Review of music conservatoires

Review of musicconservatoiresHEFCE Conservatoires Advisory Group

Chaired by Sir John Tooley

£10

Mar

ch

98/1

1

Report

HEFCE 98/11 3

Contents

Page

Summary of conclusions 5

1 Introduction 9

Terms of reference 9

Membership of Policy Group 9

Methodology 9

Researchers 9

Report 9

Structure of report 9

2 Background 11

Specialist institutions 11

Mission of the conservatoires 11

Wider world 11

Cultural responsibility 11

Non-HEFCE conservatoires 11

Regional dimension 12

Student numbers 12

Principal study 12

Little change 13

Certain concentrations 13

Staffing 13

3 Course of change 14

Inquiries 14

Downsizing 14

30 years ago 14

Changed standing 15

Music in the UK 15

Recent growth by level 15

Numbers by institution 15

MASNs and CSNs 16

Trinity’s recent recovery 16

Postgraduate proportion 16

Conservatoire admissions 16

Buoyant applications 16

International role 17

Pre-conservatoire students 18

Concerns 18

Postgraduate courses 18

PGCEs 18

University compatibility 18

Increasing competition 19

Page

4 Present patterns of employment 20

Data sources 20

Caveats 20

Morphology of careers in music 20

Orchestra members also teach 21

Regional dimension to mixed employment 21

Short performing careers 22

Music careers 22

Positive placement records 22

Key features 23

Low recruitment outside music profession 23

Influence of level of study 23

Principal study 23

High “risk” 24

Almost all seek entry 24

Reasons for growth in further study 25

Two-way relationship overseas 25

Quality placements 25

Qualification in the profession 25

Overseas qualifications 26

Generation change 26

Observations 26

5 Desirable pattern of future training 27and changing performance practiceMusic sector 27

Jobs 27

Classically “trained” 27

Recent change 27

“Under-skilling” 27

Changing profession 27

Broader responsibilities 28

Cultural transformation 28

Other drivers 28

Entry to profession 29

Continuing change in conservatoires 29

Employability 29

Concerns 30

Perception of the changing profession 30

Closer links to the profession 30

PageEmployer reactions 31

Recruitment of non-UK nationals 31

Changing attitudes 31

Role of postgraduate training 32

Continuing change 32

Limitations 32

Costs 33

Resourcing level 33

Extended role in INSET 33

“Teaching of performance” 33

SWOT analysis 34

Appetite for change 34

Numbers 34

Collective approach 34

Areas for consideration 34

Costs 35

Collective impact 35

Teaching of performance teachers 35

Specialist advice 35

Managed change 35

6 Relationship with university 36music departments 36

Expansion and relative significance 36of university degrees

Collaboration 36

Research 37

Popularity of university music 37

Costs 37

Distinct roles 37

Destination data 37

Little change 38

Low recruitment to profession 38

Generalised pattern 38

Specific task 39

Appendix A 40Reports consulted

Appendix B 41Individuals and organisations consulted

Appendix C 42

Orchestras participating in sample survey of player members

4 HEFCE 98/11

HEFCE 98/11 5

Summary of conclusions1 TaskA Policy Group of the HEFCE ConservatoiresAdvisory Group was asked to advise in relationto the four free-standing, HEFCE funded musicconservatoires on:

• present patterns of employment ofconservatoire graduates;

• implications for the desirable pattern offuture training in the light of changes in themusic profession; and

• the relationship with university musicdepartments.

This has been approached by looking at theHEFCE conservatoires collectively as a modulein a wider system of music training andeducation, including pre-conservatory provision.It has not included consideration of theconservatoire training provided in otherinstitutions not directly funded by HEFCE.

2 Collective impactData about the HEFCE conservatoires arebrought together in this report for the first time,showing student numbers, applications, areas ofstudy and destination of graduates. There wouldbe merit in continuing this approach (andextending it to include information from theother conservatoires) so that the conservatoirescan remain fully informed of their collectiveimpact and be in a position better to collaborateon matters of public and professional interest.

3 Record of changeThe conservatoires have a strong record ofresponding to a changing world. It should berecognised that over the last 30 years they havereduced student numbers, concentrated resourceson lengthened courses and developed apostgraduate role. Following the shift to degreecourses, the new generation of principals remainactive in seeking to respond flexibly to theconsequences of the changing labour market.

4 Buoyant applicationsThere is a major element of pre-selectionsurrounding a conservatoire application linked tothe candidate’s technical proficiency. Applicationsappear buoyant, including for postgraduatestudy and from applicants from abroad. Thisshould be read as confirmation thatconservatoires are reaching internationalstandards and taking an increasing internationalrole.

5 Changing professionThe music profession is changing in anumber of ways:

• a mixed portfolio approach to careers (withless interest in available salariedemployment), involving performing in avariety of ensembles/circumstances,composing and teaching (includingworkshop/creative projects);

Review of music conservatoires

6 HEFCE 98/11

• rising standards of instrumental playing,requiring versatility and the ability to cope withvaried styles and instrumental balances;

• changing awareness of the role of the musicianand of musical institutions, especially inrelation to education and music’s social role inthe community;

• a strong demand for better instrumentalteaching in private practice and in re-invigorated instrumental music services;

• the need for in-service training to providelifelong professional development andadditional skills for established performers; and

• new and revived markets for musicians in lightmusic, musicals, film, improvisation, inter-cultural cross-over, cabaret and small-scalemusic theatre.

6 Modernised curriculaThe conservatoires are addressing these changeswith focus on the provision of more rounded andversatile musicians. The old approach to trainingfor one specific task is declining and the modernisedcurricula adopted in the conservatoires areattracting international attention and admiration.Of course, there may be a price to pay for “an over-vocational” approach, in which the student has lesstime for personal and artistic development, and it isimportant to guard against the dangers of overloadwhich may result in only a superficial broadening.

7 Career patternsThe career patterns of musicians involve multiplesources of employment and changing mixes ofactivity. Teaching and performing are commonelements and self-employment predominates.Musicians are very active in creating their ownwork. These patterns are well established in theworking life of musicians and in some respectsanticipate the flexible patterns which are emergingmore generally in employment.

8 EmploymentCaveats need to be recorded about theinterpretation of employment data. Nevertheless,the evidence of the placement record of the HEFCEconservatoires seems positive. The longitudinal datasuggest that some five years out around 85 per centof the leaver cohort will be active in the music

profession. Employers are broadly satisfied, thoughin certain areas, especially outside London, somedifficulty is experienced in recruiting young stringplayers. Postgraduate study is increasingly seen asnecessary preparation for entry into the profession.Fewer postgraduates leave the profession and moreachieve performing contracts.

9 NumbersGiven that music is, in part at least, a professiondependent upon identifying natural talent, it wouldseem unlikely that the placement record of theHEFCE conservatoires could be much improved.Calculated risks surround some (if not all) studentsaccepted into training for the professions. Theremay be issues/implications from the data about thelength/formatting of courses and the re-balancing ofcertain programmes of study in the conservatoires,but no case emerges for any reduction in overallstudent numbers.

10 CollaborationBoth informal and formal areas of collaborationbetween universities and conservatoires arecontinuing to develop. Some of those are informalsuch as intellectual exchange and a longstandingtradition of shared examining. Others are moreformal, including degree validation by universities,instrumental teaching supply by conservatoires,joint courses and humanities course supply byuniversities. Such linkages can meet specific needsand should be encouraged, though care should betaken in joint courses to tailor ambitions so thatexpectations do not prove unrealistic. Every effortshould be made to ensure that academic pathwaysin the conservatoires do not duplicate the work ofuniversity music departments.

11 Distinctive roleRecent changes in university syllabuses for musicinvolve more emphasis on performance, and moreacademic strands have been added to conservatoireprogrammes of study. Despite this apparent“convergence”, it should be emphasised that therole of the conservatoires is distinctive. Whilstuniversities deliver all-round musical education, theconservatoires are training people to enter theperforming profession and this entails requirementswhich universities are not usuallyorganised/resourced to provide:

HEFCE 98/11 7

• a critical mass of students and teachers in allrelevant specialisms;

• concentrated focus on solo and ensemblepractice; and

• a competitive environment focused oninternational professional standards ofperformance.

12 ComposersPerhaps the training of composers is one area ofoverlap, though the emphases are different. Theconservatoires argue that they can provideexceptional conditions for the rehearsal andperformance of student compositions.

13 University destinationsThe destination data of university musicdepartments confirm that they have a different rolefrom the conservatoires. These show a broadrecruitment pattern into commercial andprofessional occupations. Perhaps one in 15university music graduates enters a conservatoirefor postgraduate study.

14 Conclusion on the conservatoiresThe conservatoires are effective in discharging theirrole as specialist institutions for educating andtraining students in the performance skills necessaryfor a career in the music profession. Whilst formingpart of the integrated higher education fundingsystem, the conservatoires inhabit more than oneworld and their status and significance goes farbeyond their education/training role. Their flexiblestaffing model (with extensive use of workingprofessional musicians) gives a practical purpose totheir activities and provides intimate links to themusic business. Their strategic position as trainersfor the music profession is combined with a parallelcultural responsibility to preserve/enhance music asan art form (including the particular traditionsdeveloped in Britain). The conservatoires alsofunction as public institutions which offer publicprogrammes of concerts and a range of otherservices.

15 Extend roleIn addressing the changing demands of the musicprofession, the Group has identified certain areas inwhich the role of conservatoires might be extended.

The opportunity afforded by in-service training isbeginning to be understood. Conservatoires are wellplaced to define a framework for providing career-long access for performers to specialist updatingand supplementary training. It would be prudent forthe conservatoires to consider the means ofdeveloping more systematic links with theprofession and of monitoring relevant requirementsand expectations.

16 Instrumental teachingThere is a national shortage of instrumentalteachers of quality and yet the matter is neglected asa field of national policy. A national examination ofarrangements for training and the teaching ofperformance should be instituted. This shouldinclude the potential leadership role for theconservatoires in this area.

17 ConstraintsThe positive achievements of the HEFCEconservatoires are considerable but there is a risk tostandards of teaching and achievement if the present“under-funded status quo” is allowed to persist.The Group is concerned about constraints in thecurrent situation which limit the room formanoeuvre:

• the broadening market creates supplementarydemands for training which do not generallyreplace established ones (with a consequentcost implication);

• the conservatoires are operating close to aminimum critical mass needed to sustaindiverse training;

• the current cost base may already be too closeto the minimum for comfort.

18 Cost assessmentThere is a need to be fully informed on how costsand income arise in order to address the effectiveutilisation of staff/facilities and to define theresources needed to sustain the internationalcompetitiveness of these institutions.

19 Managed changeWhilst recognising that the ability to respondflexibly to new developments and opportunitieswould be easier in larger institutions, the Groupsuggests in para 5.29 a number of possible

8 HEFCE 98/11

directions for change. These are directed atimproving the flexibility, competitiveness andeffectiveness of these institutions with the intentionof strengthening, through an evolving “federatedapproach”, their collective ability to respond to newdemands. This implies no need to change the overallstudent numbers for the HEFCE conservatoires,which we believe currently to be about right.

20 Federated approachIt is essential to establish a new framework whichcould enable the conservatoires collectively as agroup to address such changes. The HEFCE maywish to initiate relevant discussions on this matter.This should take account of departmentalresponsibilities beyond the DfEE, especially those ofthe Department of Culture, Media and Sport, aswell as reflecting the needs of the music professionand the situation in pre-conservatoire training.

