionately favouring work which can be summed up in a snappy 300 words, perhaps peppered with plenty of vogueish buzzwords, and detailing aspects of obvious novelty, whereas work irreducible to such things (I would struggle to do such a thing with Arnold Schoenberg’s Fünf Orchesterstücke, op. 16, Pascal Dusapin’s Third String Quartet, or Reinhard Goebel’s recording of Ignaz Biber’s Rosenkranz-Sonaten, to give just a few examples) will end up being marginalised as a result. This outcome is worse than simply a few musicians having to do some ‘academic butt-covering’.


Video of Research Seminar on Composition and Performance as Research, and some wider responses to John Croft and others

Here is the video of the research seminar which took place on November 25th, 2015, on the subject of ‘Can Composition and Performance be Research?’, which featured a panel made up of Christopher Fox (Professor of Composition at Brunel University and editor of Tempo), myself (pianist and Head of Performance at City University), Miguel Mera (composer and Head of the Department of Music at City University), Annie Yim (pianist and DMA student at City University), and Camden Reeves (composer and Head of Music, University of Manchester). Christine Dysers (PhD student in Music at City University) was unable to be present due to illness, but a statement by here was read out by Sam MacKay (PhD student in Music at City University and organiser of the seminar). The session was chaired by Alexander Lingas (Undergraduate Programme Director and Reader in Music, City University). Greatest of thanks are also due to Bruno Mathez for making and editing the video.

A short article in response to the occasion has been posted at the City University Music Department has been posted by PhD student in music Roya Arab.

The panellists were responding to two key articles: John Croft’s ‘Composition is Not Research’, Tempo 69/272 (April 2015), pp. 6-11, and my own ‘Composition and Performance can be, and often have been, Research’Tempo 70/275 (January 2016), pp. 60-70. As of this week, Camden Reeves’ article ‘Composition, Research and Pseudo-Science: A Response to John Croft’, Tempo 70/275 (January 2016), pp. 50-59, and Croft’s reply to Reeves and myself, ‘Composition, Research and Ways of Talking’, Tempo 70/275 (January 2016), pp. 71-77, have been published – these are not yet available via open access, but can be downloaded from Tempo for those with access to this.

Here I wanted to summarise the arguments I presented at the forum, and also respond to some of Croft’s response. Some of my thinking has moved on a little from the positions I outlined in my Tempo article (which I acknowledge may contain some inner contradictions or inconsistencies), but the majority of positions presented there are ones I continue to uphold.

The debate has been dominated by the issue of whether composition can be research, with much less attention given to performance; I would like to redress that balance. I believe that it is tacitly accepted that a musical composition is likely to qualify as some type of research much more than is the case for musical performances and recordings. This is reflected in the relative numbers of composers and performers employed in academic positions in universities. I have compiled some approximate figures for the situation as it exists in autumn 2015, in large measure using data derived from departments’ own websites. These figures are slightly modified and checked from those given at the seminar – if anyone notices any other omissions or major errors, do let me know and I will make the appropriate corrections.

There are 53 departments offering various types of music or music-related degree [Edit: Some other departments could also be included, which I will add when editing this post at some point in the near future], excluding the ten UK conservatoires, in which the status of composition and performance is of a different nature. These are as follows:

Russell Group (19): King’s College and Queen Mary, University of London; Birmingham; Bristol; Cambridge; Durham; Leeds; Liverpool; Manchester; Newcastle; Nottingham; Oxford; Sheffield; Southampton; York; Cardiff; Edinburgh; Glasgow; Queen’s University, Belfast.
Mid-ranking Institutions (‘Other’) (13): Royal Holloway and Goldsmith’s Colleges, and School of Oriental and African Studies, University of London; City University; Brunel; Hull; Keele; Open University; Salford; Surrey; Sussex; Bangor; Aberdeen
Post-1992 Institutions (received university status after 1992) (21): West London; East London; London Metropolitan; Westminster; Middlesex; Kingston; Anglia Ruskin; Bath Spa; Brighton; Canterbury Christ Church; Chichester; De Montfort; Falmouth; Hertfordshire; Huddersfield; Liverpool Hope; Oxford Brookes; Winchester; Wolverhampton; Edinburgh Napier; Ulster

