Arts & Humanities

Taking Notes
Martin Cloonan and Lauren Hulstedt

Mapping and teaching popular music in higher education

May 2012

Taking Notes
A mapping of HE Popular Music and an investigation into the teaching of theory and analysis Martin Cloonan and Lauren Hulstedt

University of Glasgow

A Report for the Higher Education Academy

Cover photograph courtesy of Alex Richler, Fun Sized Media

Contents

Foreword Key Findings Introduction

An introductory note on nomenclature Aims Methodology

3 4 6
6 6 6

Chapter One: Mapping Provision

Summary

8
12

Chapter Two: The online survey Summary Chapter Three; Some Personal reflections
Aims and Objectives Entry Requirements Post-graduation Recruitment and Marketing Work Placements Balance of Practical Theoretical Vocational Learning and Teaching What needs to be done? The future of Popular Music Studies Summary

13 22 23
23 24 25 26 27 27 28 28 30 30

Conclusion
Bibliography Appendix A: List of Providers and Programmes Appendix B: List of Responding HEIs Appendix C: List of Core Modules

31
33 34 36 37

Foreword
This investigation into the provision and delivery of popular music courses in higher education started with a request to NAMHE (the subject association for music in HE) for ideas for useful projects that the HEA might fund. One of the first responses proposed that the teaching of the analytical and theoretical aspects of music, normally associated with the more traditional types of music degree courses, is rather more problematic in the field of popular music in higher education and presents a number of challenges. From that initial catalyst, the project undertaken by Professor Martin Cloonan and Lauren Hulstedt at the University of Glasgow expanded into a mapping of the current provision of popular music courses in the UK. They asked a number of questions including those about the teaching of theory and analysis. On behalf of the HEA Id like to thank Martin Cloonan and Lauren Hulstedt for the work they have undertaken for this report. I am sure music colleagues (and others) will find it of interest and value, and there are a number of recommendations as to future actions that the HEA will look to support.

Dr. Paul Kleiman UK Discipline Lead for Dance, Drama and Music The Higher Education Academy May 2012

Key Findings
Popular Music degrees (including foundation degrees) are taught at 47 Higher Education Institutions (HEIs) and affiliated providers across the UK, Provision is dominated by post 1992 institutions. Of the 47 providers, 27 are new Universities and 13 a mixture of University Colleges and Colleges, often post-dating 1992. Only 7 old universities (all in England) offer Popular Music degrees six of these are called variants of Popular Music and one is the University of Southamptons Music and Management Sciences programme. In addition the University of Kent offers a foundation degree in Popular Music Performance via K College and the University of Essex validates Colchester Institutes Popular Music foundation degree. The majority of PMS programmes have been introduced within the past 10 years. Thus PMS can be seen as doubly new. It is a new subject largely taught within new universities. Nomenclature is a key issue. Popular Music Studies can include areas such as Popular Music, Commercial Music, Music Industry/Business, Music Management and Popular Music Performance/Production. Such diversity of titles means that it is very hard to define core elements of Popular Music Studies degrees. The idea of HEA setting up a network of PMS practitioners was overwhelmingly popular. We suggest that HEA address this as a priority. Respondents want sharing of best practice and open resources and facilitation of close links with the music industries. HEA may be able to assist here through the provision of annual conferences on themes in PMS and/or specialist workshops on particular issues. Once a network is established the HEA should consult its members about immediate priorities and encourage them to present best practice case studies at HEA events. Policies on admission vary widely. Many providers will make allowances for previous experience and/or qualifications. The provision of PMS is often strongly practice based with significant implications for HEI resources, including staff time. Because of the diverse nature of PMS, the teaching of theory and analysis goes beyond the teaching of traditional music theory and analysis to incorporate such areas as the music industries, promotion and performance. Indeed, traditional music theory and analysis can be seen as something of a minority interest within PMS. Our respondents suggested that any approach to the teaching of music theory and analysis should acknowledge that popular music is largely an aural tradition whose practitioners often lack formal training in theory and analysis. 4

Placements are key parts of many programmes, but often reliant on student initiatives and vary considerably in practice. A HEA workshop on best practice in placements might be very welcome and should include industry representatives. In addition the HEA should consider further research in to the provision of placements. Dissertations are a key part of many programmes, but also vary widely in practice. This is another area in which the HEA may wish to help develop best practice. Tracking student destinations following graduation remains patchy. A question on what percentage of graduates went on to work in the music industries garnered responses ranging from 25% to 80%. However it is not clear that this equates to full time employment and further research is necessary in this area. We suggest that HEA consider further work on the employability of PMS students. The findings of this report have implications for the future design of PMS degrees. In particular they suggest that those designing such programmes need to consider what sort of provision would best suit students in a context where many jobs within the music industries are part time and involve selfemployment. Finding a suitable balance between academic rigour (including the teaching of theory and analysis), student interest and industry demands will remain a conundrum with which PMS practitioners will have to grapple, The proposed network and a widely expressed desire to share information offer ways forward here. Some respondents want to establish a research network. While we did not mention it to respondents, it should be borne in mind that the International Association for the Study of Popular Music (IASPM) is the major body in this area. However there may be scope for HEA/IASPM sponsored events.

Introduction
In January 2012 the Higher Education Academy (HEA) commissioned researchers based at the University of Glasgow to undertake a survey of the provision of Popular Music undergraduate degree programmes across the UK. This report outlines the findings of that research. An introductory note on nomenclature The title of Popular Music degree programmes varies across the UK and we have identified the following titles for degrees taught in at least two UK Higher Education Institutions (HEIs): Popular Music, Popular Music Performance, Commercial Music, Music Business, Music (Industry) Management, (Popular/Commercial) Music Production. There are numerous variations on such titles and a number of miscellaneous titles (e.g. Music Journalism and Broadcasting). The programmes include13 foundation degree programmes. Aims As specified by the HEA, the research aimed to provide a map of current provision of Popular Music Studies (PMS) within UK Higher Education. It entailed research into the design and delivery of theory and analysis in HE popular music undergraduate programmes 1 and explored and scope the various approaches in order to: identify them clarify where and how they might differ report on the findings provide a map and/or guide to inform current and future practice and practitioners.

Methodology As agreed with the HEA, there were three main parts to our methodology: A Map of provision drawn from UCAS The method used here was based on the UCAS website and drilling down after searching for music programmes. As suspected, nomenclature proved to be an issue (see above), but we believe that we have identified all major providers and programmes. Information was gathered on degree title, entry requirements, and core modules. We also gathered information on the key personnel for such programmes and this information was utilised in the second part of the research. This data is analysed further in Chapter One and a list of providers and programme titles is provided in Appendix A. Questionnaire
1

Throughout this report programme refers to entire degrees and course to individual modules.

In consultation with HEA a questionnaire was designed and placed online. All relevant HEIs were contacted via the key personnel whom we had identified. These Programme Leaders were all asked to complete the questionnaire which had been specifically designed to be completed quickly in order to boost response rates. It included questions relating to each programmes approximate annual intake (and whether this was changing), its structure, dissertation work, student placements within the music industries, destinations of students etc. We also asked respondents what the HEA should be doing with regard to Popular Music and if they were interested in joining an HEA network of Popular Music Studies practitioners. Details of this part of the survey are outlined in Chapter Two. Interviews with providers Following the completion of the questionnaire four key informants were identified for personal interviews. The intention here was to get a spread of interviewees from across the types of degree and this resulted in one from the pre-1992 sector and three from the post-1992 being identified and subsequently interviewd. The interviews were semi structured and allowed for issues to be developed in more depth than the questionnaire allowed. We report these findings in Chapter Three.

Chapter One Mapping Provision

The first stage in the review process was a monitoring of all Popular Music degree programmes in the UK. The list of programmes was based on the UCAS website and searching for music, then adding terms such as popular, commercial etc. Further information on each of the programmes such as degree title, entrance requirements, and core modules was collated. We also gathered information about key contact people such as Programme Leaders. 2 We did not attempt to assess the amount of joint degrees which had Popular Music as an equal or lesser option, nor did we gather information about courses which may run on other degree programmes (such as the Popular Music courses taught by the School of Education in the University of Glasgow). Doing so would be a major task but one to which the HEA may wish to return. The UCAS inquiry yielded 76 degree programmes offered by 47 HE institutions. Of these degree programmes, 52 awarded a BA (Hons), 8 a BMus (Hons), one a BSc (Hons), two BA/BSc Joint Honours, and 13 were foundation degrees. 3 It should be noted that the provision of Popular Music degree programmes is skewed heavily towards the post 1992 sector. Of our total of 47 providers, only 7 are pre-1992 institutions. As noted previously nomenclature was a key issue. 4 We categorised the degrees we found as being: Popular Music, Music Management, Popular Music Performance, Live Music, Commercial Music and miscellaneous (e.g. Music Journalism and Broadcasting, Music Business). We also found 14 foundation degree programmes and following consultation with the HEA these are included in all our data. Our survey of UK HEIs teaching Popular Music degree programmes (broadly defined) produced the following results:

It should be noted here that in some cases identifying the key academic responsible for degree programmes was a somewhat time consuming task. It is extremely difficult to identify Programme Leaders for some degrees from University websites. We can only suggest that best practice would include clearly identifying Programme Leaders and providing their details for potential students and other interested parties. 3 One programme offered the option of a BA or a BA/BSc joint honours degree and was therefore counted twice. 4 In addition it should also be noted that we did not include jazz programmes. Degrees with Jazz in the title are taught at Chichester College, the University of Hull, Leeds College of Music, Middlesex University, the University of Sunderland and Truro and Penwith College. In addition degrees at Bangor University, Goldsmiths College, Hull College and the University of Southampton can include significant amounts of jazz.