HEFCE 98/11 9

1.1 Terms of referenceA Policy Group was established in July 1996with the task of reporting to the ConservatoiresAdvisory Group of the Higher EducationFunding Council for England on mattersrelating to the changing nature of conservatoiretraining and performance practice. Inparticular, it was asked to advise on:

• present patterns of employment, including:

- student destinations on exit from conservatoires

- the way in which musicians work withother professionals, including performersand teachers in education and thecommunity

• implications for the desirable pattern of futuretraining, including

- the degree of emphasis on soloperformance training

- the length and nature of training required

• the relationship with university musicdepartments.

1.2 Membership of Policy GroupSir John Tooley Former General Director(Chairman) of the Royal Opera House

Sir Claus Moser Former Warden of Wadham College, Oxford

Matthew Barley Cellist

Dr John Hosier Former Principal of the Guildhall School of Musicand Drama

Libby MacNamara Director, Association of British Orchestras

Professor Head of Music Nicola LeFanu Department, University

of YorkRoger Durston Director of Music,

Wells Cathedral School

Sarah Walker Singer(resigned February 1997)

Secretariat

Gillian ChedzoyJoint Secretaries, HEFCETracy Allan

Liz Franco Assistant Secretary, HEFCE

1.3 Methodology

The Group met on nine occasions. It initiallygave consideration to its role, its terms ofreference and to the issues surrounding itsassignment. It was joined at various meetings by informants from relevant musical fields whocontributed to the general discussion on issuesraised in the Group’s work (see Appendix B forlist of informants).

1.4 ResearchersThe Group appointed John Myerscough asresearchers who began work in October 1996.Among the tasks undertaken were:

• assembling and assessing data from central HEstatistical sources on student logistics anddestination data (including USR, HESR, DfEEand HESA);

• carrying out a literature review of availableinformation dealing with the employment ofmusicians and the economic characteristics ofthe music industry (see Appendix A for list ofreports considered);

• obtaining and analysing necessary data directfrom the conservatoires and carrying outstructured interviews with principals and othersto establish views on key issues; theconservatoires were most cooperative but werenot always able to supply data requested,mainly owing to changes in IT systems;

• instituting a sample survey of members of UKorchestras to establish sources and levels ofperformance training; a sample of 12 orchestraswas chosen which produced 374 completedquestionnaires (response rate of 61 per cent);

• interviewing (also fax/phone communicationwith) a range of informants from other HEorganisations/public agencies and the musicindustry (see Appendix B for list of peopleconsulted).

1.5 ReportThe Group held a series of discussions on theresearch findings. It deliberated at threemeetings on the text of this report.

1.6 Structure of reportSection 2 examines the roles of conservatoiresand their place in the wider world. Section 3

1 Introduction

10 HEFCE 98/11

summarises the course of change over the last 30 years. Section 4 sets out certain concernsand caveats about the interpretation ofemployment data before presenting the findingson materials supplied by the conservatoires.Section 5 describes the response of theconservatoires to a changing musical professionand examines the possible directions of futurechange. In Section 6 the relationship withuniversity music departments is discussed.

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2.1 Specialist institutionsThe four conservatoires which are the focus ofthe Group’s work are directly funded byHEFCE. They are the Royal Academy ofMusic, the Royal College of Music, TrinityCollege of Music and the Royal NorthernCollege of Music.

2.2 Mission of the conservatoiresThe conservatoires define their role aseducating and training students who needperformance skills for a career in the musicprofession. This is captured in their variousmission statements as follows:

• Royal Academy of Music: “providing pre-professional, undergraduate and postgraduatemusical training of the highest national andinternational standard; engaging in concert,operatic and research activities related to theeducation of the institution; creating andperforming new music; and dedication to thepreservation and enrichment of national andinternational musical culture”;

• Royal College of Music: “specialised musicaleducation and professional training at thehighest international level for performers andcomposers; this enables talented students todevelop musical skills, knowledge,understanding and resourcefulness which willequip them to contribute significantly tomusical life in this country andinternationally”;

• Trinity College of Music: “to deliverperformance .... centred training of the highesteducational quality and professional standard;this training is intended to prepare and equipits students [through the multi-disciplinaryapproach of the new Music Plus programme]to make a positive and versatile response to thedemands and employment opportunities of themusic profession, the wider music industry andthe needs of local communities”;

• Royal Northern College of Music: preparing“gifted students of all backgrounds andnationalities for a professional career in music;the main emphasis is on preparation for acareer in performance (including composition),

supported by a wide-ranging academicprogramme designed to develop each student’sintellectual and artistic potential”.

2.3 Wider worldWhilst forming part of the integrated highereducation funding system, the conservatoiresinhabit more than one world and their statusand significance goes far beyond theireducation/training role. Their staffing model(with extensive use of working professionalmusicians) gives a practical purpose to theiractivities and provides intimate links to themusic business.

2.4 Cultural responsibilityThe conservatoires hold a strategic position asspecialist trainers for the music profession (asignificant sector of the national economy).This is combined with a parallel culturalresponsibility to preserve/enhance music as anartform (including the particular traditionsdeveloped in Britain). There is a double role, toanticipate and lead change whilst sustainingperformance skills and nurturing theunderstanding of the musical language ofperformance. The conservatoires also functionas public institutions which offer concertperformances by leading artists as well as bystudents and a range of services such asoutreach programmes for local residents,schools, hospitals, hospices and prisons.

2.5 Non-HEFCE conservatoiresApart from the four HEFCE-fundedconservatoires, a further three institutions aremembers of the Committee of Principals ofConservatoires (CPC). These are funded byother bodies, namely the Royal ScottishAcademy of Music and Drama (SHEFC), theGuildhall (the City of London) and the WelshCollege of Music and Drama (HEFCW). TheBirmingham Conservatoire (funded indirectlyby HEFCE as part of a larger institution, theUniversity of Central England) and the LeedsCollege of Music (a specialist FE collegeoffering some HE programmes) are associatemembers of the CPC.

2 Background

12 HEFCE 98/11

2.6 Regional dimensionLondon has the main concentration ofconservatoires with four of the eightinstitutions (three of the four HEFCE-fundedconservatoires), and attracts the majority (56per cent) of conservatoire students. Theregional distribution of the remainder isuneven, covering Wales, Scotland, the Midlandsand the North West.

Conservatoires outside London can achieve aparticularly positive interaction with theirregions. For example, Birmingham takes aninterest in ethnic and world music. The RNCMhas strong professional links to the orchestrasof the North West and to the concert life ofManchester and believes there is a regionaldimension to both its pattern of studentrecruitment and to the employment of itsgraduates.

2.7 Student numbersStudents at the four HEFCE-fundedconservatoires totalled 2,062 in 1995-96 (allstudent numbers include “non-funded” places).Some 1,455 were on first degree courses (ofwhich around 88 per cent were “funded”places) and 516 on postgraduate programmes(with 91 on other programmes eg affiliates atthe RCM). In 1995-96. some 317 studentsqualified with first degrees and 321 at thepostgraduate level. The specialist role of theconservatoires is highlighted by the comparisonwith the HE sector’s music qualifiers as awhole. Whilst the four conservatoiresaccounted for only 17 per cent of first degreesin music, at the postgraduate level theconservatoires accounted for 55 per cent ofdiplomas and degrees (see paragraph 6.1below).

Table 1 Students1 in HEFCE conservatoires, by level, 1995-96

UG PG All 2

Royal Academy 322 164 486

Royal College 360 149 535

Trinity College 343 95 463

RNCM 430 108 578

1,455 516 2,062

Other conservatoires 3 1,279 393 2,172

Source: Conservatoires; HESA.

As for the non-HEFCE conservatoires, theGuildhall’s music student population (534) wassimilar to the HEFCE conservatoire average(516), but the other three conservatoires werefar smaller. The non-HEFCE conservatoirescontained 1,672 students in 1995-96. TheGuildhall’s postgraduate music programme wasthe largest in the country with 209 students in1996-97 compared with 164 at the RAM, thenext largest.

2.8 Principal studyStudent volumes by principal study in theHEFCE conservatoires are set out below. Thestring faculties account for the greatestconcentration of students at 31 per cent of thetotal, followed by the wind, brass andpercussion faculties with 26 per cent ofstudents. There is a difference betweenundergraduate and postgraduate principalstudies. At the postgraduate level, the vocalfaculties replace strings as the largest singlegrouping, accounting for 35 per cent ofstudents (reflecting the special nature of thetraining of singers), with wind etc falling to lessthan half its relative size (15 per cent).

1 Includes non-HEFCE funded students.2 Includes “other” students eg affiliates, students on

diploma courses.3 Birmingham, RSAMD, Wales and Guildhall.

HEFCE 98/11 13

Table 2 Students by principal study and level in RAM, Trinity and RNCM

Percentage

Undergraduate Postgraduate All 4

91-92 95-96 91-92 95-96 95-96

Strings 34 33 26 27 31

Wind etc 34 32 15 15 26

Keyboard 10 13 18 19 17

Vocal 16 14 35 35 18

Other 7 8 6 5 8

Source: Conservatoires.

2.9 Little changeWhilst numbers do fluctuate somewhat fromyear to year, the overall balance amongst theprincipal study areas showed little changebetween 1991-92 and 1995-96.

2.10 Certain concentrationsThe pattern of principal study is broadlysimilar in each of the four institutions, aninevitable result of the need to reflect orchestralinstrumentation in the overall composition ofthe student body so that symphonic and operaensembles can function effectively. Nonetheless,some particular concentrations of activity canbe identified. The main cases are:

• keyboard: the RCM teaches 38 per cent of allkeyboard students in the HEFCEconservatoires;

• vocal faculty: RNCM 38 per cent;

• wind, brass: RNCM 33 per cent; and

• “other” (comprising a range ofsmaller/specialist areas such as composition,plucked instruments, early music, commercialmusic, jazz): RAM 51 per cent.

Table 3 Students 5 by principal study and institution, 1995-96

RAM RCM Trinity RNCM Total

Strings 137 159 145 177 618

Wind etc 100 131 132 173 536

Keyboard 75 133 71 71 350

Vocal 69 68 84 137 358

Other 80 52 6 18 156

461 543 438 576 2,018


2.11 StaffingThe staffing of the conservatoires makes use ofnumerous part-time, visiting staff who aremainly involved in providing individualinstrumental/vocal lessons. The core academicteams are for the most part very compact.

Table 4 Staffing in HEFCE conservatoires, by academic and administrative, full-time and visiting6, 1995-96

RAM RCM TCM RNCM All

Academic

Full-time 13 12 6 3310 64

Part-time/visiting 626 557 418 3111 190

Admin, support, 60 52 369 65 213other

Source: HEFCE Quality Feedback Reports.

4 Also includes RCM.5 Totals differ slightly from other student numbers owing to

category inconsistencies.

6 Full-time equivalents.7 35 part-time and 146 visiting staff (FTE 19.86).8 Includes 24 on fractional appointments and 123 PT staff.9 31 FT and 11 PT.10 In addition, 2.5 FTE academic staff involved with the Junior

Strings Project.11 Consisting of 40 PT (pro rata) staff and 83 hourly-paid

instrumental teachers.

14 HEFCE 98/11

3 Course of change

3.1 InquiriesConservatoire education and training has beenthe subject of debate for over three decades onthe kind of training to be offered, theappropriate number of students, the level offunding and their organisation. Three reviewshave taken place over this period with anumber of recommendations emerging:

• 1965: the first Gulbenkian report recommendedreducing numbers of students and expandingteaching to effect a necessary increase inquality; it advocated establishing a “nationalconservatoire” through the merger of threeLondon conservatoires, the Royal Academy,Royal College and Trinity;

• 1978: the second Gulbenkian reportrecommended the conservatoires shouldconcentrate on the training of intendingperformers and instrumental teachers,extending courses to four years;

• 1990: the Gowrie report returned to the themesof merger and student numbers; itrecommended the creation of a new “Londonconservatoire” incorporating the RoyalAcademy and Royal College with reducedstudent numbers (800) and increased fundingper student, leaving Trinity to pursue its chosenplan to relocate from London and developmore broadly based training.

