Understanding the transition from school to university in music and related subjects

1. Understanding the transition from school to university in music and related subjects

2. Rationale • The quality of the first year undergraduate experience is partly dependent on how comfortable students feel with the interface between school and university. • This research will provide a resource that will improve student experience and the university curricula through identification of the particular learning needs of first year students.

3. Project Strategy • literature review • interviews with education bodies, teachers and lecturers • observation of practice in schools and colleges • analysis of current specifications and modules • student questionnaires showing correlation between pre-university courses and undergraduate experience • extension of research to other arts subjects • suggesting changes to university curricula and teaching methods

4. Generic overview of transition Most literature deals with general issues - not discipline-specific. First-year experience is important for student retention. Problems for students study skills time management independent learning rather than teacher-led learning large lectures off-putting new learning styles course choice

5. Generic recommendations • better liaison between schools and universities • study skills should be taught by both subject teachers and specialists • front loading of resources for first years to enable smaller groups

6. Interviews with lecturers Areas of concern • poor skills in harmony and counterpoint • poorly developed skills of music analysis • insufficient knowledge of the canon of Western classical music • poor concert attendance • poor sight reading ability • difficulties with notation • desire simply to play musical instruments • resistance to composing in more challenging styles

7. Interviews with teachers • league tables mean focus on getting through syllabus content so that students can pass exams • two sets of exams - AS and A2 – cuts down teaching time • massive leap from GCSE to GCE • no time to introduce the kinds of pedagogy that students will encounter at university

8. Observation of practice in schools and colleges • students well-prepared for their A Level exams - spoon fed? • friendly, informal groups • teacher dependent and teacher led • no preparation for independent thinking

9. A new type of student? Mark Bowden - The Sixth Form College Farnborough: Perhaps the most interesting students were those who considered music their main subject but who had never engaged with classical music - these students (by far the majority now) typically played guitar, bass or drums and ran their own bands. They often did more performing than the classical students and were far more interested in current musical issues and contemporary art music. Joss Sanders - Hills Rd Sixth Form College, Cambridge: The Music Technology students tend to be more creative than the classically trained music students

10. Analysis of current specifications Students have a range of qualifications. Of the students surveyed • 56% Music A2 • 24% BTEC National Diplomas (rising to 50% for the BA in Music Technology) • 20% Music Technology A2 Also several other qualifications Too diverse to expect a smooth transition .

11. Curriculum 2000 (1) A Level specifications were rewritten for Curriculum 2000. Exam boards had to adhere to the QCA Subject Criteria. The aims were that GCE should • build on the requirements of the National Curriculum • encourage life-long learning • help HE institutions and employers know what has been studied and assessed Progression to Higher Education is not mentioned

12. Curriculum 2000 (2) Holistic approach integrating Performing, Composing and Listening through Areas of Study Each exam board has different Areas of Study, different emphases and different options Most students take Edexcel – many options within it BTEC NDs have several optional units Each student will have followed a different route A very small number take ABRSM Grade VIII Theory

13. National Curriculum Last 20 years has seen many changes to music in schools • increased accessibility across the full ability range • jazz, popular and world music included alongside Western Classical Music • more emphasis on creativity • huge advances in music technology O Level Music - 5000 candidates each year GCSE Music – 60,000 candidates each year Numbers taking GCE Music and MT continue to rise.

14. Music outside school • high levels of music-making outside of schools • contexts changing rapidly in our digital, networked and globalised world Most music students perform outside school 93% of MT students had been involved in extra-mural activity 72% found that it had helped them with their university course Some students blunt about shortcomings of A Level – e.g. ‘Most of the preparation I had was from my own learning because I was interested in music technology.’

15. BMus narrow range of careers - (65%) - teach or perform, (15%) ‘Don’t know’ (26%) supplied alternatives general air of indecision and lack of confidence uncertainty often linked to idea that teaching second-best to performing Music Technology wide range of careers more positive and enthusiastic clearer and more ambitious ideas Career aspirations of Music and MT students

16. Careers in music Far from making a living by making music, the majority of musicians finance music making by making a living. The majority have portfolio careers and work in a variety of roles Could more be done to dispel the illusion of a glittering performing career?