Name of Degree Popular Music Management (various) Performance (various) Commercial Music Music Industry/Business Live/Promotion Production Miscellaneous Total

Number 35 15 6 6 4 3 3 4 76

The broad areas of study can be represented thus:

Figure 1: A sampling of PMS modules

Programme Content Once the degree programmes were identified, details such as entry requirements, core modules, overall aims, and programme leaders were compiled using each universitys programme website as the primary source of information. Unfortunately, while there was a degree of overall consistency in reporting detail - approximately half offered a programme overview, core modules, entry requirements and additional information in easy-to-find web links - there was by no means a universal system. Many programmes only offered basic programme information (and perhaps a few student/staff testimonials), did not clearly identify core modules, and neglected to provide specific names or contact information for direct inquiries. The lack of details for Programme Leaders was particularly glaring. Some sites indicated that the modules offered were subject to change from year to year, suggesting that these and others may be out of date. Despite these limitations it was nevertheless possible to populate an extensive and reasonably detailed database of Popular Music undergraduate degrees. As this study seeks to identify the provision of Popular Music studies across UK higher education, it was then necessary to more closely examine the range of specific modules offered within popular music degree programmes. The research identified approximately 560 reported core modules, which were subsequently sorted into categories in order to make comparisons and identify trends where appropriate. 5 The scope of this study did not permit a thorough investigation of each modules content (nor was this information necessarily available) so the research relied on the module titles to indicate the subject matter. Here again, nomenclature became a significant limitation. As many were simply named Introduction to Popular Music, Production, Performance, or Management (for example) it was necessary to make assumptions that these courses were somewhat broad in focus. Similarly, modules with titles such as Music, Creativity and Communication were too ambiguous to properly categorise. One point of interest is that while this project specifically singles out Popular Music as a subject, when compiling module information it became difficult to discern whether popular was an indeed important factor. Some specified Popular Music Practice, for example, while others specified Contemporary Music Practice. This was also the case with more vocational modules such as marketing, which may be listed specifically as Marketing Popular Music or Music Marketing, or simply Marketing. Again, despite such limitations there was sufficient information to draw conclusions based on trends. Further, despite sometimes being out of date and/or not totally accurate, the module information provided by HEI websites remained informative for purposes of this research in that it provided data on what each programme believed to be worthy of study within a Popular Music degree.

In some case it was not always clear whether courses were core or not and we have included as many as possible in order to illustrate the diversity of provision.

10

As noted above, we identified approximately 560 popular music core modules offered in UK HE. This does not take into consideration hundreds of additional option modules available at many institutions. In order to better understand the scope of study that is represented by these modules, the course names were grouped into rough categories by subject, following Cloonans model of musical, vocational (including business studies) and theoretical (Cloonan 2005: 83). These three categories proved a useful starting place for the categorisation of PM modules. In this study, however, the musical grouping is renamed practical and expanded to include PM production. Our categorisations are as follows: Practical Performance, musicianship, and songwriting/composition modules; production modules. Vocational business-related courses involving sectors across the music industries; employment in music that is not actual performance. Critical courses involving the theory and analysis behind broader concepts in popular music, such as cultural and historical studies. As respondents were to note, it is necessary to acknowledge that: The demarcations between these areas are of necessity somewhat blurry: the playing of an instrument can be seen as putting theory into practice, while the refinement of musical skills can also be seen as being vocational in that it may aid employment prospects (ibid) Employing these three broad categories, Figure 1 above shows a sampling of modules commonly offered within PM degrees. The full list of modules, broken down into sub-categories, is included in Appendix C where a quick perusal will reveal that the true breadth of modules offered is far too extensive to be represented graphically. Most core modules are fairly standard -- it makes sense for a Music Industry Management degree to offer a module on contracts, for example -- but some such as Auditory Perception and Music Cognition or Musicology of Production prove that there is wide disparity in what is considered to be of core importance in a popular music degree. Such disparity can be expected when degrees range from Music Broadcasting to Popular Music Performance, but is somewhat more surprising within programmes using the same title. For example, four universities offering a BA (Hons) in Popular Music vary substantially in their overall aims. Colchester Institutes programme has a vocational bias, offering modules such as Earning a Living in Music. Courses at The University of Glamorgan and University College Falmouth are more geared toward performance, though the latter proposes to "underpin your practical skills with a solid grasp of the historical, critical and theoretical debates around popular music" and neither has a technical/production focus. The University of Gloucestershires programme is also intended for musicians, but with the aim of blending the art of music production with industry knowledge.

11

It is clear that current provision is highly varied. This may be to the benefit of students who have a wide variety of programmes to choose from and may be able to tailor their choices to their goals and interests. However it also raises questions about the extent to which PMS can be viewed as a coherent and unified field of study. The questionnaire part of our work showed that a number of Programme Leaders want the development of benchmarks and/or kitemarks. However, we would note that the great diversity of provision presents significant problems for the development of such approaches. Summary The UCAS data revealed that Popular Music Studies incorporates a diverse range of programmes within which it is hard to determine a specific core. There are significant problems around nomenclature of programmes and categorisation of courses within programmes. Nevertheless the balance of broadly practical, theoretical and vocational elements within programmes can provide some insight in to the type of provision within individual HEIs. Much more detailed research would be necessary to determine detailed provision within courses across UK HEIs.

12

Chapter Two The online survey

Following the identification of provider and key informants a questionnaire for all provider HEIs was designed in consultation with the HEA. The questionnaire had been specifically designed to be completed quickly in order to boost response rates. It included questions relating to each programmes approximate annual intake and whether this was changing, programme structure, dissertation work, placement within the music industries, destinations of students etc. We also asked respondents what the HEA should be doing with regard to Popular Music and if they were interested in joining an HEA network of Popular Music Studies practitioners. A copy of the questionnaire can be found in Appendix D. The questionnaire was placed online and went live on 23 February 2012 with a finishing date of 9 March. All the key personnel whom we had been identified were sent a personal email and asked to complete the questionnaire. Two group reminder emails were also sent. Where HEIs taught more than one Popular Music Studies degree they received more than one email and in one case the same individual responded twice as Programme Leader for 2 programmes. At the end of the period for which the survey was online we had received replies from 31 individuals based at 23 HEIs (of which 6 were pre 1992) and covering 32 programmes. 6 This equates to a response rate of 49%, representing 43% of programmes both pleasing response rates. The survey produced the following results: Name of degree:
Commercial Music Music Management Popular Music Popular Music Performance Other (please specify) 4 1 11 2 14 12.5% 3.1% 34.4% 6.3% 43.8%

See Appendix B for a list of responding HEIs

13

Types of Other
3 degrees available: Music/Popular Music; Music; Popular Music BA (Music) BMus Popular Music BMus(Hons)jazz, popular and commercial music Live Music Music Music Industry Management Music Journalism Music Production and Sound Recording Music Promotion Music Technology and Popular Music Music and Promotion Popular Music Journalism Popular Music with Music Technology

We have already noted issues of nomenclature and there is ample evidence of this here. While most respondents appear to be happy to be described as Popular Music academics, the choice of a name for any network which the HEA sets up will be important. It should be noted that where a programme is listed as Music has been include as it is identified in UCAS as containing a significant proportion of Popular Music. When was the degree first taught? We received 29 responses to this question. One degree (at the University of Salford) started in 1990, two in 1997 and one in 1999. The rest had all been introduced in the last 10 years (from 2001-02 on). Of these, 18 had been introduced since 2006-07. This provides evidence that Popular Music Studies is an overwhelmingly new subject area within UK Higher Education. When combined with the fact that new universities dominate provision of PMS within UK HE, it can reasonably be surmised that PMS is doubly new in that it is a new subject the provision of which is largely within new HEIs. One result of this - which is reflected later in the survey - is that many PMS practitioners are keen to learn about practice elsewhere and wish the HEA to play a key role in dissemination information about this. We comment further on this below.