3.2 DownsizingOver the last 30 years, the conservatoires as agroup have experienced a considerable down-sizing in their student numbers, owing to a fallin student numbers in the RAM and the RCM.This was accompanied by a concentration ofresources on lengthened courses and thedevelopment of a postgraduate role.

Table 5 Student numbers12 in HEFCE conservatoires

63-64 75-76 85-86 90-91 95-96

RAM 753 653 591 547 486

RCM 673 673 603 499 535

Trinity .. 372 401 409 463

RNCM 55113 .. .. 556 578

Source: Making Musicians; Gowrie Report; conservatoires.

In terms of study level, undergraduate numbershave reduced by around one third, with majorcuts before 1975-76 and between 1985-86 and1991-92. Postgraduate programmes increasedsharply before 1975-76 with the subsequentperiod seeing consolidation in numbers.

Table 6 Student numbers14 in selected conservatoires,15 by level

65-6616 75-7617 85-86 90-91 95-96Undergraduates 1,282 1,301 1,219 1,029 1,025

Postgraduates 159 397 376 414 408

Source: As above.

3.3 30 years agoWith the current focus on professionalaims/objectives and their envied status, it isdifficult to recall how strongly, only 30 yearsago, the conservatoires could have been blamedfor the shortage of orchestral players, andcriticised for lacking clear objectives, for failingto differentiate professional from amateurneeds, for producing too many ill-preparedpeople for the available jobs, and for acceptingtoo many students through an open doorspolicy who “by accident or design entered aspotential school teachers”.

12All students, including non-funded places.13 Royal Manchester College and Northern School.14 Excludes “other” courses.15 Royal Academy, Royal College and Trinity.16 Excludes Trinity.17 Excluding Trinity, UG students numbered 981 and PG 345 in

1975-76.

HEFCE 98/11 15

3.4 Changed standingIt should be recognised that over the last 30years the conservatoires have experienced amajor change in their standing, funding andrelationship with government, includingrecently when their willingness to pursue majorchange has remained evident. The key pointsare:

• the conservatoires have been brought from anautonomous position as special cases on theedge of national funding arrangements into themainstream of the higher education fundingsystem;

• three year courses have turned into four, anddiploma courses have been largely replaced bydegree courses at undergraduate level;

• whereas student resourcing 25 years ago in theconservatoires was half the higher educationaverage, the position today has been reversed;

• the strong development of pre-tertiary specialistinstrumental training in the UK since the 1960s(specialist schools etc) improved the quality ofconservatoire entry;

• the special mission of the conservatoires isrecognised through the Conservatoire AdvisoryGroup which alongside a medical equivalent isthe sole standing advisory panel servingHEFCE.

3.5 Music in the UKDuring the same period, there has been muchto celebrate about British music. Apart fromthe increased scale and growing diversity ofmusical activity, points to note are:

• the wide acceptance of Britishensembles/soloists on international platforms;

• continuing recognition of successive generationsof British composers;

• institutional and artistic strengthening ofoperatic provision;

• securing a place for music (with exceptionallyambitious targets, albeit compulsory only to theage of 14) in the national curriculum;

• the pioneering extension of musical institutions(especially orchestras and opera companies)into community and educational work; and

• the recent wave of concert hall buildings fromCardiff to Nottingham, the Barbican, Glasgow,Birmingham and Manchester.

3.6 Recent growth by levelSince 1991-92 (and the institution of theGowrie cap), student numbers have edgedupwards. The overall increase to 1996-97 was15 per cent. Postgraduate numbers grew by 26per cent, much faster than undergraduatestudents (up 10 per cent), in relation to whomthe number of funded places for home/EUstudents has been constant for several years.

Table 7 HEFCE conservatoires, student numbers, by level

1991-92 1996-97 % change

UG 1,357 1,490 + 10

PG18 466 585 + 26

Other 62 101 + 63

All 1,885 2,176 + 15


3.7 Numbers by institutionExpansion in student numbers occurredprincipally in two of the four institutions.Whilst numbers have been contained in theRAM and RNCM, the increase was 21 per centin the RCM and 30 per cent in Trinity. Thegrowth of the RCM appears to have beenmainly in undergraduate, overseas and shortnon-award bearing course students.

Table 8 HEFCE conservatoires, student numbers, by institution

1991-92 1996-97 % change

RAM 474 496 + 5

RCM 477 575 + 21

Trinity 395 513 + 30

RNCM 549 592 + 8


18 Excludes Professional Practice Diploma students at RNCM.

16 HEFCE 98/11

3.8 MASNs and CSNsThe MASNs (“maximum aggregate studentnumbers” or maximum number of home andEU undergraduate places allowed by HEFCEwithout penalty) and the CSNs (“contractedstudent numbers”, target figures below whichinstitutions are not expected to fall) set thefunding parameters within which theconservatoires operate. They are summarisedbelow, together with the level of HEFCEfunding.

Table 9 HEFCE conservatoires, MASNs, CSNs and formula recurrent grant, 1997-98

MASNs CSNs Grant£M

RAM 282 400 3.13

RCM 314 400 2.80

Trinity 305 376 1.84

RNCM 395 495 3.30

1,296 1,671 11.07

Source: HEFCE.

3.9 Trinity’s recent recoveryTrinity’s student population has increased atboth levels, with a greater growth inpostgraduate students whose proportion rosefrom 14 per cent of the student body in 1991-92 to 26 per cent in 1996-97. The increase atTrinity reflects the fact of low recruitment atthe post-Gowrie time, when its future inLondon seemed uncertain, and the subsequentpositive impact of its new courses, especiallythe Music Plus approach in the undergraduateprogramme.

3.10 Postgraduate proportionThe proportion of postgraduate students haschanged little at RNCM and RAM. The highestratio (35 per cent in 1996-97) is in the RAM,the institution with the smallest overall studentbody.

Table 10 Postgraduate proportions in HEFCE conservatoires, by institution

91-92 96-97

RAM 34 35

RCM 33 29

Trinity 14 2619

RNCM 2520 2321


3.11 Conservatoire admissionsAccess to British conservatoires is highlycompetitive. Students are “assessed againstinternationally accepted criteria for excellencein performance” and rigorous admissionprocedures (confirmed in the HEFCE qualityassessments) ensure that only the most talentedmusicians are admitted. Academic criteria areused as a minimum/support qualification whichcan sometimes be waived when “exceptionalmusical talent” is identified.

3.12 Buoyant applicationsBecause each college conducts its own entryprocedures and distinct requirements areneeded of candidates for conservatoires, theusual HE applications/entry data are notavailable (the HEFCE conservatoires are notpart of UCAS). Nor do all the conservatoireskeep full historic records. But on the evidenceof the data supplied, applications appear to bebuoyant. Our understanding is that decisionson overseas versus home students are basedonly on matters of quality.

19 Includes MA (Music Education).20 Includes Professional Practice Diploma (7 per cent of total

student population).21 Includes Professional Practice Diploma (5 per cent of total

student population).

HEFCE 98/11 17

Table 11 HEFCE conservatoires, number ofapplications, 1996-97

UG PG All

RAM 610 490 1,100

RCM 646 447 1,093

Trinity 434 239 *709

RNCM 565 184 749


* Includes 36 applications for special courses

There is a major element of pre-selectionsurrounding a conservatoire application linkedto the candidate’s technical proficiency. Theoverall level for undergraduate applications isaround seven applicants per place. Between1990-91 and 1996-97 applications rose at theRAM by 25 per cent and at the RCM by 10per cent. At Trinity undergraduate applicationsincreased from 207 in 1992-93 to 434 in

1996-97 (446 in the previous year) andpostgraduate applications increased from 161in 1993-94 to 239 in 1996-97 (266 in 1995-96).

3.13 International roleThere has been a marked growth in thenumbers of EU/OS students at the HEFCEconservatoires since 1990-91. This can be readas endorsement of their international role. Thenon-UK student proportion averaged 15 percent for undergraduates and 41 per cent forpostgraduates in 1995-96. The greater share ofnon-UK students were from overseas (ten percent of undergraduates and 25 per cent ofpostgraduates), but since 1990-91 the EUproportion of undergraduate level has doubledfrom three to six per cent. In the postgraduateprogrammes the growth has been fasteramongst overseas students (up ten percentagepoints from 1990-91 to 1995-96).

Table 12 HEFCE conservatoires, students from EU and rest of world, by level, 1995-96

Percentage of Change 90-91 to 95-96students from EU/OS percentage points

UG PG UG PG

RAM22 18 54 + 5 + 21

RCM 21 43 .. ..

Trinity 14 37 + 3 + 15

RNCM 24 12 32 + 8 -

Average 16 41 + 523 + 1223

Of which

EU 6 16 + 323 + 223

OS 10 25 + 323 + 1023


22 Leaver data, adjusted by 1996-97 OS student proportions.23 RAM, Trinity and RNCM only24 Students, excluding Professional Practice Diplomas 1996-97

18 HEFCE 98/11

3.14 Pre-conservatoire students

Some of the reduction in student numbers inthe 1980s was made in order to address aninternational standard (eg in RAM in relationto strings). Specialist training at the tertiarylevel can only flourish with a strong pre-conservatoire system of instruction. Each of theHEFCE conservatoires has a “juniordepartment” offering training to talentedmusicians aged roughly eight to 18. Thespecialist music schools are a further vitalsource of students for the senior departments.All but a tiny minority (two per cent in the caseof Wells and five per cent in the case of thePurcell School) of the conservatoire entrantsfrom the specialist schools choose to enterBritish institutions.

3.15 ConcernsWhilst entry standards to the conservatoiresacross the board are said to be higher than inliving memory, concerns are expressed aboutthe impact of changes in the local authorityinstrumental services, which are a consequenceof the introduction of local management ofschools. Arrangements for providinginstrumental lessons are altering in differentways around the country. In some cases, thelocal authority services have disappeared and inothers they have been replaced by trusts or co-operatives.

Concerns are that the opportunity to enjoyinstrumental lessons may be reduced in certaingeographic areas and the introduction ofcharges may have an impact on access. Whilstthe numbers studying instruments may not befalling, the changes are a cause for concern,which may be compounded by shortages ofquality teachers. Interest in the more unusualand expensive instruments may prove difficultto sustain. There is some evidence that moreboys now drop out from playing. Some 61 percent of current members of the National YouthOrchestra are girls. Particular concern isreported about “a weak tradition of stringteaching in Britain”, though this may bechanging, not least through the efforts ofcertain notable individual teachers.

3.16 Postgraduate coursesThe predominant mode for deliveringconservatoire education is the degree course.“Four years of full-time undergraduate studyplus one or two years postgraduate training aregenerally regarded as the minimum required forprofessional musicians”, though it can varyaccording to instrument and voice. “In manyEuropean conservatoires undergraduate coursesrun for six years.” Expansion of postgraduatetraining in conservatoires was noted above.

The recent jump of interest in postgraduatestudy by conservatoire graduates dates from thelate 1980s (according to RNCM data). Aroundhalf the first degree graduates from theconservatoires pursue continuing study. This ismostly for performance training, commonly atthe same institution (eg 30 per cent in RCM),but sometimes for study privately or abroad.