I have looked only at composers and performers employed in academic positions (i.e. integrated into the academic career structure from Lecturer to Professor) at these institutions. On the basis of research outputs, I have counted those composers and/or performers who have also produced a fair number of written outputs as being ‘0.5’s for the purposes of counting. I have counted only university (not college) appointments at Oxford and Cambridge. By this method, I arrive at the following figures:

All Universities
Total Staff: 691
Composers: 198 (28.7%)
Performers: 76 (11%)
Practitioners: 274 (39.7%)

Russell Group
Total Staff: 318
Composers: 89.5 (28.1%)
Performers: 21 (6.6%)
Practitioners: 110.5 (34.7%)

Mid-Ranking Institutions
Total Staff: 160
Composers: 45.5 (28.4%)
Performers: 13 (8.1%)
Practitioners: 58.5 (36.5%)

Post-1992 Institutions
Total Staff: 213
Composers: 63 (29.6%)
Performers: 42 (19.7%)
Practitioners: 105 (49.3%)

Thus there is a ratio of around 4.3:1 of composers to performers at Russell Group institutions, 3.5:1 at mid-ranking institutions, but 3:2 for post-1992 institutions. Performance is clearly less regularly valued as an academic field of study in the more prestige institutions, compared to composition (where the representation is very similar across the sector).

There is a highly sophisticated debate (and concomitant outputs) on practice-as-research in fields such as theatre and dance (my own former institution, Dartington College of Arts, was at the forefront of this). The apparently clear distinction between ‘creative’ and ‘professional’ practice mentioned by Mera in the seminar is however far from clear-cut; it is widely debated and problematized in critical literature, rarely defined clearly, and some departments elide the distinction by using concepts such as ‘Creative Professional Practice’. In comparison to all of this, the debate in music has been rather elementary. Composition has been an accepted academic field for a long time, like fine art and drama; but changes in the RAE/REF in the mid-1990s, allowing the submission of practice-based outputs, forced a re-thinking of this. It is in this context that more fundamental questions about the status of composition and performance in academia have come to the fore, as they have had to consider the types of issues and paradigms developed in other practice-centered disciplines.

I believe that practically all composition and performance are research in some sense; in the case of musical performance the following would be some of the types of research questions that any performer has to answer in order to play a piece of music:

  • Which tempi should be used for various large-scale sections of the score in question?
  • How much flexibility should be employed within these broad tempi?
  • On a smaller scale, what forms of stylisation and elasticity would be most appropriate for playing various types of rhythms?
  • Through various combinations of accentuation, articulation and rhythm, to what extent, and where, should one tend towards continuity of line, or more angular approaches?
  • In polyphonic or contrapuntal textures, to what extent should one be aiming to project a singular voice which is foregrounded above others, or a greater degree of dynamic equilibrium between parts
  • Should one aim for a singular prominent climactic point within a movement, or can there be several of roughly equal prominence?

I could continue with many more; what is important is that by articulating them in this fashion I am not simply making explicit what might as well remain implicit in the acts of musical preparation and performance, but also underlining the fact of their being choices in various respects, not necessarily something which all performers acknowledge (inwardly or outwardly) or act upon. ‘Gigging’ performers, or those who value primarily ‘intuitive’ approaches, might be amongst those less likely to be concerned about the possibilities of rational choices in the process of preparing a performance or recording.

But even if most practice is a type of research, there remain different levels of which such research is conducted – though this is equally true of written work. The question of ‘is X research?’ is banal and inconsequential; what matters is how we determine equivalence of quality between different manifestations of research. We should be wary of over-rating either practice-based or written work which entails a fraction of the thought, prior skills, time and rigour of the most intensive types of research, and ensure a critical research culture exists amongst practitioners if musical institutions are to be more than dressed-up low level conservatoires.

The possibilities for peer review of work whose output is in the form of practice have not been sufficiently explored, and I propose we need a ‘space’, equivalent to a journal, for reviewing and then either publishing (where outputs can be placed online), or simply detailing and drawing attention to (where outputs are copyrighted elsewhere) creative work. I would welcome any communications from others who might be interested in trying to set such a thing up.