14

Minimum level of musicianship required for entry to programmes We received 31 responses to this question and it should be noted that respondents were asked to indicate all requirements that applied. Differences in programme nomenclature make tracing clear patterns here difficult. However the fact that many programmes do require some evidence of musical ability on behalf of candidates raises interesting questions about how that ability will be developed while they are on their programmes. While it should be noted that a number of respondents remarked that they did not think that traditional music degree models were suitable for PMS degrees, there are obvious analogies here with such degrees. It should be noted here only just over a quarter of respondents reported that advanced performance was needed for admission. Only 3 respondents cited advanced theory as a prerequisite for entry. Unsurprisingly respondents drew attention to particular attributes needed to study such things as business and performance experience and generally looked for relevant background experience in addition to qualifications. Indeed, in many cases respondents reported that it was having the correct attitude and ambition which was more important that technical ability. In one instance no musical ability was necessary as the programme clearly indicated that it was a music business degree. One respondent said that students playing should be at a level comparable with Hamburg-era Beatles. Interesting questions are also raised about the appropriate mix of music, industry and (cultural/social) theory courses within degree programmes which the HEA may wish to pursue. The full results to this question are as follows:
Value
Moderate Performance Intermediate Performance Advanced Performance (grade 8 or above) Moderate sight reading Intermediate sight reading Advanced sight reading Moderate theory Intermediate theory Advanced theory No musicianship required Other (please specify)

Count
2 10 8 11 1 1 8 8 3 9 5

Percent %
6.5% 32.3% 25.8% 35.5% 3.2% 3.2% 25.8% 25.8% 9.7% 29% 16.1%

15

Level of production/technical proficiency required: We received 31 responses to this question broken down as:
Value
No experience required Some experience Intermediate experience Significant experience

Count
15 11 5 0

Percent %
48.4% 35.5% 16.1% 0%

The comments which we received in addition to this information did not indicate that levels of technical proficiency amongst entrants were raising significant problems. Amount of students on Programme The annual intake of students on to the 34 programmes mentioned by respondents varied from 12 to 85. Overall there appears to be strong and continuing demand for PMS programmes amongst current and potential students. Only 2 out of 31 respondents reported that numbers on their programmes were declining. The majority (58%) said that numbers were stable and a sizable minority (36%) reported that the amount of students on their programmes was rising. Amount of applicants There is some evidence that while numbers of students currently on PMS programmes were said by respondents to have increased, demand for future years was beginning to decline a little. Thus while 14 (45%) respondents reported that the amount of applicants was stable and 13 (42%) that they were increasing, 4 (13%) reported decreasing numbers of applicants. However the small sample size here should be noted. In addition as only two respondents were from outside England, it is interesting that demand seems to be good at a time when fees are being drastically increased, although more evidence would be needed to fully justify such a claim. Proportions of degrees allocated to Practical, Vocational and Analytical issues Respondents were asked to calculate the approximate proportions of their programme which could be designated as being practical, vocational, analytical or other. Our intention here was to tease out what proportions of programme were broadly devoted to musicianship, business and (social/cultural) theory. However we were conscious that such divisions are porous and were always likely to overlap. In addition varying numbers of respondents answered for each of the categories. Nevertheless some clear patterns did emerge and, as we show below, Programme 16

Leaders we interviewed recognised the categories thus suggesting that they retained some validity. A large number of the degree programmes claimed to have a practical element of 40% or more. This accounted for 22 of 29 responses, of which 7 claimed 40% and 12 claimed 50%. Thus PMS is strongly practically based - with important implications for resources including, it is clear, staff time. Far fewer claimed that the degree was predominantly vocational. Of 25 responses here only 2 claimed that above 40% of the programme was vocational. The vast majority (21 out of 25) claimed that between 10 and 33% of the degree was vocational (see below). However it is worth noting here that our interviewees often stressed the vocational nature of their programmes and various respondents spoke of preparing students for work in the music industries, sometimes regardless of whether that work was full time or not. We would also note that a number of HEIs claimed that large percentages of their students went on to work in the music industries suggesting that vocational factors are important regardless of whether or not they from a major part of an individual HEIs thinking. We did not ask questions about employability but would note that within the music industries selfemployability is perhaps a greater asset. 31 respondents replied to a question about what percentage of the degree was analytical, with one claiming 100%. There were clear groupings here of between 20 and 30% (15 of out of 31) and 40-50% (11 out of 31). Once again the terminology here is value-laden and problematic, but does suggest a potential core for PMS. However, only one respondent specifically mentioned notation and many more noted the desirability of mixing theory with practice. Only 6 respondents noted other as a category, although one of these claimed it to be 100%. Overall this was possibly the least satisfactory group of responses. Some respondents clearly felt that there was an air of arbitrariness about the categorisations with one asking: Doesnt all Popular Music Practice include practical, vocational and analytical aspects?. Another commented that surely something thats practical can also be vocational. A third noted that the balance depended on student choice within the programme. We were aware here that answers to this question were always likely to be broad brush and, as noted above, that the categorisations were always likely to be porous. Nevertheless the finding that a large component of many degrees is practical does suggest that it is in such areas that HEA may be best placed to offer guidance. Moreover the categorisations themselves raise important questions about the appropriate balance of courses within PMS degree programmes. It should be noted here that because of the diverse nature of PMS the questionnaire did not specifically ask about music theory and analysis. However, given the diversity of provision revealed here, we do not believe that such a question would have yielded widespread comment. Rather it appears from our respondents that detailed musical analysis, in terms of traditional/notational musicological approaches, is the domain of comparatively few PMS practitioners.

17

Placements 32 respondents answered our question about the provision of placements, with 17 saying that their programme offered placements and 15 saying that they did not. While we did not seek details of the placements, we did ask for further comments and this showed that the term placement could encompass a wide of practices ranging from being involved in promoting a tour, through generally helping out a music industries company and up to making a public performance. In at least five instances students were responsible for arranging placements themselves. In addition placements were often optional. There was also a great deal of variance in the length of placements from a public performance to up to 2 months or a specified number of hours with a music industries organisation. One HEI reported that Health and Safety issues had led to it abandoning placements. The diversity of practices outlined in the responses we received make it hard to make generalisations about placements. However that very diversity suggests that this is an area worthy of further investigation and we suggest that the HEA gets involved in the development of best practice, possibly in liaison with music industries organisations and/or personnel/representatives. Dissertations Three quarters of respondents (24 of 32) reported that a dissertation was part of their programme. 23 respondents cited a word limit with 10 of these saying that it was 10,000 words. The highest word limit was 15,000 words (1 respondent) and the lowest 6,000 (cited by 3 respondents). In many cases dissertations were optional. Again a diversity of approaches was evident as the term dissertation could include case studies of companies, consultancy reports, performances, compositions and other creative artefacts. Overall it is clear the term dissertation is also widely interpreted. Nevertheless the widespread adoption of dissertation modules suggests that a wide range of research projects in the broad area of PMS are currently being undertaken across UK HE. Work undertaken under the dissertation remit includes a diverse range of approaches such as case studies and it is clear that many HEIs view dissertations as furthering practical and industrial knowledge. As such HEA may wish to consider developing models of best practice for PMS dissertations. Student destinations
7

We asked respondents about the destinations of their students. 32 responded, with 20 saying that they collated information on this and 12 saying that they did not. We also asked questions about what students did following graduation. Perhaps unsurprisingly, this produced a variety of responses. The following indicates where students from 2010-11 were said to be:
7

The 2009/10 HESA destination statistics for all creative arts and design subjects are: In work only = 68.7%; In work and further study = 6.0%; Further study only = 9.1%; Assumed to be unemployed = 11.2%; Not available for employment and Other = 5.0%. The In work only figures are amongst the highest across all HE subjects.

18

Working in the music industries: 25-80%. Working in other industries: 10-60% Further study: 1-50% Unemployed: 5-20% Other: 5-20%.

We would note that we did not define working in the music industries and we assume that respondents included part-time working. Nevertheless the fact that 7 respondents claimed that 60% or more of the previous years students are currently working in the music industries may bear further examination and may provide examples of best practice. Employability within the music industries is obviously again raised by this issue, with some overlap with the placement question. It again suggests that graduate employability in PMS students is a concern which HEA may wish to address. It should be noted that many programme leaders were not able to give further details and it is noticeable that information about graduate destinations remains patchy and may not be devolved to subject level. We note that one of our interviewees said that Facebook was the best way to monitor what former students are doing. Student support A question on student support elicited the following response:
Value
Our students, generally, require little additional support. Our students require some support that we address well. Our students require some support that we'd like to address better. Our students require a great deal of support that we address well. Our students require a great deal of support that we'd like to address better.