3.17 PGCEsVery few go on from the conservatoires to takePGCEs (six at RCM, nil at RAM). PGCEstudents come mainly from the universities andshortages are evident in courses for musicspecialists. The DfEE target is 507 in 1997;PGCE students with a music specialism totalled431 in 1994-95 and 422 in 1995-96. The areahas accordingly been given “priority subject”status.

3.18 University compatibilityThe conservatoires also take universitygraduates for postgraduate training. Studentsfrom this source average around a third of theconservatoire postgraduate entry. The RAMindicated that 68 of 122 new postgraduatestudents in 1997-98 are from universities.Figures for the other institutions are set outbelow:

HEFCE 98/11 19

Table 13 Source of postgraduate music students in selected conservatoires

RNCM26 Trinity27 RCM30

1992 1996

UK universities/HE 42 35 27 25

UK conservatoires 42 32 2728 40

Europe 6 12 1729 10

Overseas 10 22 2929 15


3.19 Increasing competition

More than one conservatoire principalobserved that entry via this route was provingmore difficult, especially for instrumentalists,owing to the rising standards and competitionfrom conservatoire-trained candidates. “Therecan be a loss of playing edge by students whofollow the university route.” The flow ofuniversity graduates to conservatoires mayamount to one in 15 of first degree students.Postgraduate students entering the RCM fromuniversities in 1996-97 (constituting 25 percent of the total RCM entry) undertook thefollowing courses: 41 per cent the solo/recital,30 per cent the orchestra pathway, 24 per centsingers and 6 per cent rest (early music,conductors).

26 Entry.27 Postgraduate student body in 1996-97.28 Some 9 per cent were from Guildhall, RCM, RNCM,

RSAMD.29 Some 27 per cent of the EU-O/S group were from

“conservatoires”.30 1996-97 entry.

20 HEFCE 98/11

4 Present patterns of employment

4.1 Data sources

There are now in place arrangements fortracking alumni data in each of the HEFCEconservatoires, usually in the hands of a“development office”. The most recentappointments are at Trinity and at the RCM,where a new Head of Development andExternal Relations and an Alumni ProjectOfficer have been working for about a year. Inthe latter case, added impetus to the recentappointment derives from the wish to trackprogress with the Music Plus course and toensure its continuing relevance. Theconservatoires were helpful in making availabledata in their possession on the employmentpatterns of their graduates. Each institutionwas able to supply materials though they areuneven in quality:

• RNCM has been collecting and analysing firstdestination statistics for some twenty years(generally covering over 90 per cent of leavers];it also took the trouble to revise and providedata on the current employment of the 1991cohort (relating to 78 per cent of leavers);

• RAM provided its detailed register on careersof leavers for the years 1990 to 1995; it alsoinstituted a special telephone survey of the1991 and 1995 leaver cohorts which wasorganised by the Director of StudentRecruitment at King’s College London (JohnMyerscough advised on some aspects of thedesign of the exercise); some 41 per cent of the1991 cohort and 49 per cent of the 1995cohort were successfully contacted; the surveydid not cover leavers now living abroad(mainly on account of cost); nevertheless, ityielded many insights into the employmentpatterns and volume and nature of incomesources;

• a re-analysis of the data showing currentemployment for the 1991 cohort for both theRNCM and the RAM was undertaken by JohnMyerscough; this provides the main evidenceon the placement record of the conservatoires;

• Trinity supplied some recent first destinationdata and the results of an information check on1990-94 leavers;

• RCM supplied the results of a postalquestionnaire of the 1995 leaver cohort;together with some first destination data for anearlier year.

4.2 CaveatsIt is important to register certain concerns andcaveats about the interpretation of employmentdata:

• “first employment” is generally a shaky basison which to draw any conclusions aboutsubsequent careers; this is particularly true inmusic where careers are subject to competitiveevolution and first steps are often only designedto build experience or create the circumstancesin which further study, contact developmentand other forms of professional preparationcan taken place; longitudinal data are a betterguide to student professional destiny;

• conventional categories for collecting firstdestinations are of limited application to themusic profession, where self-employment andfreelance activities predominate and the mixedportfolio approach to careers is increasinglybeing favoured;

• straight employment data do not capture thebenefit to the nation’s musical culture gainedfrom skilled performers who take careers inother fields, outside the musical profession orallied sectors; the fruits of a life devoted tomusic may be realised through enriching thelives of others and/or in service to the amateurworld.

4.3 Morphology of careers in musicThe distinctive features of a career in the musicprofession need emphasising. Key points whichemerge mainly from the RAM telephone surveyare:

• multiple sources of employment: some 48 percent of the 1991 cohort had three or moresources of employment in 1997 (defined asdifferent spheres of music eg composing,teaching, playing in ensembles, working asrepetiteurs, doing solo concerts); only 17 percent relied on one employment source;

HEFCE 98/11 21

Table 14 RAM graduates, number of employment sources, 1991 and 1995 cohorts

Percentages

131 231 3+31 NA

1991 17 25 48 10

1995 16 24 53 7

Source: RAM survey.

• salaried employment only for minority: only 37per cent of respondents from the 1991 cohortreported that their “main employment” wassalaried;

Table 15 RAM graduates, percentages withmain employment salaried, 1991 and 1995 cohorts

Salaried Not NA

1991 37 51 12

1995 24 63 13

Source: RAM survey.

• reliance on diverse sources of employment: ananalysis of first and second sources ofemployment showed that only 13 per cent ofthe 1991 cohort reported that both first andsecond sources of employment were“performing” by the same token only 17 percent had first and second sources ofemployment in “teaching”;

• pattern of employment differs five years out:more of the 1991 cohort had salaried mainemployment (37 per cent) than the 1995 cohort(24 per cent) and more were likely to befocusing for the two main sources ofemployment on teaching (17 per cent comparedwith nine per cent).

Table 16 RAM graduates, percentages withfirst and second employment in same area, 1991 and 1995 cohorts

Performing Teaching

1991 13 17

1995 44 9

Both cohorts 27 14

Source: RAM survey.

4.4 Orchestra members also teachThe special HEFCE survey of orchestralmembers (sample 374) produced informationon current teaching practice. Some 63 per centof orchestral members reported they were“currently teaching”. The proportions werehighest amongst woodwind and lowestamongst string players.

Table 17 Orchestral members currently teaching, by instrument

Percentages

Strings W’wind Brass Other All

Teaching 55 80 69 81 63

Not teaching 43 20 31 19 36

No reply 1 - - - 1

Source: HEFCE survey.

4.5 Regional dimension to mixed employmentThere is a regional dimension to the pattern ofteaching. The proportion of orchestralmembers teaching was highest in Ulster at 82per cent. It would appear specialisation onplaying is easier to achieve at any one time in alarge metropolitan area such as London,though the level of current involvement inteaching was still high at 53 per cent.

31 One, two, three or more sources of employment.

22 HEFCE 98/11

Table 18 Orchestral members currently teaching, by region

Percentages

Rest of London Eng Scotland Ulster All

Teaching 53 67 63 82 63

Not teaching 46 33 33 18 37

Not answered 1 - 4 - 1


4.6 Short performing careersThere is some evidence of withdrawal from themusic profession at a relatively early age. Theorchestral survey shows only five per cent ofmembers aged 55 and over.

Table 19 Orchestral members, by instrument and age

Percentages

Strings W’wind Brass All 32

Under 25 6 3 4 5

25-44 72 77 76 72

45-54 16 17 20 18

55 and over 6 3 - 5


Older players are most evident in the stringswhere they can take their place in largesections. The more exposed solo responsibilitiesmay take their toll in the brass, with no playersin the survey recorded over the age of 55.“Burn out” may be a problem for an oldergeneration trained under an earlier system butlittle appears to be known about the life ofretired players. Teaching may be an obviousresort. The modern emphasis on “transferable”skills at the conservatoires is addressing thispoint for the new generation. It argues forINSET and accelerated provision of lifelongprofessional learning.

4.7 Music careersThe career patterns described above, mainlyfreelance, with multiple sources of employment,evolving mixes of activity, teaching andperforming as common elements, and restrictedsalary opportunities, are usual in music. Thispattern applies as much to the “great names”as to the bulk of the profession. Multipleoccupations may give a better return bytraining and in some respects the musicprofession anticipates more generally-emergingpatterns of employment. Musicians are veryactive in creating their own work throughteaching, developing ensembles and establishingconcert opportunities.

4.8 Positive placement recordsOn the evidence available, the placementrecords of the HEFCE conservatoires seemspositive. The longitudinal data suggest thatsome five years out around 85 per cent ofleaver cohort will be active in the musicprofession. The data relate to the RAM andRNCM and show 14 to 16 per cent of the1991 cohort had left the music or culturalprofession, or were not available for work.

Table 20 RAM and RNCM, 1991 leaver cohorts, employment in 1996-9733

Percentages

RAM

1st deg P/grad Both RNCM

Performance contract }28 }57 14 18

Other performance } } 30 36

Mixed 39 21 29 14

Teaching 14 8 11 18

Left, n.a. 19 14 16 14

Source: Data from conservatoires; JM analysis.

32 Includes “others”.33 Adjusted data; figures exclude overseas don’t knows and treat

two thirds of UK don’t knows as having left the profession.

HEFCE 98/11 23

4.9 Key featuresOther key points about employment are:

• 14-18 per cent are working as contractedperformers;

• 30-36 per cent are freelance performers;

• 11-18 per cent are exclusively teaching;

• 14-29 per cent have a portfolio of work,typically combining performing with teaching.

4.10 Low recruitment outside the music professionA further analysis adds some illustrative dataconcerning Trinity graduates and identifiesgraduates engaged in non-performing roles inmusic (eg broadcast, recording, instrumentmaking, publishing) and managerial positionsin other parts of the cultural system. TheTrinity data reflect its pre-Music Plus period,the first results of which will only begin toemerge in 1998-99. Key points are:

• the Trinity pattern is broadly similar to theother conservatoires; differences are that moreTrinity graduates are found in teaching (27 percent) and fewer with performing contracts (14 per cent);

• only three to six per cent of leavers entercultural occupations outside the musicperforming profession.

Table 21 RAM, RNCM and Trinity, 1991 leaver cohorts within cultural sector, employment in 1996-97

Percentages

RAM Trinity34 RNCM

Performance contract 17 14 22

Other performance 36 40 42

Mixed 27 16 19

Teaching 13 27 16

Other culture34 6 3 3

Source: Data from conservatoires: JM analysis.

4.11 Influence of level of studyPlacement “success” is influenced by the levelof the study (see Table 20). Comparisonbetween first degree and postgraduate leavers inthe 1991 RAM cohort shows:

• fewer postgraduates (14 per cent) leave theprofession compared to undergraduates (19 percent);

• more postgraduates achieve performingcontracts (57 per cent compared to 28 per centof undergraduates);

• fewer postgraduates enter teaching (eight percent compared to 14 per cent).

4.12 Principal studyPlacement “success” also varies according toprincipal study. The RAM data show that morestrings and wind/brass graduates becameperformers, especially amongst postgraduateleavers. Wind/brass undergraduates are mostlikely to enter teaching/mixed employment.