17. Student questionnaires For each module, the survey asked students • which aspects were new • which they felt most comfortable with • which aspects they found most difficult Comparisons were made between • different A Level Music boards (BMus) • A Level Music Technology and BTEC National Diploma in Music Technology (MT)

18. BTEC NDs v A Level MT BTEC students are better prepared for MT degrees BTEC students • have more guided learning hours • a wide choice of options • spend much more time in the recording studio • are taught by people from the music industry Upsurge of popularity in MT has meant that • schools often unprepared in terms of staff and equipment • students often left to work on their own and teach themselves A Level MT - over emphasis on sequencing at the expense of sampling and synthesis

19. Levels of preparation for BMus by different A Level boards Results differed from module to module For some no difference e.g. Performance For others the differentiation was clear e.g. Analysis, and Counterpoint, Harmony and Aural. Reflects the variety in interests and skills of teachers coupled with diversity in what they cover with their pupils.

20. Are there any aspects of the BMus course that you have found difficult? • Counterpoint, Harmony and Aural (30%) • Analysis (22%) • Musicology (20%) • Composition (13%) • Technology for music (11%).

21. Are there any aspects of the BMus course that you feel particularly well-prepared for? • Performance (35%) • Counterpoint, Harmony and Aural (33%) • Analysis (24%) • Composition (18%) • Musicology (11%) Not surprising - performance mentioned most given extra-mural activities. More surprising 33% mentioned CHA. Mostly Edexcel

22. Difficulties with CHA • 85% of AQA students found it difficult • 20% of Edexcel students found it difficult. No harmony requirements for AQA Edexcel students develop techniques in two from: • Bach chorale • 32 bar pop song • Renaissance counterpoint or Baroque counterpoint • Minimalism • Electro-acoustic music • Extended instrumental techniques • Serialism

23. Which aspects of CHA were new to you? Counterpoint was new to the largest number of students - a significant 52%. • AQA (71%) (the word ‘counterpoint’ does not appear anywhere in the AQA A level specification) • OCR (40%) • Edexcel (39%). • CCEA (Northern Ireland) - no requirement for harmony and counterpoint (or aural dictation) • WJEC (Wales) harmony and counterpoint are optional

24. Four part harmony Four part harmony was new to a much smaller number 17% - mostly AQA • Only 21% of the AQA students had studied four part harmony - the words ‘Four part harmony’ do not appear in the AQA specification • Not new to any of the OCR candidates all will have completed Western Tonal Harmony exercises • New to only 8% of the Edexcel students

25. Aural Aural dictation was new to only a small number (12%) mostly Edexcel - choice of aural papers giving the opportunity to opt out of dictation. Generally no longer an emphasis on aural dictation Tests more likely to focus on provenance, context, comparison, and aspects of musical technique and style Is this a decline in demand or should we welcome the development of a wider variety of aural skills?

26. Set works Edexcel study 18 works, OCR and AQA study 6 works Assumption - smaller number of set works better preparation for further analytical study Not evident from survey. When asked whether Analysis followed on well from A level • 64% of the Edexcel students agreed • 25% of AQA students agreed Perhaps studying a larger number of set works • familiarises students with analytical procedures and concepts • puts them into context

27. Musicology 1 No correlation between the exam boards and what was new, what they found difficult or what they were most comfortable with Most students (67%) agreed that some aspects were completely new to them Most frequently cited • Subject specific (28%) • Essay writing and research (20%)

28. Essay writing • Essay writing at school had not prepared students for essay writing at university • Specific mention made of research and bibliography. Previous research • school essays focus on comments rather than analysis, facts rather than interpretation • advisable for students to learn study skills both from specialists and during subject lectures Survey showed that students were appreciative of the help that they had received with study skills

29. Composition 1 Composition 1 followed on well from A Level 35% agreed 42% disagreed. 65% felt that some aspects were completely new to them 41% wrote that composing in a ‘contemporary style’ was new to them. Edexcel students are better prepared for this module than AQA students.

30. Which aspects of Composition 1 have you felt most comfortable with? Enthusiastic responses. Most common aspect - exercises Comments included • ‘Basic exercises are actually quite interesting’ • ‘Applying the exercises given to a bigger composition’ • ‘Being given a set task for next lesson’ Students also enjoyed • the freedom to use their own ideas • writing for specific instruments • composing in a ‘contemporary style’

31. Composing in a contemporary style Significant number resistant to the way in which they felt their style of composing was being restricted. Gulf between expectations of students and academic staff. Real world - diversity of composing opportunities available in a range of styles. Should students be • encouraged to pursue their own compositional interests • offered a range of possibilities in which to find own creative personality or should Composition 1 remain more specialised?

32. Positive aspects of the survey Students • enjoyed the friendly atmosphere and the enthusiasm of the staff • were appreciative of the study skills and foundation studies introduced in the first year • benefited from the music technology facilities.