Count Percent %
5 7 7 7 2 17.9% 25% 25% 25% 7.1%

Thus around a third of respondents said that they wanted to offer more support. Examination of further comments revealed that such support fell in to three broad categories. The first concerned the students themselves and could include dealing with non-traditional students. The second concerned programme content and often focussed on dealing with students with a great interest in music but not necessarily the social and cultural theories which surround it. A third response concerned the practical nature of PMS which could put a strain on resources, including and perhaps especially staff time However we do not get the impression of a major lacunae in support of PMS students in particular. 19

Other Comments Respondents were invited to make further comments about the provision of PMS at undergraduate level in UK HE. 18 did so, although one commented simply that: We do not teach popular music studies we teach popular music. The other 17 responses saw respondents split over whether more or less cultural and social theory was necessary, whether a certain level of musical proficiency was needed or whether they were adopting or challenging conservatoire models of music education. A few comments help to give the flavour here: It seems to me that courses called Popular Music mean different things depending on the HEI. Managing the expectations of applicants and students effectively is essential when addressing this disparity. Quality seems to vary greatly and reaching (sic) seems very narrow, skills based especially in the area of production. It is a difficult subject to teach due to its varied focus and due to the expectations of students. Most students are wholly concerned with the practical side of music making but find that they have to take a degree with more analytical/academic work than they expected. The danger is that it is too narrowly focussed. We are forever trying to extend the range of what constitutes popular music. We have found the input of foreign students, whom have a much more open mind, is a valuable addition. As a relatively new HE discipline, and the (largely) orally transmitted nature of the music, the teaching is still, I feel, being explored and developed. Once again the diversity of responses is notable, but in and of itself provides further food for thought.

20

The role of the Higher Education Academy (HEA) Should the HEA set up a network? All 30 who answered this question said yes. We suggest that the HEA investigate the practicalities of doing this as a matter of some urgency. What should the HEA do? Respondents were asked to list up to 3 things here and inevitably this elicited a wide response, including suggestions which fall outside the HEAs remit. One area clearly within the HEAs remit is the development of best practice models. There were calls for such information to be on a website and/or magazine and to include things such as essay questions, lecture themes, PowerPoint presentations and feedback. There were also calls for the establishment of shared teaching resources. While we are aware that HEIs may claim copyright in teaching materials, there appears to be scope for HEA to act here. We suggest that areas such as placements, dissertations, entry requirements, student destination tracking and general teaching practice provide suitable areas to begin the development of best practice guides. There were calls for an annual conference of Programme Leaders to disseminate best practice and debate issues. This is obvious area for the proposed HEA network to pursue Respondents also suggested that HEA might play a role in highlighting the distinctive nature of many PMS programmes. One suggested that the HEA could help generate awareness of how subjects like ours do not fit well in to the standard academic model of essay, mass lecture, seminar etc., suggesting that assessment may be another area to investigate. The issue of benchmarks and kitemarks was highlighted by some respondents and included a call for consistency of standards and national benchmarks. In part this relates to the question of what the core of PMS should be. The extent to which HEIs institutional autonomy will allow for the development of such practices is a moot point here. However, it may be that the issue of what PMS degrees (broadly defined) should incorporate may be one which the proposed HEA network may wish to pursue. Some respondents called for the HEA to help them in developing links with the music industries. This was linked to calls for a National graduate employability profile. One respondent argued that the music industries and academia shared certain values (in being broadly supportive of the liberal arts) and that this provided a basis for closer working. However some respondents noted that their own attempts to work with the music industries in programme provision had proved difficult. As noted with regard to placements, it may be that the HEA could engage with music industries organisations and/or personnel/representatives on a way forward here.

21

Some respondents want to establish a research network. While we did not mention it to respondents, it should be born in mind that the International Association for the Study of Popular Music (IASPM) is the major body in this area. However there may be scope for HEA/IASPM sponsored events. We suggest that HEA contact IASPM UK and Ireland for initial discussions on joint working.

Summary
The online survey produced responses clustered around common themes concerning provision and the student experienced. When combined with the overwhelming support for a HEA-supported network and calls for conferences, we suggest that there is scope for an event which can explore options for future development. We suggest to the HEA that this might form part of a day which launches the network and that the HEA invite Programme Leaders to present case studies of best practice at this event. The database of Programme Leaders developed as part of this research provides an obvious way to invite calls for papers/presentations for such an event.

22

Chapter Three Some Personal reflections

Following the completion of the questionnaire four key informants were identified for personal interviews. The intention here was to get a spread of interviewees from across the types of PMS degrees on offer and this resulted in three interviewees from the pre-1992 sector and one from the post-1992. The interviews were semi structured and allowed for issues to be developed in more depth than the questionnaire allowed. A list of the Interviewees can be found in Appendix E and a copy of the interview schedule is contained in Appendix F. Here we use abbreviations for interviewees names, including one who wished to remain anonymous. Here we outline the key issues addressed during the interviews. Aims and Objectives As a whole, what do you believe Popular Music Studies teachers should be striving to achieve? Several common themes emerged when interviewees were asked to discuss their goals as Programme Leaders. Perhaps the most frequent was the desire to equip students with the means to secure employment after graduation: AD: Ultimately the two aims are to make sure [your programme is] distinct from everyone else and also that you can actually offer something realistic thats likely to get people a job at the end of the day. [...] [Students] should be intellectual and academic on the one hand, but they should also be able to do these jobs as well. Though AB (who wished to remain anonymous) acknowledged that there is a place for vocational studies (the world will always need musicians). His/her approach to the study of popular music instead strives to introduce students to concepts and modules they might not otherwise have experienced. Popular music studies as a whole [...] should be interested in creating versatile graduates, flexible graduates... because its a daft programme that thinks that they can qualify people as musicians and that they can then expect to get jobs. [...] I think we do students a disservice if we dont awaken them to the versatility and transferability of the skills that they develop along the way. As previously noted, PMS programmes vary greatly in content and the above comments illustrate that programme goals may be somewhat disparate as well. Any discussion of core content for PMS will need to take this variety into consideration.

23

Entry Requirements As a follow-up to questions posed in the survey, interviewees were asked to describe their students in terms of required abilities/experience for entry, and general attributes. All stressed the importance of individual interviews/auditions. However, because the participants represented four very differing programmes, their responses regarding entry requirements were again varied. The University of Huddersfields Popular Music and Promotion degree places an emphasis on practical achievement: MP: Were looking for students who are performers and wanting to incorporate performance in addition to music promotion activities. In contrast, ABs programme has more of a theoretical approach and students do not need to have any prior hands-on musical experience. Similarly, business-oriented programmes such as DWs often do not require any prior musical knowledge or experience. In general respondents were aware that many popular musicians lack formal training in music theory and analysis and were willing to take this in to account at application stage where a portfolio of musical experiences was often more important than a firm grasp of music theory. Participants were also asked to comment on students expected non-practical skills; specifically, their ability with respect to music theory/analysis. This term was interpreted widely with some interviewees taking the view that it referred to traditional, western notational theory (for example) and musicological analysis of musical text, while others associated it with cultural or historical concepts. Interviewees were encouraged to consider the latter notions. However the confusion the question caused is a reminder of the need for careful consideration of terminology within PMS. In DWs case music theory was simply side-lined as his programme was a music business degree. MP was clear that as his programme was orientated towards music promotion and so music theory is not part of the course (MP). He believed that any teaching of theory needed to recognise that many popular musicians some from an aural, rather than a notated or written, tradition. In this case what was needed was coaching and support rather than the development of formal analytical tools: MP: Popular music is fundamentally from an oral and aural tradition, and that. needs to be reflected in the pedagogy how it is delivered, and the kinds of understanding that arises from theory and analysis. AB also recognised the need to acknowledge that many popular musicians are selftaught and do not necessarily come with, for example, grade 5 piano. For some, an interest in critical thinking and analysis in music is of key importance. Both AB and AD pointed out that applicants who only appear to possess performance/production abilities and no interest in critical thought, or engaging in broader concepts are often rejected, as they are likely to drop out after a few months when they become fully aware of the other academic work that is expected 24