34 Refers to some 29 per cent of qualifiers 1990-94.

24 HEFCE 98/11

Table 22 RAM 1991 cohort, employment in 1996-97, by principal study and level35

Percentages

Playing Teach/mixed NA/DK

First degree

Strings 30 37 33

Wood, brass etc 27 47 27

Keyboard 12 38 50

Vocal - 50 50

Other 23 69 8

All 21 43 36

Postgraduate

Strings 63 18 18

Wood, brass etc 62 19 19

Keyboard 21 37 42

Vocal 37 25 37

Other 29 29 41

All 46 24 29


4.13 High “risk”It should be noted that the numbers in thismore detailed analysis are somewhat small.They relate only to one year and may not betypical. High “risk” areas for the 1991 cohortwould appear to be keyboard and vocalstudies. Students from these faculties registerthe highest proportion of DK/NAs (onunadjusted data) and show lower entry ratesinto performing. Many applications forkeyboard places come from overseas. Vocalstudents with postgraduate training faredrather better than their undergraduateequivalents. The less detailed data from theRNCM show higher proportions of qualifiersfrom the vocal faculty “becoming performers”.Two observations can be made:

• the HEFCE conservatoires are institutingchanges in keyboard curricula to bring theminto line with current demands and potentialexpanding opportunities (providing training inaccompanying, chamber playing, the animateurrole and repetiteur skills etc);

• vocal skills are particularly difficult to assessand the “raw talent” factor is of greatimportance in determining destiny in vocalcareers; the impact of the joint vocal facilitybetween RAM and RCM could not be takeninto account in these figures.

4.14 Almost all seek entryFirst destination data (for what they are worth)show very few students declining the challengeof entering the profession.

Table 23 First destinations of conservatoire qualifiers*, 1995

Percentages

RAM RCM Trinity RNCM

Study .. 41 52 43

Performing/mixed .. 51 32 51

Left, n.a. etc .. 7 15 5

.. 100 100 100


* Excluding non-respondent, equivalent to 29% of total

at RCM, 24% of total at Trinity and 4% of total at

RNCM

The ten years of data assembled by RNCMconfirm that those leaving the profession at thepoint of first destination have declined from 13 per cent in 1986-88 to seven per cent in1994-96.

35 Unadjusted data.

HEFCE 98/11 25

Table 24 RNCM leavers, first destinations

Percentages

1986-8836 1994-9636 Point change

Study 20 35 + 15

Performance contract 16 9 - 6

Performance other 28 31 + 3

Teaching 12 12 -

Admin 3 2 + 1

Other professions 8 4 - 4

DK, n.a. 13 7 - 6

Source: RNCM; JM analysis.

4.15 Reasons for growth in further studyThe RNCM data show marked growth offurther study as a first destination, rising from20 per cent to 35 per cent of all leavers overthe same period. Some see this as evidence of agrowing “waiting room” for entrance to theprofession. Others argue that it is evidence ofincreasing demands made by the profession forhigher skills and greater versatility. Theseexplanations are not necessarily contradictoryand should be seen in the light of the fact thatmost postgraduate students incur the cost ofpostgraduate course fees themselves.

4.16 Two way relationship overseasThe increasingly international make-up of thestudent population of the HEFCEconservatoires was noted above. Thelongitudinal data indicate that placement in theEU and overseas territories is around 28 percent of leavers. This figure is roughlyproportional to the relevant foreign entry. Ofcourse, these are not necessarily the sameindividuals, but it implies a rough balance oftrade at that level.

4.17 Quality placementsThere is evidence of quality orchestralplacements abroad being achieved by UKgraduates, especially those seeking experiencein orchestras. RAM 1991 alumni currently holdcontracted orchestra positions in Amsterdam,Copenhagen, Asturias, Madrid, Las Palmas,Tenerife, Iceland, Hong Kong (x2), Singaporeand Melbourne (x2). These were in addition topositions held in Britain by 1991 alumni in theLSO, RPO, RLPO, Ulster Orchestra, NorthernSinfonia, Bournemouth Orchestras, CBSO,Royal Opera and Opera North. By the sametoken, graduates from the RNCM 1991 cohortinclude currently contracted players inGermany, Spain, Poland and Hong Kong, aswell as the Bournemouth Orchestras, RLPO,the Halle, BBC Philharmonic Orchestra, BBCScottish Symphony Orchestra, Royal Operaand Opera North.

4.18 Qualification in the professionThe service of the conservatoires to theprofession is shown in the orchestral survey.Some 90 per cent of members of Britishorchestras have first degrees or equivalent and40 per cent hold graduate qualifications.

Table 25 Orchestral members, by degree and instrument type

Percentages


First degree37 92 92 82 88 90

Postgrad 42 39 33 44 40degree

No degree 8 8 18 12 10

Source: JM/HEFCE survey.

Some 89 per cent of first degrees were obtainedfrom conservatoires, and of those withuniversity degrees, some 41 per cent didpostgraduate training at conservatoires.

36 3-year average. 37 Including diploma equivalents.

26 HEFCE 98/11

Table 26 Orchestral members, source of first degrees38 in music, by instrument type

Percentages


HEFCE 54 61 56 64 55cons.

Other cons. 23 26 29 - 2439

UK univs/ 12 9 5 14 11colls

O/S cons 9 4 5 21 6etc

Total 10039 100 10039 100 10040


4.19 Overseas qualificationsOverseas qualifications (17 per cent) becomemore important at the postgraduate level.

Table 27 Orchestral members, source of postgraduate qualifications41 in music, by instrument

Percentages


HEFCE 50 48 28 29 45cons.

Other cons. 13 30 50 - 20

UK univs/ 9 9 12 43 11colls

O/S cons. 22 4 6 29 17etc

Total42 100 100 100 100 100


4.20 Generation changeA substantial group of the older generationplayers entered the profession without thebenefit of a conservatoire training. The surveyshowed 29 per cent of those aged over 55 werewithout a degree or equivalent.

Table 28 Orchestral members, with first degree,43 by age

Percentages

Under Over25 25-34 35-44 45-54 55 All

No first - 12 5 8 29 10degree

First degree 100 88 95 92 71 90

Of whom:

1st degree 100 86 88 88 71 87in music

1st degree - 2 6 5 - 3not in music

Total 100 100 100 100 100 100


4.21 ObservationsGiven that music is, in part at least, aprofession dependent upon identifying naturaltalent, it would seem unlikely that theplacement record of the HEFCE conservatoirescould be much improved. Calculated risk mustsurround some (if not all) students acceptedinto training for the professions. There may beissues/implications from these data about thelength/formatting of courses and therebalancing of certain programmes of study inthe conservatoires, but no case emerges for anyreduction in overall student numbers.

38 Including diploma equivalent.39 Of which 15 per cent Guildhall.40 Includes unknown.41 Including diploma equivalent.42 Includes unknown; also 2 per cent strings and 9 per cent

woodwind at NCO/Goldsmiths. 43 Includes diploma equivalents.

HEFCE 98/11 27

5 Desirable pattern of future training and changing performance practice

5.1 Music sectorThe most recent estimate (commissioned by theNational Music Council) of the scope of the“UK music industry” puts its value added at£2.5 billion. Export earnings are estimated at£1.2 billion (much of this royalties/fees),compared with music imports of £0.6 billion.These figures relate to a broad definition of thesector which includes instrument making,music retailing, education/training in music aswell as performing and recording. They excludethe tourist factor which is of importance.

5.2 JobsThe same study puts the number of jobs in themusic sector at 115,000. A minority of theseare “performers”, at 43,000, with the majorityin other support occupations. The figureincludes a large estimate for rock and popperformers, most of whom probably do notemerge through the “classical” training route.

5.3 Classically “trained”Based on industry sources, we estimate thenumber of classically “trained” musicians(excluding class teachers and HE/FE staff) to becurrently some 15-17,000, as follows:

• instrumentalists (contract orchestral andfreelance players) 4,900-5,400

• vocalists (solo, chorus, musicals) 2,100

• military, church, composers 2,700

• instrumental teachers (sole/main income) 6,200.

A further 17,500 with higher qualifications inmusic worked in schools and HE/FE (1991Census).

5.4 Recent changeThere can be little doubt about the pervasiveand extending role of music in so many aspectsof modern life. An indicator of this growth isthe number of people recording theiroccupation as “musician” in the decennialcensus. This figure increased by 13 per centbetween 1981 and 1991, and doubtless reflectsto some degree developments in popular music.

Another important change evident from thecensus is the rise in self-employment among“musicians” from 65 per cent in 1981 to 73per cent in 1991.

A comparison of the current estimate of thenumber of “trained” musicians with thatprepared by Muriel Nissel relating to 1975(1978 Gulbenkian Report) shows no change inthe overall total. Compared to 20 years ago,there may be more contracted orchestralmusicians today, fewer theatre musicians(though this demand has expanded againrecently), perhaps more (and more varied)freelance players, more singers and fewerinstrumental teachers.

5.5 “Under-skilling”There is evidence of a degree of “under-skilling” in the music profession. Only 28 percent of people occupied as “musicians”according to the 1991 Census, held highereducational qualifications (excluding those withhigher qualifications in music working in“education”). The study by Gibbs shows some55 per cent of private teachers of musicwithout higher qualifications; some 28 per centlacked qualification beyond Grade 8 and 27 percent had no qualification at all. Data from anAssociated Board survey of teachers submittingcandidates for its examinations (which includea substantial number of school teachers) seemsto convey a somewhat brighter picture.

5.6 Changing professionMusic is a changing profession. Concert life inBritain is marked by observably risingstandards and continues to diversify, with thedevelopment of important new strands ofactivity, for example, around early andcontemporary music and specialist choirs.Opera and dance demand has expanded forsmall, medium and large scale work and thepopular classical market has moved to largearenas and the open air, finding new outlets incountry houses and festivals. The contrastbetween the Royal Festival Hall, losing one

28 HEFCE 98/11

third of its classical public, and the flourishingWigmore Hall and the expanding success of thePromenade Concerts reflects the variablepressures on concert life. The re-invigoratingeffects of new concert halls can be seen inBirmingham, Glasgow and most recently inManchester, where audiences at theBridgewater Hall are 90 per cent above thelevels of the early-1980s in the old Free TradeHall. Figures on concerts suggest that theprincipal orchestras are doing more than 20years ago and the most recent trend appears tobe upwards again. The years between sawhighs and lows.

Table 29 UK concerts by principal orchestras, highs and lows

Mid-70s 1993-94 Low High

Contract44 81945 770 73749 84250

London46 410b45 431 39051 54552

BBC47 8748 218 87 218

Source: Facts about the Arts; Cultural Trends; ACE.

5.7 Broader responsibilitiesA change of fundamental significance has beena new kind of responsibility taken by musicalorganisations in relation to education and otherareas of community need. The educationprogrammes of orchestras and operacompanies, in which Britain has led the world,are one manifestation of this, targeted at

curriculum support in schools, children oradults. Another is the systematic use of musicin caring organisations of which a mostsuccessful organisation is Live Music Now!mounting around 2,000 concerts a year. Achanging role for the composer can be seen inthis work, as well as in the breadth (andaccessibility) of contemporary composition,including its re-emphasis in the music-makingof amateurs.

5.8 Cultural transformationWhile some traditional areas of voluntarymusical life (eg brass bands) appear to beflourishing, some others are experiencingpressure. Alongside this, new areas of activityhave arisen, of which “community and socialmusic”, for example, has been through severalphases of evolution. The impact of the newnational curriculum in music is felt in theseareas. A broad cultural transformation may beunderway in which traditional boundaries arebeing crossed, established hierarchies re-interpreted, and new interest shown in hybridand multi-cultural musical exploration.