Various participants in the seminar appeared to assume that I did not believe that practice could be research unless accompanied by a written component. This is by no means my belief; rather I have questioned whether some relatively unreflective practice should be considered equivalent to more traditional forms of research, but would again emphasise that these questions also apply to some types of written output. Mera pointed out my comments on popular and cultural studies, in which fields I find great variety of quality, and suggested this is true of much work on contemporary music too: I would wholeheartedly agree, and have argued as much on this blog, as well as in various book reviews and review-articles which have appeared recently (as in my extended study of critical reception of Brian Ferneyhough, in which I have given a harsh view of hagiographical writing).

I wish to add a few comments on some points made by Croft in his response to my article. There are many problems with this response and ways in which I believe he misrepresents various of the figures he critiques, but I will limit myself here to his responses to my article. Croft writes the following:

The distinction at work here, loosely put, is between discovery and invention. Before my critics leap on this statement with accusations of essentialism or definition-mania, let me repeat that an attempt to characterise something is not an essentialising move – it is, however, an attempt to get at a fundamental difference between two types of activity: describing and presenting; making and finding out; or, in Aristotelian terms, poiēsis and epistēmē. It’s hardly a new idea, and deserves more than the breezy dismissal it receives, both from Reeves and from Ian Pace in his response. Einstein was not just ‘making something’. He was describing the world. A composer, on the other hand, is making an addition to the world that is not primarily descriptive. (And no, not like a smartphone or a blancmange.)

Smartphones and blancmanges aside (why are they so fundamentally different to musical composition in terms of their relationship to description?), I do not accept that either Reeves’ response nor my own entail a ‘breezy dismissal’; in my own case I dispute how clear-cut is the dichotomy presented by Croft. He goes on to locate cases within literature on practice-as-research which themselves frame the concept of research so as to include creative practice, with which I would agree. The following is the definition of research supplied by the REF:

1. For the purposes of the REF, research is defined as a process of investigation leading to new insights, effectively shared.
2. It includes work of direct relevance to the needs of commerce, industry, and to the public and voluntary sectors; scholarship; the invention and generation of ideas, images, performances, 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 routine analysis of materials, components and processes such as for the maintenance of national standards, as distinct from the development of new analytical techniques. It also excludes the development of teaching materials that do not embody original research.
3. It includes research that is published, disseminated or made publicly available in the form of assessable research outputs, and confidential reports (as defined at paragraph 115 in Part 3, Section 2). (p. 48)

I do not know why Croft is resistant to this type of highly inclusive definition, though suspect (as indicated in my Tempo article) that this reflects an analytical/positivist philosophical bent rather than the more synthetic and idealistic attitude which I find more enlightening. Research does not merely describe the world, but can create new forms of perception and experience, such as are fundamental to artistic creation. One does not have to be a postmodern relativist (I am certainly not) to see that research can shape rather than merely identify reality. Composition does not come from nowhere, and all music is produced and heard in relation to other music and sonic phenomena; to treat musical creation independently of reference (whether or not willed by the composer) is in my view simplistic. Croft goes on to conclude:

This is not the place to launch a critique of STS [Science and Technology Studies], but I do think practice-as-research is in trouble if it depends on a view of science that confuses ideas and things so profoundly. However, Pace seems to espouse a version of this view in his suggestion that, if Einstein had not come up with relativity, someone else might have come up with an ‘entirely different paradigm’ instead. Most physicists would find this idea absurd.  (p. 75)

The above relies on a flagrant misquotation; in my Tempo article I wrote the following:

It is by no means necessarily true that, as Croft says ‘if Einstein had not existed, someone else would have come up with Relativity’; someone might have come up with a quite different, but equally influential paradigm. (p. 68)

Nowhere here or elsewhere in the article do I use the phrase ‘entirely different paradigm’. The point is that ‘Relativity’ is not itself the phenomena being identified, but a scientific model use to give shape to external phenomena. I will leave it to others to debate whether this was the only possible model which could have been used, or for that matter whether this model will always remain undisputed in the future.