of them. Such comments may reflect a lack of clarity about exactly what is on offer (and what is not) within particular PMS programmes and again suggest a need for some HEIs to make programme content clearer to potential applicants. Another key issue, which is especially germane to those designing PMS programmes, is how to balance competing demands from of students, the music industries and academic quality assurance as well as balancing theoretical and practical components. Its very difficult to create that balance in a programme because youd love to err on the academic side and give people a wealth of information, like right have you considered this theorist, or lets have a philosophical discussion about why the music industry does this or that but on the other hand you miss out on the practical skills like can you use Pro Tools or can you actually do the expenditure sheet for a small tour, we need it for 3.30 this afternoon. Youve got to create those balances (AD), AB was also aware of the need for balance: I think that its right that they are encouraged to be critical and reflective and intellectual in their approach to it. Im not necessarily sure that I would draw a hard distinction between practical provision and academic provision, because I would hope that within a university environment to be looking at module where they were coming out with practical skills (AB). For AD, the business side was crucial as he spoke of knowing 20 brilliant guitarists, fabulous guitarists, (who are) eating bread, existing on the fringes of society because they dont know how to find work (AD). In terms of what the music industries needed AD was clear that this was practical experience: Because the question you always get asked is thats great, your degree is lovely, but have you done any tour management? or have you released a record? So we encourage our students to put their own projects together, to release records, to set up events (AD). Post-graduation In general terms, what do your students do when they complete the degree? As noted earlier, many HEIs do not have a formal system in place for tracking students post-graduation. Of the portion employed in music and music-related industries, our interviews found that a significant percentage - AD and MP cited at least 20% - go into teaching, whether in a traditional academic setting or in instrumental tuition. AB noted that this number is greater for traditional music students who have background in theory, harmony, notation, etc. and that PMS students may be at a disadvantage in this respect. Outside of teaching, MP was aware of graduates currently working in freelance/selfemployed and others partaking in quite a diverse range of activities within general entertainment and media, and of course non-music destinations. When asked whether students often pursued further study, all of the participants were aware of a 25

few examples but did not indicate that the numbers were particularly high. Again, a lack of systematic follow-up with graduates suggests that any guesswork by Programme Leaders is likely to be biased to reflect activities by those students who found work or further study shortly after graduating, as opposed to the (likely larger) quantity of graduates who lose touch with their tutors before determining their next step. Recruitment and Marketing What makes your programme attractive to students? PMS degree programmes have grown rapidly in recent years. While one result has been in an enormous variety in provision, there are also programmes which overlap and have some similarities. Interviewees were therefore asked to reflect on what draws students to their programmes and what makes their programme stand out. AD and DW pointed out that the simple act of putting music in the degree title invites many applications. But they also stressed that what keeps students engaged is a staff that has credibility (usually experience or connections) within the music industries as well as an academic base and up-to-date resources: AD: I like to think the students who come to us, [... do so] because they can see that theres a good chance it will progress their careers, because theyll get access to industry experienced and academically qualified staff, because they will get access to the facilities that weve got. What sets your programme apart? Interviewees were selected with the intent of representing distinct approaches across the spectrum of popular music degrees and we were asked about how they differentiated their provision from that of potential competitors. AD and AB pointed to the importance of being aware of local competition from other institutions, and the need to make their programmes unique aspects a strength. For example, ABs degree has a theoretical focus that is less apparent within other local HEIs which are more performance orientated. Similarly, ADs degree emphasises business aspects of popular music, whereas local competition relies more heavily on production and technological tuition. Many of the programmes we surveyed indicated a degree of flexibility in what options students could take in their path to graduation. AB saw this is as a particular strength of his/her programme: Almost to a person what [applicants...] say is that theyre drawn by the flexibility of the programme. [...] They like the possibility of building up combinations of modules that suit that in ways that they really want to do. Or they like the possibility of dabbling in something that they havent previously tried. 26

Work Placements The provision of work placements appears to be as varied as the programmes themselves, though they are more likely to be a popular option within the more vocational/practical programmes. For example AD described a great demand for international exchanges and certain high-level placement opportunities such as regional A&R roles. However the majority of placements (across all institutions) appear to rely on student initiative. AD saw this as a strength as it meant that students worked in an area they were interested in and also had to have the courage to approach companies in the first instance, which might prove to be a valuable learning experience. AD: It comes down to an individual basis, but for the mass of the students, the largest part wed much rather they found something themselves because theyve got to get into the idea of hunting down work, thats just the nature of the industry. MP: We encourage individuals to seek their own placements in the first instance, because we think that is part of learning to build client relationships. Balance of Practical Theoretical Vocational What do you believe is an appropriate ratio of practical: vocational: analytical/theoretical coursework? This question sought to flesh out some responses to the questionnaires attempt to assess the balance of different types of courses within degree programmes. While the categorisations we made were not universally popular, interviewees recognised them and were happy to comment: DW: The balance definitely errs on the practical and the vocational, but that has to be couched in the degrees of consideration, critical thought. What we dont need to do on this programme theres room for it on another programme what we dont need to do on this programme is spend days and days on Adorno. AB: Im not sure I would necessarily draw a hard distinction between practical provision and academic provision, because I would hope that within a university environment to be looking at modules where [students] were coming out with practical skills, but developing them in intellectual, scholarly, ways. MP reported an approximate split of 40% practical, 40% vocational, and 20% analytical/theoretical work, explaining that an academic core (representing the 20%) including reflective work underpins nearly every module.

27

Learning and Teaching What are your main teaching methods? All four Programme Leaders indicated that traditional lecture-based modules formed the backbone of the degree, but that a very wide range of teaching methods and pedagogical approaches (MP) was appropriate for a PMS programme. This can include group work, particularly in band/performance modules as well as recording/production; peer learning and evaluating; one-on-one tuition, primarily for instrumental modules; performance platforms; and seminars led by postgraduate research teams, usually conducted alongside a more traditional lecture. What might usefully be done to enhance the teaching of music theory and analysis in Popular Music? Here it should again be noted that the teaching of formal music theory and analysis of the sort which might be associated with traditional musicology was the domain of relatively few PMS practitioners. Thus respondents tended to make responses which alluded to the teaching of PMS more broadly. What needs to be done? Establish a Network All survey and interviewees agreed that a network of HE popular music educators would be welcomed. 8 This is identified as a necessary first step: MP: I think once some kind of networking activity had been established, which could be online (or it could be face-to face as well), but from some kind of virtual or networking forum you would then be able to identify the issues of common interest. AB: I think that the variety of music provision generally in the country is vast, and I think its quite a rare subject in that sense. English degrees look roughly the same up and down the country, but we are in a discipline that is hugely varied. And I think that [...] made something like Palatine, for instance, a really useful thing. And the massive loss of Palatine, the reshaping of what Palatine was, is I think a loss, not to have that kind of more formalised network. Establish a Guide for Best Practice Participants were open to the idea of creating a guide of sorts, that could perhaps highlight a few programmes at a time and be distributed throughout the network and especially to music industry representatives. This could help disseminate more information as to what comprises PM degrees, drawing attention to aspects that are particularly successful and increasing awareness of the variety of subject materials.
8

It should be noted that AD established the Music Education Directory (http://www.bpi-med.co.uk/), which is a useful resource for locating music educators, though not a platform for actual interaction.

28

Establish Kitemarks/Benchmarks and Clarify Content Many PMS graduates seek employment in the music industries, and it is obviously important that industries personnel are aware of not only the provision of PMS within HE, but also of what graduates from such programmes are capable of. One oft-cited concern from programme leaders, particularly those with a practical/vocational focus, is the challenge of bridging the gap between academia and real-world employment. While HEIs will want to retain autonomy in programme provision it is clear that some input from industry representatives is desirable and a conversation needs to be developed here. We were told by interviewees and as part of the questionnaire that there are difficulties here. Some referred to their own previous attempts to interact formally with the music industries meeting with limited success. We do not underestimate such difficulties. However the formation of UK Music as the representative body of the UK music industries indicates one route for this dialogue to begin anew. As previously discussed, there is also an apparent need to clarify course content within PM programmes so that students are better able to make informed decisions prior to applying. This is once again tied to issues of nomenclature, particularly in module titles but also in degree titles. Within the proposed network it might be fruitful for Programme Leaders to discuss what exactly is meant by Popular Music, Popular Music Studies, Commercial Music, and so on. AD acknowledged the difficulty of establishing a kite-marking scheme, but expressed his concern that an overabundance of programmes might lead to a diminishing of the perceived quality of PM programmes as a whole. Thus he called for HEIs to realise that the provision of PMS programmes should not be simply an easy way to recruit students. Organise a Conference ABs responses indicate that research-focused institutions are likely to be interested in a gathering of PMS practitioners. While interviewees from non-research intensive HEAs appeared less enthusiastic about such an event, they were nonetheless open to the idea. However AB suggested that a conference would benefit from the input of PMS scholars across UK HE.