5.9 Other driversExamination of other drivers of the musicworld confirm a picture of continuing change:

• there is feast and famine in the recordingmarket which in many respects istechnologically driven; digital technology hasbecome a compositional and performing tooland now the internet promises a transformationin the distribution of copyright materials;

44 CBSO; BOS; Halle; RLPO; NSinf; ENPO. 45 1974-75. 46 LPO, PO, RPO, LSO.47 Public concerts by BBCSO; BBCSSO; BBCPO; BBC National

Orchestra of Wales.48 1979-80. 49 1990-91.50 1984-85.51 1979-80. 52 1984-85.

HEFCE 98/11 29

• lottery investment (capital projects,stabilisation, “Arts for Everyone” and perhapsother areas, including recording) couldrevitalise music in the medium term; this mayprove to be a time-limited programme andother aspects of public expenditure look lesspositive;

• the provision of instrumental teaching isundergoing fundamental change; there is noclear evidence yet of any impact on the volumeof lessons, though some social and geographicalvariability is evident, as well as changinginterests in particular instruments; a positiveview of future prospects is taken by therecently-formed National Federation of MusicServices, which sees opportunities arising fromthe new kinds of music services;

• market interest in opera and ballet hasincreased strongly in the last decade whilstbeing maintained for classical music; the stableposition in the music market combines contrarytendencies, strong growth for over-45s andfalling interest in younger markets; the 25-44age market appears to have strengthened againsince 1991-94, but the long-term implication ofa recent weakening of the under-25s market isunclear.

5.10 Entry to professionManpower planning exercises have a poorsuccess rate. In so far as it is difficult to isolatedemand as an independent entity from theinfluence of supply, this applies with particularforce in the context of music. Graduates fromthe HEFCE conservatoires entering the labour-market would appear to be rather less than300, after allowance for those continuing instudy and for those leaving the UK. At best, the“other conservatoires” may add some 60 percent to this figure.

With a placement rate of 85 per cent and aperforming life of 30-35 years, this means therewould appear to be no general over-supply inrelation to current demands whatever theposition re specific areas of principal study. Theissue of the quality of entrants to the musicprofession needs to be taken in the context ofrising demands placed on those working inmusic at every level.

5.11 Continuing change in conservatoiresFollowing the previous downsizing in studentnumbers and concentration of resources toimprove quality (described above), theconservatoires have continued their programmeof major change. especially the recent shift todegree courses and the re-casting of theircurricula. It is evident that the new generationof principals now in charge of the HEFCEconservatoires are seeking to respond tochanges in the musical world.

5.12 EmployabilityKey points include:

• the conservatoires are addressing the provisionof “employable” musicians in various ways; theRAM’s BMus is intended to produce morerounded musicians, carefully integratingacademic elements of the degree to theperformance aspect, with useful skills for thoseleaving the music profession; the results ofTrinity’s new Music Plus are yet to be seen, butthe purpose of the course was recognised inHEFCE’s quality assessment as educatingmusicians “to be increasingly flexible inpreparing for employment in today’s market”;the RCM have introduced new practical“pathways” at the postgraduate level (eg the“orchestral”, “repetiteur” and “early music”pathways), and its undergraduate degree isdesigned to be “professionally relevant”, with astrand related to professional skills and careermanagement running throughout the course;

• practical experience runs like “red dye”through conservatoire courses; students learn tofunction in a highly competitive environment;specific work study provision includes studentplacements in professional orchestras, operacompanies (eg RNCM/Opera North proposalsjointly to establish a repetiteur training scheme)and community/education outreach experience;professional awareness training, careerguidance, concert experience and presentationalskills are generally provided as are repertoiresessions, top-level sectional coaching, andexperience in varieties of performancetechniques;

30 HEFCE 98/11

• the pre-professional course strands generallynow include consideration of teaching; RAMruns an obligatory three-year course involvingpractical experience at schools and at theJunior Academy; strings students at RNCMhave access to the pioneering Junior StringsProject and to Kodaly and Dalcroze techniques,whilst others have one- or two-year courseswith lectures on pedagogy; Trinity’s“communication and teaching skills”programme (mandatory for the first two yearsof the undergraduate degree) developsunderstanding of the “presentation of music”in different contexts, and also incorporatesKodaly, Dalcroze and Alexander techniques.

5.13 ConcernsWhilst it may be true that “the old approach totraining for one specific task has largely gonefrom virtually everywhere”, criticisms aresometimes still levelled at the conservatoires.The extra vocational elements tend to beminors, and so cannot qualify students fully forthe life, say, of an instrumental teacher.Availability is never the same as absorption,especially when courses may not be examinedand some individual teachers downplay theirprofessional significance. On the other hand,there can be a price to pay for an “over-vocational “ approach in which the student has“less time to develop as an artist”, and thedangers of overload may result in only a“superficial broadening”.

5.14 Perception of the changing professionThe new approach is informed by an activeengagement with the concept of a changingprofession. Various identified elements include:

• mixed portfolio approach to careers (with lessinterest in available salaried employment),involving performing in a variety ofensembles/circumstances, composing andteaching (including workshop/creative projects);

• rising standards of instrumental playing,requiring versatility and the ability to cope withvaried styles and instrumental balances;

• better instrumental teaching in private practiceand in potentially reinvigorated instrumentalmusic services;

• changing awareness of the role of the musicianand of musical institutions, especially inrelation to education,

• the need for in-service training to providelifelong professional development andadditional skills for established performers;

• new and revived markets for musicians in lightmusic, musicals, film, improvisation, inter-cultural crossover, cabaret, small-scale musictheatre (where public expectations haveincreased hugely) including dance;

• a social role for music in the community, careand therapy, eg Live Music Now!.

5.15 Closer links to the professionThe new generation of principals see it as apriority to draw closer to the professionalworld. They are made aware of changingprofessional needs through student requestsand through the professional linkages suppliedby the teachers drawn from the activeprofession. The RCM is the lead institution foran eight-institution project (also includingTrinity) on “professional integration”,supported from HEFCE’s fund for thedevelopment of teaching and learning. TheCPC, which meets termly, has beenstrengthening its links with othersprofessionally involved in music education andtraining, and in its support. The Music Directorof the Arts Council of England is among thosewith whom CPC has regular discussions. TheABO is providing an important interface forcontact between the conservatoires and theorchestral system. Many of these exchanges ofinformation are casual and informal. Someorchestral managers are close to the life of theconservatoires whilst others feel rather divorcedand regret a degree of professional separation.This is a two-way process, but it would beprudent for the conservatoires to consider themeans of developing more systematic links withthe profession and of monitoring relevantrequirements and expectations.

HEFCE 98/11 31

5.16 Employer reactionsEmployer reactions were sought from theorchestral field. A range of reactions wasexpressed to the young products of theconservatoires based on the experience ofseeking to recruit players. A London fixerreported that the “quality is very high”, and“whilst players appeared to be more rounded,and better equipped to survive in theprofession, this does not appear to make themnecessarily better players”. Orchestralmanagers in the regions still experiencedifficulty finding players, especially in thestrings, and occasionally for “rare”instruments. Vacancies can be left unfilled. Onthe other hand, the “London freelance playersare excellent” and “outstanding players can beobtained in their 30s if they are looking for asettled existence outside London”, though it issometimes necessary to offer contracts withtime off.

5.17 Recruitment of non-UK nationalsSome confirmation of this picture comes fromevidence in the orchestral survey. The non-UKplayers represented eight per cent of the totalorchestral membership and most areconcentrated in the string sections where somesix per cent are from the rest of the world.Recruitment from the “rest of the world” isrestricted by visa requirements. The terms andconditions of salaried positions in Britishorchestras are said not to be attractive to therest of Western Europe. On the other hand,there is some evidence of freelance players fromthe rest of the EU entering the London market.

Table 30 Orchestral members, by nationality and instrument type

Percentages

Strings W’wind Brass All53

UK 91 97 95 93

Rest of Europe 3 2 4 3

Rest of World 6 2 2 5

100 101 101 101


There is more international recruitment in London.Some ten per cent of the membership of Londonorchestras are non-UK nationals, including sevenper cent from outside Europe.

Table 31 Orchestral members, by nationality and region/country

Percentages

Rest ofLondon Eng Scotland Ulster All

UK 90 92 98 97 92

Rest of Europe 3 4 2 0 3

Rest of World 7 4 0 3 5

100 100 100 100 100


5.18 Changing attitudesThe best young players are reported to be“hard edged”, more rounded and betterequipped to survive in the profession. Similarly,the conservatoires believe that their studentsare “thinking differently”. Some of the beststudents have been turning down orchestraljobs, preferring careers in chamber music andallied areas.

53 Includes “other”.

32 HEFCE 98/11

5.19 Role of postgraduate trainingPerhaps it is inevitable that the level ofprofessional expectations will not always bemet by graduates, especially when orchestraldemands are rising. Various means ofaddressing this have been tried, includingorchestral placements and the experiments ofspecialist postgraduate training orchestras atthe RNCM (in the early 1980s) and atGoldsmiths College.

This raises a number of issues about the role ofpostgraduate study. Existing postgraduateprogrammes address an array of objectives. Ifthe performing standard of the first degree isconsidered to be consistent with entry into themusic profession, the fact that manyperformers, including the majority of singers,need to continue into postgraduate coursesbefore attempting entry into a professionalcareer, would suggest that the normal four-yearlength of an undergraduate course is notnecessarily appropriate for all performers.What is described as postgraduate study issometimes, in reality, a continuation ofundergraduate study. Singers tend to be aspecial case which requires very carefulscrutiny. There may well be an argument forreviewing the status, financing and length ofcourses to make the exit point relate morerealistically to professional expectations.

5.20 Continuing changeThe conservatoires’ recent record of change isevidence of a commitment to development.They are engaged in the continual review andadaptation of courses to reflect changingopinions and new needs. Trinity is alreadyreviewing the Music Plus programme, with thehelp of inputs from the profession, and isactively developing its collaborative ventureswith a range of organisations in otherdisciplines which include the LondonContemporary Dance School, the RoyalAcademy of Dance and the Central St MartinsSchool of Art. RAM has slimmed down andsimplified its new degree in the light ofexperience. RNCM is instituting the results ofan academic review aimed at a more student-

led approach in streamlining the delivery of itscourses. Among areas of “need” for newcourses signalled to the policy group are pre-Baroque performance, jazz/improvised work,music for dance, world music and non-Westernclassical traditions.

5.21 LimitationsAt the same time, the room for manoeuvre onthe part of the HEFCE conservatoires is beinglimited by a number of factors:

• they are faced with a broadening market whichcreates supplementary demands for training;the new areas do not generally replaceestablished ones and so shutting down existingareas is not a sensible option, and especiallywhen the placement records are good;

• the downsizing of the conservatoires mean thatthey operate close to the minimum critical massneeded to sustain the diverse training which theprofession demands; some of the studentrecruitment at levels above the CSNs relates tothe need to achieve a proper balance ofinstrumentation in each institution;

• core academic staff teams are under-resourced;the part-time staff bring flexibility and contactfor students with the professional world; theirpreponderance can make institutionaldevelopment and corporate change moredifficult to achieve;

• the current cost base may already be too closeto the minimum for comfort; this is one reasonwhy top-up fees are seen as inevitable/necessaryby some principals; the staffing arrangementsprobably represent a minimum-cost approach,with the extensive use of hourly-paid staff;standards may not be slipping (because of theprofessional commitment of teachers), but thepressures on staff are severe;

• the main burden of costs may lie not solely inthe one-to-one teaching (which is fundamentalto the purpose of the conservatoires), but inother areas, such as teaching support, musicfacilities (eg theatres and halls with staff) andthe administration overheads needed for smalland complex institutions, in relation to whichindividual organisations may have little scopefor reduction.