Croft also writes:

Pace, at one point, agrees that composition is ‘not intrinsically research’, but that it might entail various activities that are research. If this is his view, we do not disagree; this is exactly what I said in my original article. But at another point he states that ‘research’ is just a word for what composers have always been doing, except for the additional requirement of supporting text. One interpretation of this might be that composition is research, and the text simply points out how – but this would contradict the earlier statement that composition is not intrinsically research. Another would be that composition is not research until turned into research by the text. This certainly doesn’t square with our usual use of the word ‘research’. You could, in principle, do scientific, literary or historical research without writing anything down. Moreover, if documentation can turn non-research into research, this undermines the ‘material thinking’ justification for practice-as-research: if we take this line seriously, then compositional knowledge-how would not be amenable to translation into knowledge-that. This is a far cry from Pace’s insistence on ‘explicit articulation to facilitate integration into academic structures’. (p. 76)

And furthermore:

Pace seems to think that without such an accompanying text, composing becomes merely a matter of composers composing ‘in the way they always have done’. This points, perhaps, to a tendency to dismiss any idea of a domain of irreducible non-conceptual thought as some kind of romantic fantasy of ineffability. I have no problem with ‘opening a window’ on the compositional process, but when this is anything but superficial, it is often poetic and rarely in the language of aims and objectives; nor is it a matter of ‘making explicit’ for the purposes of ‘integration’, as Pace puts it. Amenability to such language does not turn something into research, as we have seen; but in any case, much of what makes music meaningful is generally resistant to such ‘integration’. (p. 77)

Here is what I wrote:

Croft’s basic formulation that composition is not intrinsically research is one I accept in this naked form, and I would say the same about performance. But both are outputs, which can entail a good deal of research. A new type of blancmange or smartphone may not themselves be intrinsically research either (nor, as Lauren Redhead vitally points out, is writing), but few would have a problem seeing them as valid research-based outputs. (p. 64)

All I am arguing there is that an output is not itself research but the product of research. Croft could as easily read the above as saying that writing is not research, and dismiss all attempts to produce written articles and books, as he uses it to suggest that I am supporting his position. Another passage to which he refers is:

Unlike Croft, I believe that composition-as-research, and performance-as-research (and performance-based research) are real activities; the terms themselves are just new ways to describe what has gone on earlier, with the addition of a demand for explicit articulation to facilitate integration into academic structures. (p. 70)

This needs to be read in the context of these previous statements:

Ultimately his [Croft’s] model of research seems to require a particular type of conceptually based knowledge which can be communicated verbally, which I find too narrow. (p. 64)

What is being asked, not unfairly, of a composer employed in a research-intensive university is that at the least they verbally articulate the questions, issues, aims and objectives, and stages of compositional activity, to open a window onto the process and offer the potential of use to others. As a performer I am happy to do this (and wish more performers would do so) and I do not see why it should be a problem for composers too (the argument that this is unnecessary, as all of this can be communicated solely through the work itself, is one I find too utopian). (p. 67)

Nor does musical practice become research simply by virtue of being accompanied by a programme note, which funding and other committees can look at while ignoring the practical work. (p. 69)

I am a bit more reticent about the second of these statements now than when I wrote the article. The point here was a pragmatic one, which might be somewhat at odds with the sentiments elsewhere. Documenting process can surely do no harm, and indeed do a lot of good in terms of clarifying and facilitating the dissemination of research, but on the other hand one should not necessarily privilege written outputs in this respect, as I said in the talk. But this does not contradict my basic view that practice can be research independently of any written element, in strong distinction to the position Croft (and at first Mera) appear to attribute to me. Documentation does not make something research, it just helps a little with making research more accessible. 300-word statements hardly seem a huge price to pay, though I remain somewhat in two minds about this point. [Addendum: see my later post about the 300-word statements and their history]

I also wrote:

Composers may wish to be paid a salary to compose or perform in the way they always have done, but perhaps they would then be better employed on a teaching contract for composition with the recognition and remuneration for their composition or performance coming from elsewhere. (p. 67)

All I am saying here is that composers should not automatically assume they are high-level academics, any more than should those who write articles and book chapters. It hardly seems so unfair that they are held to research standards just like other types of academics.

Croft takes further exception to my arguments here:

Pace’s suggestion that composition is somehow a less demanding activity for an academic to undertake, and that it needs the words to make up the difference, hardly warrants a response and has no bearing on the question at hand. (pp. 76-7)

I wrote:

I have some doubts as to whether some composition- and performance- based PhDs, especially those not even requiring a written component, are really equivalent in terms of effort, depth and rigour with the more conventional types. (p. 69)

This is the same point as I made about composers expecting to have to put in no extra effort when working in universities. But Croft neglects my qualifier ‘some’. I have certainly seen some other PhDs which are absolutely on a par with more conventional types, just believe these are not always typical.