29

The future of Popular Music Studies As a final question, participants were asked how they would like to see the Popular Music education change over the coming decade: DW: Id like it to stand in its own right, not part of a cultural studies school, cultural theory. Almost try to lose the word studies[...] and [be] a lot less laden with baggage from other disciplines, really. MP: Music [business], really over the last 5, 10, 15 years, has been in a general decline, yet media and entertainment, I would suggest, is the opposite. So I think there should be more synergy, if you like, involving the context of popular music within the broader entertainment and media industries, and the commercial world. AB: I would like to see popular music studies speak more clearly to the 16-19 provision actually [...] To make its possibilities clearer to school leaders, or those who are applying to university.

Summary The above comments are by no means exhaustive; on the contrary, the rich data provided by our interviewees, in addition to the survey participants responses, indicate that ideas for the improvement of PMS are numerous and varied. We were impressed by the commitment shown by Programme Leaders and if their responses are sometimes disparate, it is clear that they merit a platform or forum for further discussion. Overall the interviews provided further evidence that PMS provision is highly varied and that its practitioners have a range of ideas which they are keen to share with other practitioners. We suggest to the HEA that it helps the PMS community respond to this challenge. The first step here should be to establish a network of PMS practitioners and to investigate holding a conference and/or workshops.

30

Conclusion
There are a number of findings from this research which will provide food for thought for the HEA. Perhaps the most significant for the organisation itself is that Popular Music Studies practitioners are overwhelmingly supportive of the idea of the HEA setting up a network. In fact it can be shown that there is quite a demand for such a thing. It should be noted here that the survey did not seek the views of members of such organisations as the International Association for the Study of Popular Music (IASPM) and the National Association for Music in Higher Education (NAMHE) who we presume would also provide support for such a network. We suggest to the HEI that it does all it can to facilitate this network as soon as is practical. Perhaps the next most important finding for the HEA was the nature of the support which practitioners were calling for. These can be grouped in to the provision of best practice guides, regular conferences, the development of benchmarks, links to the music industries/employability and the development of research networks. These issues may best be addressed via the establishment of a network through which to conduct debate and dissemination of information. A conference and or series of workshops in issues germane to PMS practitioners should be considered following the setting up of this network. PMS provision is skewed heavily towards the newer HEIs. As noted earlier, it is also a new area of provision. Of the 29 responding HEIs, 18 had launched their programmes since 2006-7. The extent to which these new programmes had drawn on the experience of longer standing programmes could not be determined. However the evident rise in numbers of programmes and comments from respondents about sharing practice suggests a certain amount of uncertainty about what they should be doing. We suggest that HEA may be able to play a role in highlighting what is currently on offer across the UK and addressing issues of what PMS programmes should consist of. Once again the development of best practice guides may prove beneficial and HEA may wish to consult NAMHE about this issue. The diversity of provision is also something which the HEA needs to consider. While it is often the case that boundaries such as vocational and analytical are porous, it is nevertheless evident that the term Popular Music degree can encompass a wide range of topics and approaches. We have referred to the issue of nomenclature throughout but in some senses this is the tip of the iceberg. The reality is there appears to be no core to Popular Music Studies and what students on such degrees actually study may vary greatly between institutions. This may not be detrimental but it has implications and it may be that workshops on key areas such as employability provide a way forward. Admission policies vary widely in terms of what musical proficiency (if any) is necessary and what prior experience (if any) students are expected to have. Many providers will make allowances for previous experience and/or qualifications. While HEIs will reserve the right to make judgements here, the development of best practice guides should not be dismissed.

31

Because of the diverse nature of PMS, the teaching of theory and analysis goes beyond the teaching of traditional music theory and analysis to incorporate such areas as the music industries, promotion and performance. Indeed, traditional music theory and analysis can be seen as something of a minority interest within PMS. Our respondents suggested that any approach to the teaching of music theory and analysis should acknowledge that popular music is largely an aural tradition whose practitioners often lack formal training in theory and analysis. Placements are key parts of many programmes, but seem often reliant on student initiatives. We did not ask questions about the structure, purpose and quality of placements, but it is clear from responses that practice is highly varied. A HEA workshop on placements might be very welcome and should include music industries representatives. Similar observations can be made about dissertations and this is another area in which the HEA might wish to help to develop best practice. The findings of this report have implications for the future design of PMS degrees. In particular they suggest that those designing such programmes need to consider what sort of provision would best suit students in a context where many jobs within the music industries are part time and involve self-employment. Finding a suitable balance between academic rigour (including the teaching of theory and analysis), student interest and industry demands will remain a conundrum with which PMS practitioners will have to grapple, The proposed network and a widely expressed desire to share information offer ways forward here. Tracking student destinations following graduation remains patchy. A question on what percentage of graduates went on to work in the music industries garnered responses ranging from 25% to 80%. However it is not clear that this equates to full time employment and further research is necessary in this area. The HEA may wish to approach music industries organisations and or personnel/individuals here, bearing in mind the difficulties caused by the diverse and fragmented nature of the music industries themselves. Questions about graduateness for PMS students may mirror those of traditional music degrees and raise further questions as to the relationship between PMS degree programmes and employability. We are aware that there are obvious limits to what the HEA may be able to achieve, both in terms of its remit and the available resources. However, there is clear support for the establishment of a network of PMS practitioners and for a conference on relevant issues. This report suggests that there are a number of areas which such a conference might address. We would like to end by thanking all our respondents for their time and enthusiasm. This has been a very rewarding piece of work which we hope will be of assistance to PMS practitioners across the UK. We certainly wish them well in their endeavours.

32

Bibliography
Cloonan, M. 2005. What is popular music studies? Some observations, British Journal of Music Education, 22:1, pp.77-93.

33

Appendix A: List of Providers and Programmes

Access to Music (via by Birmingham City University, subject to validation): Music Business Anglia Ruskin University: Popular Music Bath Spa University (and Weston College): Commercial Music, Popular Music (F), Popular Music Production Bournemouth University/Bournemouth and Poole College: Popular Music (F) Buckinghamshire New University: Event and Festival Management, Music and Live Events Management, Music Management, Music Management and Artist Development Canterbury Christ Church University: Commercial Music, Music Production, Music Industry Management University of Chester: Popular Music Performance, Commercial Music Production University of Chichester (via Platform One, Isle of Wight): Commercial Music (F) Colchester Institute (validated by University of Essex): Popular Music (F) University of Derby: Popular Music with Music Technology etc, University of East London: Music Industry Management Edinburgh Napier University: Music (Popular) University College Falmouth: Popular Music Gateshead College: Popular Music (F) University of Glamorgan: Popular Music University of Gloucester: Popular Music, Music and Media Management Goldsmiths College: Popular Music University of Hertfordshire: Music and Entertainment Industry Management University of the Highlands and Islands: Popular Music, Music Business University of Huddersfield: Music Journalism, Music and Promotion, Music Technology and Popular Music, Popular Music, Popular Music Production University of Hull: Popular Music, Jazz and Popular Music Institute for Contemporary Music Performance (validated by the University of East London): Popular Music Performance, Music Business University of Kent: BMus, Popular Music Performance (F) (via K College) Leeds College of Music: Music (Popular Music) University of Liverpool: Music/Popular Music 34

Liverpool Institute for Performing Arts (LIPA): Music, Theatre and Entertainment Management Liverpool: John Moores University: Popular Music Studies London Metropolitan University: Music Industry and Events Management. Music Management The Manchester College (via the University of Salford): Popular Music and Production (F), Music Industries Management (F) Manchester Metropolitan University: Popular Music Middlesex University: Popular Music, Music and Arts Management Neath Port Talbot College (via University of Glamorgan): Popular Music (F) Newcastle College: Popular Music (F) Newcastle University: Popular and Contemporary Music Northbrook College Sussex (validated by University of Brighton): Music Business and Management (F) University of Northampton: Popular Music Norwich City College (validated by University of East Anglia): Popular Music Performance and Production (F) The University College of St Mark and St John: Live Music University of Salford: Music: Popular Music and Recording University of Southampton: Music: Popular Musicology Southampton Solent University: Music and Management Sciences, Music Promotion, Popular Music Journalism, Popular Music Performance Staffordshire University: Music Broadcasting, Music Journalism and Broadcasting University of Sunderland: Jazz, Popular and Commercial Music University of West London: Music Management, Music Technology and Popular Music Performance University of the West of Scotland (and Stow College): Commercial Music University of Westminster: Commercial Music, Popular Musician (F) University of Wolverhampton: Music and Popular Music Note (F) = Foundation degree.