HEFCE 98/11 33

5.22 CostsCosts in conservatoires are not within the remitof the policy group’s study. Some of theconservatoires are trying to acquire a betterunderstanding of how their costs arise inrelation to particular activities. The expense ofvocal/opera training has been identifiedparticularly by RNCM. An adequateunderstanding of the issues of duplication,under-utilisation and effective application ofresources would require a full assessment ofhow costs and income currently arise. Thehistorical anomaly of the low funding ofTrinity needs addressing.

5.23 Resourcing levelBritish conservatoires are thought to be “verycost-effective”, but “facilities areproportionately poor”. A “review” of the RAMcarried out by David Tomatz on behalf of theNational Association of Schools of Music (theaccreditation organisation for music schoolsand departments in higher education in theUSA) cast some light on the area, with theobservations that salaries “are low for excellentprofessionals”, “hourly instrumental pay isvery low” and “more space is needed”. Areasidentified by principals where extra resourcingwould be utilised indicate the pressure pointsand areas of potential weakness. They include:

• increasing instrumental/vocal teaching (to atleast 90 minutes a week, the continentalminimum), together with re-instatement ofsecond studies, and the addition of more classwork;

• investing in more full-time teaching staff tostrengthen the core faculties and achieve abetter supportive balance with part-time staff;

• improving buying power in engaging more “topmusic pedagogues”;

• staff development;

• increasing instrument purchase, many of whichare hugely expensive.

5.24 Extended role in INSETIn addressing the changing demands of themusic profession, some consideration has been

given to areas in which the role ofconservatoires might be extended. Theopportunity afforded by in-service training isbeginning to be well understood, and a numberof programmes are being developed.Conservatoires are well-placed to define aframework for providing career-long access formusic professionals to specialist updating andsupplementary training. The Music EducationDepartment at Trinity (founded in 1990)provides a professional development service,designed especially for class teachers (withrelevance for instrumental teachers),progressing from Certificate level throughDiplomas to the Fellowship. Around 1,000teachers are registered with the Department.Trinity’s MA in Music Education currentlyincludes players from the Northern Sinfoniaand the Bournemouth Orchestras.

5.25 “Teaching of performance”There is a national shortage of instrumentalteachers of quality and yet the matter isneglected as a field of national policy. Itappears to be a black hole in which no nationalresponsibility is taken. The need is urgent. Anumber of efforts are being made to improvethe situation, for example, through professionaldevelopment for existing instrumental teachers(Associated Board and ISM programmes). TheRNCM’s Junior Strings Project has introducedbasic training in specialist instrumentalteaching into a PGCE course run jointly withthe Manchester Metropolitan University.

British conservatoires, unlike conservatoires inJapan, Austria and Finland, have ratherdistanced themselves from training in the skillsof teaching performance as something that“could compromise standards”. It would seemtimely to re-open the question (raisedpreviously in the 1978 Gulbenkian report) andexamine how “instrumental teachingpathways” might be established, and at whatlevel. This matter might be given a regionaldimension. There would appear to be noreason why the mission of some conservatoiresshould not be extended from “training for

34 HEFCE 98/11

performing” to include “and for the teaching ofperformance”. This would recognise therealistic outcome for many students thatteaching will become a source of employment.

5.26 SWOT analysisThe British conservatoires are held in goodstanding internationally and admired for theirability to think ahead and for being capable ofchange (more so than continental institutions).Particular strengths include:

• modernised curricula;

• high quality of general course activity andemphasis on chamber music/ensemble activity(this is not sufficiently promoted);

• close links to the profession;

• personal approach to teaching;

• the appeal of British musical life for its energyand variety.

At the same time, certain weaknesses areevident:

• under-resourcing and cramped facilities;

• too many institutions of same size and limitedin scale and scope;

• the charging of fees (an international liabilityonly partly offset by availability of bursaries).

The conservatoires are faced with majoropportunities:

• financial pressure is being felt elsewhere inEurope;

• management flexibility and experience ofprivate/public partnership;

• meeting the changing demands of theprofession (eg for INSET, instrumentalteaching);

• leadership role in relation to Europeantradition (being revitalised in the UK’s“modernised” cultural context).

The main threats lie in the areas of:

• funding pressure; and

• any propensity there may be to accept thestatus quo.

5.27 Appetite for changeIn proposing an agenda for development, werecognise the appetite for further change withinthe conservatoires themselves. It has beenargued in the past that the conservatoires face achoice of whether to focus on top soloperformers or on the wider needs of theperforming profession. Whilst these aims areneither contradictory nor necessarily impossibleto contain within the same institution, in thelight of current changes in the musicprofession, the dilemma as posed may prove tobe more imaginary than real.

5.28 NumbersThe Group suggests a number of possibledirections of change. By the same token, roomfor manoeuvre is limited under the presentarrangements and the Group believes that theability to respond flexibly to new developmentsand opportunities would be easier in largerinstitutions. It should be emphasised that thisshould imply no change in the overall studentnumbers for the HEFCE conservatoires. Webelieve the current numbers to be about right.

5.29 Collective approachThe suggested areas for consideration aredirected to improving the flexibility,competitiveness and effectiveness of theconservatoires. They should see themselvesmore collectively as a module in a widercontinuum of music education and training andbe aware of the variety of courses offered byother institutions and the overall numbers ofstudents in each performance category in alltheir institutions. This knowledge should helpin formulating recruitment strategies and it mayalso help in the rationalisation of courses bothwithin individual colleges and between all thecolleges. The Royals already work together inthe Associated Board of the Royal Schools ofMusic, which is a worldwide examinationbusiness.

5.30 Areas for considerationThe intention might be through a morefederated approach to strengthen theircollective ability to respond to new demands:

HEFCE 98/11 35

• collaboration in London on nuts and boltsmatters should be pursued further (with theexperience of the joint faculty in the Royals inmind), in all relevant areas (eg admissions,promotion, shared specialisms);

• the scope for reducing duplication in specialistcourses (with the parcelling out ofresponsibilities and appropriate controls onstudent intake) merits examination;

• close consideration of the requirements for newareas of study should be undertaken, includingthe possibility of widening the provision forexceptional performers;

• particular attention should be paid to ways ofconcentrating provision for vocal/operatraining, including the role of special fundingprovision (to reflect the exceptional costs), aprinciple already recognised in the post-Gowriefunding for the RAM and RCM;

• student admissions in “high-risk” areas shouldbe reviewed (allowing for the implications andimpact of curriculum changes);

• the role of (and funding requirements for)postgraduate programmes (including INSETactivity) should be reviewed (alongsideconsideration of the appropriate duration ofvarious areas of undergraduate study).

5.31 CostsIn addressing an agenda for change, there willbe a need for the conservatoires to be fullyinformed on how costs and income currentlyarise. It may be necessary to undertake afinancial assessment which would address theutilisation of staff/facilities and define theresources needed to sustain the internationalcompetitiveness of these institutions.

5.32 Collective impactData about the HEFCE conservatoires arebrought together in this report for the firsttime, showing student numbers, applications,areas of study and destination of graduates.There would be merit in continuing thisapproach (and extending it to includeinformation from the other conservatoires) sothat the conservatoires can remain fully

informed of their collective impact and be in aposition better to collaborate on matters ofpublic and professional interest.

5.33 Teaching of performance teachersWe believe it is an urgent matter that a nationalenquiry on arrangements for training in theteaching of performance should be instituted.This should include the potential leadershiprole for the conservatoires.

5.34 Specialist adviceFrom summer 1997 the ConservatoiresAdvisory Group will cease to exist. TheHEFCE may wish to reflect on its own need forcontinuing specialist advice concerning theconservatoires.

5.35 Managed changeGiven the wide role of the conservatoires andthe anticipated need for managed change, webelieve that it is essential to establish a newframework which would enable theconservatoires collectively to address suchchange. Such a framework would need to takeaccount of departmental responsibilities beyondthe DfEE, including those of the Department ofCulture, Media and Sport, as well as reflectingthe needs of the music profession and theimportance of the pre-conservatoire trainingarrangements. HEFCE may wish to initiaterelevant discussions on this matter.

36 HEFCE 98/11

6 Relationship with university music departments

6.1 Expansion and relative significance of university degreesUniversity music departments have experienceda considerable expansion in student numbers,with undergraduate numbers doubling between1985-86 and 1995-96, and postgraduatenumbers more than doubling over the sameperiod. This growth contrasts with thedownsizing and concentration of resourcesundertaken by the HEFCE conservatoires overthe same period.

Table 32 University music departments54, student numbers

% increase

75-76 85-86 90-91 95-96 85-86 to 95-96

Undergraduates

UFC univs 1,533 1,756 2,268 3,031 + 73Other univs .. 54455 1,27956 1,730 + 218

PostgraduatesUFC univs .. 37855 516 1,001 + 165

Other univs/colleges .. 355 17956 232 NA

Source: USR; HESA; DFEE.

The university music departments now accountfor around three quarters of the output ofundergraduate music degrees. Whilst theuniversities have around three quarters of thepostgraduate students, they produce some 29per cent of the qualifiers.

Table 33 Music students57 and qualifiers, by institution and level, 1994/95

UFC Other Other HEFCE Univunivs univs cons58 cons59 Total %

Undergraduates

Students 3,105 1,809 909 1,455 7,278 67

Qualifiers 862 487 161 317 1,827 74

Postgraduates

Students 917 198 181 516 1,812 62

Qualifiers 145 20 81 321 567 29

Source: Conservatoires; HESA.

6.2 CollaborationAreas of collaboration have developed betweenuniversities and conservatoires. Some of these areinformal (such as professional, intellectualexchanges and a long-standing tradition of sharedexamining) and others are formal. The latterinclude:

• universities validating the new degreeprogrammes of three of the four HEFCEconservatoires;

• conservatoires supplying instrumental teachingto university departments (eg University ofBirmingham purchases from the BirminghamConservatoire);

• some joint courses already in existence betweenconservatoires and universities (eg the long-standing joint degree between RNCM and theUniversity of Manchester, and a BSc Physicswith Musical Performance between RCM andImperial College);

• universities servicing some humanities coursesin conservatoires (eg RAM buys history,humanities and language teaching from King’sCollege London).

54 Excludes NI; includes part-time students.55 1986-87.56 1991-92.

57 Excludes “other undergraduates”, numbering 653 in 1994-95.58 Excludes Guildhall with 534 music students in 1996-97.59 RAM, RCM, Trinity and RNCM; 1995-96.

HEFCE 98/11 37

Such linkages can meet specific needs andshould continue to develop as an effective andmutually-beneficial form of collaboration. Careshould be taken in joint courses to offer themonly to exceptionally gifted students and totailor ambitions so that expectations do notprove unrealistic. The conservatoires havemade efforts to promote the credibility of theirnew degrees and the strength of their academiccontent. Every effort should be made to ensurethat academic pathways to the conservatoiresdo not duplicate the work of university musicdepartments.

6.3 ResearchConservatoire staff undertake a significantamount of “traditional, university stylescholarly research” and, as part of the researchassessment exercise, HEFCE accepted musiccomposition and performance as a “researchequivalent”. The three conservatoires whichsubmitted to assessment (each receiving a 5-rating) will benefit from research income in theforthcoming academic year. Whilst some of theresearch activities in universities and theconservatoires are very similar, just as “there isno appreciable difference in many of thecourses offered by the two types ofinstitutions”, anomalies and inconsistenciesremain in eligibilities for studentships and inthe Humanities Research Board’s policy onmusic “research”, which excludes composersand performers.