I end with my fundamental point: trying to provide very exclusive definitions of ‘research’ is fruitless; what is needed is to find equitable ways of assessing composition, performance, written and other types of outputs in ways which do not put any work at a disadvantage simply because of the form of the output.


Research Forum, ‘Can Composition and Performance be Research? Critical Perspectives’, City University, November 25th, 2015, 17:30

On November 25th, 2015, at 17:30, a special Research Forum will take place at City University’s Department of Music, Performance Space, College Building. For further details and booking enquiries, please contact: Sam.MacKay.1@city.ac.uk . The City University event page for this is here.

In this special form a group of panellists will lead a discussion on current debates about the relationship between practice and research. The discussion will centre on two articles in particular: John Croft’s recent and significant article ‘Composition is not Research’ (Tempo, 69/272 (April 2015), pp. 6-11) and Ian Pace’s reply ‘Composition and Performance can be, and often have been, Research’ (forthcoming in Tempo, 70/275 (January 2016)). Both of these can be downloaded here.

John Croft, ‘Composition is not Research’.
Ian Pace, ‘Composition and Performance can be, and often have been, Research’.

Composers and performers in UK university music departments are often employed in full academic positions and are expected to produce research, participate in the Research Excellence Framework, apply for research funding, and demonstrate all these things in order to qualify for career advancement. This situation creates imperatives often distinct from, and sometimes conflicting with, those informing their practical work outside of an academic context. Different institutions can have hugely differing perspectives on the research credentials of practice-based work, and the experiences and fortunes of such practitioners working in academia have varied correspondingly.

John Croft’s article ‘Composition is not Research’ threw down a gauntlet in its rejection of the possibility that compositional outputs can be measured as research in the same manner as more conventional outputs. Croft called for an end to the integration of composers into existing research structures of universities, and a return to the idea of ‘research equivalence’ instead.

This article has generated a good deal of discussion on blogs and social media since its appearance, some of which has been markedly hostile. The January 2016 issue of Tempo will feature two articles in response, one by composer Camden Reeves, the other by City Head of Performance Ian Pace, entitled ‘Composition and Performance can be, and often have been, Research’.

In this article, Pace provides an extended critique of Croft’s arguments, drawing upon wider debates on practice-as-research from beyond the musical field, arguing that Croft’s definitions of research are too narrow, that composition and performance frequently constitute research as much as any other types of outputs, and that the real issue is deriving equitable criteria for judging very different types of research outputs, though this is equally a problem between divergent types of written work.


Panellists

Christopher Fox (Professor of Composition at Brunel University and editor of Tempo)
Ian Pace (pianist and Head of Performance at City University)
Miguel Mera (composer and Head of the Department of Music at City University)
Annie Yim (pianist and DMA student at City University)
Christine Dysers (PhD student in Music at City University)
Camden Reeves (composer and Head of Music, University of Manchester)

Chair: Alexander Lingas (Reader in Music, City University)


Further Weblinks

Piers Hellawell, ‘Treating Composers as Researchers is Bonkers.’
Luk Vaes, ‘When Composition is not Research.’
Lawrence Dunn, ‘Squaring the damn composition-research circle.’
Martin Parker Dixon, ‘Composition can be research (some comments on John Croft’s recent article).’
David Pocknee, ‘Composition Is Not A Jaffa Cake, Research Is Not A Biscuit: A Riposte to John Croft.’
Lauren Redhead, ‘Is Composition Research?’
Nicholas Till, ‘Opus versus Output’
Huib Schippers, ‘The Marriage of Art and Academia: Challenges and Opportunities for Music Research in Practice-based Environments.’
Christopher Fox, ‘Music for a Dis-Uniting Kingdom?’ (Including some reflections on composition as research).
Ian Pace, ‘Musicological Observations 4: Can Commercial Music be Research?’ (distinct from the forthcoming Tempo article mentioned above)

And some earlier relevant articles more widely on practice and research:

Christopher Frayling, ‘Research in Art and Design.’
Linda Candy, ‘Practice Based Research: A Guide.’
Joanne ‘Bob’ Whalley and Lee Miller, ‘Partly Cloudy, Chance of Rain: A Case Study’, in John Freeman (ed) Blood, Sweat and Theory: Research through Practice in Performance. (Middlesex University Press, London, 2010), pp. 218-232.

[ADDENDUM: A link to a response to this by Luk Vaes, and then my own response, can be found here]