35

Appendix B: List of Responding HEIs

Anglia Ruskin University Bath Spa University (and Weston College): 2 Bournemouth and Poole College Colchester Institute University of Chester: 2 University of Derby: 2 University of East London Gateshead College University of Glamorgan University of Gloucester Goldsmiths College University of Hertfordshire University of Huddersfield: 5 University of Hull University of Kent (and K College): 2 Leeds College of Music University of Liverpool Liverpool Institute for Performing Arts (LIPA) Middlesex University University College Plymouth St Mark and St John University of Salford University of Southampton Southampton Solent University: 2 University of Sunderland University of the West of Scotland

36

Appendix C: List of Core Modules

Music Industry/ Music Business
Music Industry/Music Business Intro to Popular Music Business Music, Ent., Creative Industry Framework/Infrastructure *Foundations of the Events Industry & the Music Industry Understanding the Music Industries Self-employment and Entrepreneurship Specific to music in name (general) Performance and Entrepreneurship Music Publishing & Legal Matters Music Publishing and Contracts Music Publishing and IP IP and application of the Law IP and Commercialization Legal requirements focusing on hospitality, merchandising and rights Contemporary Music Law Media Law for the Digital Age Contract Law Music Contracts and Copyright Insights into the Law Critical to Music, Media & Events Mgmt (Intro to)Music and Media Law Music Legal Affairs *Legal & Strategic Aspects of Sustainability & Event Mgmt. Management (general, intro to, role of) Intro to Arts Admin & Mgmt Performance Management *Event and Artist Management Principles and Practices of Mgmt Science Contemporary Mgmt. Principles in Entertainment Contemporary Business Mgmt The Music & Entertainment Manager Mgmt & Business Practices in the Music Industry Strategic Music Management Strategic Music and Arts Mgmt Strategic Music and Ent. Co. Mgmt Music and entertainment Co. Mgmt Strategic Business Mgmt in the Music Ind. Managing Small Bus. in the Music Ind. International Music and Ent. Mgmt Record Label Management Digital Music Management Managing Information Managing Organisations Organisations and Management Business and Artist Mgmt Managing People Essentials of HR mgmt. in Leisure and Tourism Industries Managing PR Managing and Developing Talent A&R Artist Development Management and Leadership Venue & Tour Management Music and Brand Management Management in the Creative Sector Production Management Management Analysis ?Convergent Media Management The Live Music Event Event Management *Event and Artist Management Strategic Event Management Principles of Event Management Principles of Event Design and Delivery Event Design Live Event Management Live Music & Events Industry Event Theory & Production Risk & Safety Within Events Events Technology Live Event Technology *Legal & Strategic Aspects of Sustainability & Event Mgmt. Events Industries Live Music, Venues and Merchandising Festival Studies *Foundations of the Events Industry & the Music Industry *Marketing & Communications in event mgmt. *Music Events, Marketing and Promotion Marketing Marketing Popular Music Music Marketing Principles of Marketing Marketing Principles and Practice Marketing Principles for Music E-commerce and marketing Marketing Communications *Marketing & Communications in event mgmt. *Music Events, Marketing and Promotion *Promoting and Marketing Music *Music Cultures & Marketing Principles Marketing in Music and Pop Culture SME Marketing Creativity and Markets Recording Labels and Music Marketing The Marketing Challenge (MEIM)

37

Core Aspects of Marketing and Communications ?Image and Product ?Staging, Video and Live ?Music Video Production Web, Promotion and Tour *Promotional Writing Intro to Music Promotion Interactive Promotion *Music Events, Marketing and Promotion *Promoting and Marketing Music Agency & Promoters Collection Societies and Industry Associations Music and the Internet Music Industry and the Internet Issues in e-music Music Business Skills Business Planning *Business Strategy & Marketing Communications for Music & Events Accounting *Management Accounting and its Regulatory Framework Principles of Financial Management Understanding and Interpreting Financial Data Raising Funds and Managing Finance Financial and Performance Mgmt Underlying Principles of Econ & Finance Intro to Accounting and Financial Control Digital Distribution and Mass Media DRM Systems and Distribution Music and Media Digital Distribution Digital and Interactive Media (for promo course) *Digital Broadcast Media Media and PR Media Marketing and PR Strategies for Music PR and Communications PR and publicity Consultancy Project Consulting to Organisations Music and Production Analysis Conference and Exhibition Studies Misc Industry Mapping the Music Industry Music Industries in the 21st Century Music in Industry Across the Culture Industry The Music Industry Environment Music Industry Practice Working in the Media Music for Media Working in the Creative Industries Working in the Music Industry Individual in the Work Sector Earning a Living in Music Career Management in Business Enterprise Enterprise and career management

Enterprise in the Creative Arts Enterprise and Business Development Critical Music Industry Analysis

Music Performance
Elements of Performance Music Performance Studies Music Practice Popular Music Practice Contemporary Music Practice Popular Music and Professional Practice Performance (general) Performance (Bands & Projects) Group Performance Skills Ensemble Skills Ensemble Studies Ensemble Performance Collaborations Showcase Musicianship and Performance Musicianship Skills Music Skills (Vernacular)? NEXUS (developing music skills) Practical Musicianship Specialist Performance Popular Performance Studies Solo performance (project) Solo Performance Techniques Creative Music Performance Skills Creative Techniques Instrumental Skills Instrumental Study Skills Instrumental Studies Keyboard Studies Instrumental and Vocal Performance Improvisation Improvisational Approaches *Music Technology in Performance Elements of Composition Songwriting/Composing Composing for the moving image Composition for Media Contemporary Composition Compositional Processes Composition of Popular Music *Popular Composition and Arranging *Songwriting and Arranging *Composition and Arranging Arranging Composing/Arranging Notation Principles of Arrangement Contemporary Songwriting/arranging Composition/Arranging (techniques) Arranging Techniques

38

Arranging History Score Preparation Writing Commissioned Music The Commission Commissioning & Freelancing (broadcast) Elements of Music generally Aural & Theory in Practice Aural Awareness Aural Investigation Aural Perception Aural Studies Harmony Music, Harmony, and Understanding Teaching Music Instrumental and Vocal Teaching Music Theory Intro to Music Theory Music Theory and Analysis Theory & Analysis of PM Session Styles (?) Stylistic Awareness ?Creative Industries Practical ?Music and Theatre

Live Sound Technique *Live Sound and Acoustics *Live Studio (for radio/broadcast) *Live Radio Presentation Audio Software Skills Acoustics Sound Design Sound Technology Computer Music Systems Mixing and Computer Music Computer Composition Computer Composition & Sound Design Creative Progr. w/ MIDI & Digital Audio Post-Production Techniques Studio Post-Production Audio Post-Production Object-Oriented Programming Technology *Radio Production *Musicology of Production Intro to Sound Intro to Video

for

Music

Music Production
Music (and) Technology Music and Creative Technology Audio Technology Technologies for the Music and Ent. Industries Music Technology Studies Sound Production Creative Production Creative Sound Sound and Visual Production Visual/Audio Production Producing Music for Media & Film Music Production Music Production Development Digital Music Production *Live Music Production Studio Production Principles of Studio Production Studio Operating and Production Production Skills and Techniques The Art of Record Production Recording Principles of Audio Recording Recording Techniques Studio Recording (intro to) Intro to Recording Studio Techniques Sound Recording Music Workstation and the Studio Digital Audio Workstations

Critical Theory/Analysis
Understanding and Analyzing Music Popular Music (Intro to)(advanced) Popular Music Studies Popular Music in Context Commercial Music in Context Contextual Studies? Contemporary Popular Music Studies Contemporary Issues in Music Ideologies: Issues in Contemporary Musical Thinking Approaches to Contemporary Music Approaches for Studying Popular Music Understanding Popular Music Creative Studies in Popular Music Practical Popular Music Studies Analytical and Contextual Studies? Understanding Modern & Postmodern Musics Popular Music Analysis Analyzing Performance Intertextuality in Music Think Tank (industry speakers) Media Technologies Music in the 21st Century Popular Music in the 21st Century Music form *Sound and Image Vision and Sound Mediating Popular Music: Sound-Vision-Text Music as Sound Music Genres

39

Popular Music Genres Rock, Pop and Related Genres Popular Music Styles and Genres Popular Music Form in the 20th Century Words and Music from Dowland to Dylan Beethoven and the 19th Century Avant-Garde and Experimental Music Experimental Sound Creative Methods in Music (mgmt. course) Business Production, Rehearsal, and Performance Critical Studies (performance course) Languages of Music Languages of Popular Music Global Music World Music *Studying Music of the World Cultural and Historical Matters Musical Cultures Popular Music Culture Music and Culture Music Industry and Culture Fan Culture *Digital Culture DJ Cultures Audio Cultures Cultural Themes & Aesthetics Music and Cultural Theory *Music Cultures & Marketing Principles Folk and Urban Musics *Music and Technology in Popular Culture The Digital Age Music Audiences and Consumers Consumer Behaviours Music in the Community/Community Music Local and International Cultural Policy Globalisation and Popular Music Music in Society Popular Music, Criticism and Culture Cultural and Critical Studies Music and Censorship Music, Gender, and Sexuality Music, Race, and Ethnicity Representations of Youth Popular Music: The Auteur Popular Music History (ies)The birth of Rock & Roll and the Death of Punk Music History of PM and the Recording Industry *PM: History, Style and Technique Perspectives in Music History Studying Vernacular Musics