6.4 Popularity of university musicThe demand for places on university degreecourses in music is strong and the quality ofentrants is high. University music departmentshave been encouraged to expand and diversify.The range within the university sector isconsiderable and their diversity should bevalued. Certain departments share somecharacteristics with conservatoires.Explanations given for the growing popularityof the subject refer to the increasing role ofmusic in every-day life, the enlarged scope ofthe subject and the growing range ofintellectual approaches to its understanding.

6.5 CostsPressure on the cost of providing instrumentallessons is reported by NAMSHE. “The pinchmay have been more painful in some placesthan others, but it has certainly been felteverywhere”. Despite the growing importanceof performance in the curriculum, the positionis thought to have deteriorated (with morestudents paying in whole or part for theirlessons) since the last full assessment of theprovision of instrumental/vocal lessons in theNAMSHE survey of 1987-88. University musicdepartments are not directly and separatelyfunded by HEFCE but they receive funds as aninternal allocation within their owninstitutions. No analysis is available showingthe costs of providing university music degrees(nor information to make any comparison withthe conservatoires). It is thought to be a“relatively” expensive arts subject, needingmore space, equipment and intensive teachingthan most.

6.6 Distinct rolesRecent changes in university syllabuses formusic involve more emphasis on performance.At the same time, more academic strands havebeen added to conservatoire programmes ofstudy. Despite this apparent “convergence”, itshould be emphasised that the roles ofuniversity music departments andconservatoires remain distinct. “Performance inuniversities is intended to inform the academicstudy of music, whilst academic study at theconservatoires is intended to informperformance”. Perhaps, the training ofcomposers is one area of overlap, though theemphases are different. The conservatoiresargue they can provide exceptional conditionsfor the rehearsal and performance of studentcompositions.

6.7 Destination dataThe destination data of university musicdepartment graduates reveal a different patternfrom those of the conservatoires. This confirmsthe essentially different task the two types ofinstitution perform. Whilst first destination

38 HEFCE 98/11

data from the HEFCE conservatoires shows 44per cent of graduates entering the musicprofession, the proportion of university musicgraduates going into employment of any kindwas recorded as 38 per cent in 1994-95.

Table 34 First destination of university music graduates60, 1994-9561

%

Study/training 49

Employment 38

Seeking/NA 13

Source: HESA.

6.8 Little changeThe university pattern appears to have changedlittle over the last few years.

Table 35 First destination of university music graduates (first degree)

Percentages

86-87 93-94 94-9562

Study/training 53 49 48

Employment 38 38 40

Seeking/NA 9 12 12

Source: HESA.

6.9 Low recruitment to professionThe proportion of university graduates enteringthe music professions (as players/composers) asfirst destination was in the range 3 per cent(first degrees) to 7 per cent (postgraduates) in1994-95. Whilst the “majority of universitymusic departments have a low recruitment intothe music profession, this is not true for all”.

According to the University of York, forexample, its first destination pattern for firstdegree “honours music” students in the years1991 to 1996 was: study/training 42 per cent,performing/instrumental teaching 17 per cent,other music employment 14 per cent, non-music 16 per cent and unknown 10 per cent.Almost all graduates from the Department of“Music Technology” found employment in the“music industry”.

Table 36 “Music instrument players and composers” in first destination employment from universities63 aspercentage of all graduates64, 1994-95

First degree PostAll UFC univs grad

Music 2.8 1.7 5.3instruments

Composers 0.6 1.0 1.8

Source: HESA.

6.10 Generalised patternThe first destination occupations of universitymusic graduates were 24 per cent into the“professions” (including teachers), with 35 percent into commercial, sales occupations, 18 percent into “associated professions” (includingmusicians) and 24 per cent “other”.Postgraduate pattern showed more entering theprofessions (55 per cent) and associatedprofessions (20 per cent).

60 UG and PG.61 Average of RAM, Trinity and RNCM shows 45 per cent

enter further study/training, 44 per cent enter the “music profession”, 9 per cent leave profession or not available.

62 Postgraduate FDRs in 1994-95 was study etc 22 per cent,

employment 63 per cent, seeking etc 10 per cent.

63 Includes RSAMD, Birmingham and Wales.64 Known placements as percentage of all student graduates;

postgraduate response rate only 41 per cent.

HEFCE 98/11 39

Table 37 Occupations of university music graduates in employment, 1994-95

Percentages

First degree PostAll UFC univs grad

Professions65 23 24 55

Assoc professions66 18 19 26

C’cal, sales, personal 35 30 }19

Other 24 27 }

Source: HESA.

Data supplied by King’s College, London onlongterm occupations of known alumnireinforces the picture of low-recruitment intothe music profession, balanced by relativelyhigh recruitment into teaching, otherprofessions and the cultural industries.

Table 38 Music graduates from King’s College London, occupations of known alumni67

Percentages

Performers 868

Teachers 5369

Cultural industries 13

Other professions 22

Not available 5

Source: King’s College London.

6.11 Specific taskThree of the principals of the four HEFCEconservatoires have worked in universities andthey, in particular, emphasise the “huge”philosophical and practical differences betweenthe two types of institutions: “clear blue waterbetween the two”; “different world in terms oflevels of performing standards”; and“expectations by the students and their use oftime are quite different”. Whilst the universitiesdeliver “all-round musical education” theconservatoires are “training people to enter theperforming profession” and this entailsrequirements which the universities are notusually organised/resourced to provide:

• a critical mass of students and teachers in allrelevant specialisms;

• concentrated focus on solo and ensemblepractice;

• a competitive environment focused oninternational professional standards ofperformance.

Whilst intellectual and performing skills gotogether, within the spectrum of tertiaryprovision for music education, theconservatoires are charged with a distinctiveand specific task. Despite the overlap in aspectsof the curriculum with universities, there is noreason to question this fact.

65 Includes teachers.66 Includes musicians. 67 Record contains 171 entries.68 Includes church musicians, police band and composers.69 Of which 19 per cent in tertiary education, 25 per cent

teaching, nine per cent other school teaching.

40 HEFCE 98/11

Appendix A

Reports consultedEmployment in the Arts and Cultural Industries(O’Brien and Feist, ACE, 1995): this is an analysisof the employment data on the arts and culturalindustries contained in the 1991 Census; there ismuch of value on musicians from this source;insofar as musicians include many who are self-employed and multiple jobholders, their numbersare probably under-recorded.

Private Lives (Gibbs, Goldsmiths College, 1993):this is a report of a small sample survey (579 repliesto postal questionnaire), which examined thedemographics, qualifications and earnings of privatemusic teachers.

Singers in the Marketplace (Towse, Oxford, 1993):pioneering study of training and employment in the“classical” singing profession which explores, froman economic perspective, the private and publicreturns to training.

Instrumental teaching: several reports on this vexedquestion provide estimates of its changing volumeand include various prognostications; see especiallyWhen Every Note Counts (Sharp, NationalFoundation for Education Research, 1991) andReview of Instrumental Music Services (Coopers &Lybrand, MORI, Music for Youth and others,1994); Making Music (Associated Board, 1994),presents survey data on instrumental playing,teaching and learning.

Arts in schools: for a wider perspective, see Arts intheir View: a Study of Youth Participation in theArts (Harland, Kinder and Hartley, NationalFoundation for Educational Research, 1995),Secondary School Pupils and the Arts (O’Brien,MORI and Arts Council of England, 1996),Guaranteeing an Entitlement to the Arts in Schools(Rogers, Royal Society of Arts, 1995) and State ofthe Arts in Five English Secondary Schools (Rossand Kamba, University of Exeter, 1997), Musiciansgo to School: Collaboration between MusicOrganisations and the Statutory Education Sectorin London (Pratley, Rhydderch and Stephens,London Arts Board, 1993); The Workbook: theCentral Written Resource for the ABO NationalEducation Programme 1997 (Lockwood,Association of British Orchestras, 1997).

The Value of Music (Dane, Feist and Laing,National Music Council/University of Westminster,1996): an ambitious and broadly successful attemptto establish the national dimensions of the UKmusic industry, including estimates of employmentin more detail than previously available; it isparticularly strong on “rock, pop, jazz, folk andother musics”; the study updates and expands thework of previous research, such as OverseasEarnings of the UK Music Industry (BritishInvisibles, 1995); Review of National OrchestralProvision (with the BBC, 1994), and EconomicImportance of the Arts in Britain (Policy StudiesInstitute, 1988).

Music policy: recent policy papers published by theArts Council of England are Strategy for theSupport and Development of Orchestras and theirAudiences (1995), Striking a New Note:Consultative Green Paper on Publicly-funded NewMusic in England (1996) and Consultative GreenPaper for Education and Training in the EnglishArts Funding System (1996).

HEFCE 98/11 41

Appendix B

Individuals and organisations consultedIndividuals attending Policy Sub Group meetings

Janet Ritterman, Royal College of Music

Peter Renshaw, Guildhall School of Music

Jill White, National Youth Orchestra

Sarah Lawrence

Sarah Gee

Tim Ward

Ed Smith, City of Birmingham Symphony Orchestra

Doug Mitchell, Royal Philharmonic Orchestra

Gillian Moore, previously South Bank Centre

Individuals and organisations consulted by researchers

Royal Academy of Music (Curtis Price, JonathanFreeman-Attwood, Philip White and JanetSnowman)

Royal College of Music (Janet Ritterman and KevinPorter)

Trinity College of Music (Gavin Henderson, DerekAviss and Chris Ellicott)

Royal Northern College of Music (EdwardGregson, Chris Yates, Colin Beeson, TimothyReynish, Renna Kellaway, David Young)

University of Birmingham (Colin Timms)

Kings College London (Richard Claas)

University of York (Nicola LeFanu)

Guildhall School of Music (Ian Horsbrugh)

Purcell School

Wells Cathedral School

BBC Young Musician of the Year

Bournemouth Symphony Orchestra (AnthonyWoodcock)

Northern Sinfonia (John Summers)

BBC Philharmonic Orchestra (Trevor Green)

Arts Council of England (Kathryn McDowell)

Teacher Training Agency (John Horson)

London Arts Board (Andrew McKenzie)

West Midlands Arts Board (Val Burchall)

Eastern Arts Board (Sue Grace)

Southern Arts Board (Michael Marks)

Incorporated Society of Musicians (Neil Hoyle andElizabeth Poulton)

National Federation of Music Societies (RussellJones)

Associated Board of Royal Schools of Music(Richard Morris)

National Federation of Music Services (RichardHickman)

Anthony Everitt (Gulbenkian Foundation)

Stephen Cashman

Trevor Ford

Ian Ritchie

Wendy Max

Peter Renshaw

John Westercombe

42 HEFCE 98/11

Appendix C

Orchestras participating in sample survey of playermembers

London Symphony Orchestra

Philharmonia Orchestra

Bournemouth Symphony Orchestra andBournemouth Sinfonietta

City of Birmingham Symphony Orchestra

Ulster Orchestra

BBC Philharmonic Orchestra

BBC Scottish Symphony Orchestra

English Northern Philharmonic

London Mozart Players

Scottish Chamber Orchestra

Orchestra of the Age of Enlightenment

City of London Sinfonia

The HEFCE is grateful to the following for the use of the photographson the front cover.

Top left: Royal Northern College of Music (photo credit Studio Tristan).

Top right: Royal College of Music.

Bottom left: Royal Academy of Music (photo credit Hanya Chlala).

Bottom right: Trinity College of Music (photo credit Dominic Dibbs).

Higher Education Funding Council for EnglandNorthavon HouseColdharbour LaneBRISTOLBS16 1QD

Tel 0117 931 7317Fax 0117 931 7203WWW http://www.hefce.ac.uk

Documents

Review of music conservatoires