Understanding Radio Digital Radio *Radio Production Music Radio Music Radio Programming Radio Editing Radio Production and Presentation Video or Radio Documentary Production Theory and Practice (for Music Journalism & Broadcasting course) Thinking Journalism Journalistic Writing Music Journalism: Writing for the Music Press Music Journalism: Writing for the Music Industries *Popular Music Press: Context & Issues Popular Music Journalism Web-based Journalism Review & Lifestyle Journalism: Practices & Markets Magazine Production and Design (music journalism course) Magazine Writing and Creative Content Live Magazine Intro to IT and Desktop Publishing Broadcast Elements of Broadcasting: Intro to TV & Radio Writing for Broadcasting *Broadcast Programme: History & Analysis Communication in Action *Media Policy, Laws and Regulations *Rights, Rules & Reality: Broadcasting and Regulation *Law for Journalists Strategic Media Relations (journalism) Tri-Media Production (journalism) Tri-Media Documentary Production Tri-Media Website Producion *Digital Broadcast Media New Media Music and Sound for New Media Intro to Multimedia and the Internet New Media and the Music Business Other Auditory Perception and Music Cognition Music, Creativity and Communication *Musicology of Production Rock Musicology The Musician in Place

Broadcast & Journalism General Academics/Skills

Research/dissertation

Research within events Case Studies (research) Industry Case Study

40

Professional Music Case Study Researching Popular Music *Research in Business Management Approaches to Academic Research Research Skills Advanced higher learning & research skills Research Skills & the Study of Statistical Methodologies *Management Research Graduate Skills Study Skills

Studying Music Music Study Skills and Analysis Studying for Business Music Industry Skills Skills for Work Professional Development and work-based learning Professional Preparation Professional Studies Guided Professional and Career Development Career Development Academic/Business Writing Writing about Music and Musician

41

Appendix D: Questionnaire for Programme Leaders Provision of Popular Music Studies within UK Higher Education Institutions
Researchers at the University of Glasgow have been commissioned by the Higher Education Academy (HEA) to map the provision of Popular Music undergraduate degree programmes in the UK, outline the main differences between the available programmes, and inform the HEA's deliberations for future practice. The results of this questionnaire will contribute to a larger ongoing investigation of the design and delivery of theory and analysis in HE Popular Music courses, and will be disseminated at a dedicated HEA event (date TBD) to which all participants will be invited. We thank you for your participation. 1) Please tell us your: Name: _________________________ HEI: ___________________________ Position (e.g., Programme Leader): _________________________ Contact Email: _________________________ 2) Name of degree offered: Note: if you are responsible for more than one degree at your HEI, we ask that you kindly fill out a separate questionnaire for each. ( ) Commercial Music ( ) Music Business ( ) Music Industries ( ) Music Management ( ) Popular Music ( ) Popular Music Performance ( ) Popular Music Studies ( ) Other (please specify): _________________ Any comment? ____________________________________________ 3) In what year was this degree first taught? (YYYY) ____________________________________________ 4) Please indicate the minimum level of musicianship required for entry to the programme (tick all that apply): [ ] Moderate Performance [ ] Intermediate Performance [ ] Advanced Performance (grade 8 or above) [ ] Moderate sight reading [ ] Intermediate sight reading [ ] Advanced sight reading [ ] Moderate theory [ ] Intermediate theory [ ] Advanced theory [ ] No musicianship required [ ] Other (please specify) Any comment? ____________________________________________ 5) Please indicate the level of production/technical proficiency required:

42

( ) No experience required ( ) Some experience ( ) Intermediate experience ( ) Significant experience Any comment? ____________________________________________ 6) What is your current approximate annual intake of students on to the programme? ____________________________________________ Is the number of students on the course: ( ) Increasing ( ) Decreasing ( ) Stable Is the number of applicants to the course: ( ) Increasing ( ) Decreasing ( ) Stable Any comment? ____________________________________________ 7) Approximately what percentage of the degree is: (Please ensure your responses total 100) Practical: _________________________ Vocational: ________________________ Analytical: _________________________ Other: ____________________________ Any comment? ____________________________________________ 8) Does the programme provide work experience placements? ( ) Yes ( ) No If you answered 'yes', please provide details (such as placement duration, whether it is compulsory, recent examples, etc.). Please write as much or as little as necessary. 9) Does the programme include a dissertation? ( ) Yes ( ) No If you answered 'yes,' please specify the maximum number of words. ____________________________________________ Any comment? ____________________________________________ 10) Do you collate information on the destinations of your students? ( ) Yes ( ) No

43

If you answered 'yes,' please give details of the approximate percentage of students from 2010-11 whose main occupation at present is: (Please ensure your responses total 100) Working in music or music-related industries: _________________________ Working in other, non music-related industries: _________________________ Pursuing further study: _________________________ Unemployed: _________________________ Other: _________________________ Any comment? ____________________________________________ 11) Which of the following statements re: the learning and teaching of music theory/analysis, most reflects your current situation? ( ) Our students, generally, require little additional support. ( ) Our students require some support that we address well. ( ) Our students require some support that we'd like to address better. ( ) Our students require a great deal of support that we address well. ( ) Our students require a great deal of support that we'd like to address better. Any comment? ____________________________________________ 12) Please make any further comments about the provision of undergraduate Popular Music Studies in UK Higher Education. 13) The Higher Education Academy is interested in setting up a network of Popular Music practitioners in HE. Would you be interested in joining such a network? ( ) Yes ( ) No 14) What might the HEA usefully do for Popular Music providers in UK Higher Education? Please list up to 3 things. 15) We may wish to contact respondents directly to follow up our research enquiries. Please indicate your preference: ( ) I am happy to be contacted. ( ) I do not wish to be contacted. 16) The HEA and the University of Glasgow intend to generate a report on the findings of this study. May we attribute your name, position and/or HEI to your responses? ( ) Yes, I consent to the use of my name, position and/or HEI in any materials generated for purposes of this study. ( ) No, I wish to remain anonymous, understanding that general terms such as "a Popular Music course leader" may be used in connection with my responses. ( ) Other (please specify): _________________

44

Appendix E: List of Interviewees AB is a Senior Lecturer and Programme Leader in a pre-1992 HEI. S(he) asked to remain anonymous for purposes of this project. Allan Dumbreck (AD) is Senior Lecturer and Subject leader for the BA (Hons) in Commercial Music at the University of the West of Scotland. He began his career as (and continues to be) a session keyboardist, working both locally and internationally with mainstream acts and major labels. Over the past 22 years Allan has designed and implemented two HNDs, three HNCs and two BA (Hons) degrees in England and Scotland, and is author and editor of the Music Education Directory. Dr. Mark Pulman (MP) is course leader for the BA (Hons) in Popular Music and Promotion at the University of Huddersfield. An experienced performer, composer, and arranger, Mark also has enjoyed a long career working internationally in music business and promotion for major labels and publishers. Recently, Mark was project leader for a PALATINE /HEA-funded study investigating the rehearsing of popular music in the UK. Dave Wibberley (DW) is Programme Leader for the BA (Hons) in Music Industry Management at the University of East London. He has been working in the music industries for nearly thirty years, initially as a musician and studio engineer, followed by over a decade as a successful major label A&R manager. He also founded his own music management company, which he still runs in addition to his role at UWS.

45

Appendix F: List of Interview Questions Please tell me a little bit about your background and how you came to be course/programme leader for ______________(degree) at _______________ (institution). As course/programme leader, what are your primary objectives? Please tell me about your students. Entry requirements including musicianship abilities? What level, if any, of music theory/analysis do you expect or require students to have? How would you describe your students generally? In general terms, what do your students do when they complete the degree? Why do you believe students are drawn to your programme, and what is your most popular module or featured opportunity? What sets your programme apart from other Popular Music courses in the UK? What do you believe is an appropriate ratio of analytical/theoretical coursework? Why? practical: vocational:

What are your main approaches/strategies/methods for enabling students to develop and acquire skills in music theory and analysis? What might usefully be done to enhance the teaching of music theory and analysis in Popular Music? (Prompts, if required, a Special Interest Group? A symposium/seminar/workshop? A guide to good/successful practice? etc.) This is tied to my earlier question about course objectives, but as a whole, what do you believe Popular Music Studies teachers should be striving to achieve? How do you see and/or how would you like to see Popular Music Studies developing or changing in the next 10 years?

46