Report 98/11

Review of music conservatoires:

HEFCE Conservatoires Advisory Group Chaired by Sir John Tooley

March 1998

Download

[ Adobe PDF 213K]

Contents

Summary of conclusions

1 Task

A Policy Group of the HEFCE Conservatoires Advisory Group was asked to advise in relation to the four free-standing, HEFCE funded music conservatoires on:

• present patterns of employment of conservatoire graduates;
• implications for the desirable pattern of future training in the light of changes in the music profession; and
• the relationship with university music departments.
  

This has been approached by looking at the HEFCE conservatoires collectively as a module in a wider system of music training and education, including pre-conservatory provision. It has not included consideration of the conservatoire training provided in other institutions not directly funded by HEFCE.

2 Collective impact

Data about the HEFCE conservatoires are brought together in this report for the first time, showing student numbers, applications, areas of study and destination of graduates. There would be merit in continuing this approach (and extending it to include information from the other conservatoires) so that the conservatoires can remain fully informed of their collective impact and be in a position better to collaborate on matters of public and professional interest.

3 Record of change

The conservatoires have a strong record of responding to a changing world. It should be recognised that over the last 30 years they have reduced student numbers, concentrated resources on lengthened courses and developed a postgraduate role. Following the shift to degree courses, the new generation of principals remain active in seeking to respond flexibly to the consequences of the changing labour market.

4 Buoyant applications

There is a major element of pre-selection surrounding a conservatoire application linked to the candidate's technical proficiency. Applications appear buoyant, including for postgraduate study and from applicants from abroad. This should be read as confirmation that conservatoires are reaching international standards and taking an increasing international role.

5 Changing profession

The music profession is changing in a number of ways:

• a mixed portfolio approach to careers (with less interest in available salaried employment), involving performing in a variety of ensembles/circumstances, composing and teaching (including workshop/creative projects);
• rising standards of instrumental playing, requiring versatility and the ability to cope with varied styles and instrumental balances;
• changing awareness of the role of the musician and of musical institutions, especially in relation to education and music's social role in the community;
• a strong demand for better instrumental teaching in private practice and in re-invigorated instrumental music services;
• the need for in-service training to provide lifelong professional development and additional skills for established performers; and
• new and revived markets for musicians in light music, musicals, film, improvisation, inter-cultural cross-over, cabaret and small-scale music theatre.
  

6 Modernised curricula

The conservatoires are addressing these changes with focus on the provision of more rounded and versatile musicians. The old approach to training for one specific task is declining and the modernised curricula adopted in the conservatoires are attracting international attention and admiration. Of course, there may be a price to pay for "an over-vocational" approach, in which the student has less time for personal and artistic development, and it is important to guard against the dangers of overload which may result in only a superficial broadening.

7 Career patterns

The career patterns of musicians involve multiple sources of employment and changing mixes of activity. Teaching and performing are common elements and self-employment predominates. Musicians are very active in creating their own work. These patterns are well established in the working life of musicians and in some respects anticipate the flexible patterns which are emerging more generally in employment.

8 Employment

Caveats need to be recorded about the interpretation of employment data. Nevertheless, the evidence of the placement record of the HEFCE conservatoires seems positive. The longitudinal data suggest that some five years out around 85 per cent of the leaver cohort will be active in the music profession. Employers are broadly satisfied, though in certain areas, especially outside London, some difficulty is experienced in recruiting young string players. Postgraduate study is increasingly seen as necessary preparation for entry into the profession. Fewer postgraduates leave the profession and more achieve performing contracts.

9 Numbers

Given that music is, in part at least, a profession dependent upon identifying natural talent, it would seem unlikely that the placement record of the HEFCE conservatoires could be much improved. Calculated risks surround some (if not all) students accepted into training for the professions. There may be issues/implications from the data about the length/formatting of courses and the re-balancing of certain programmes of study in the conservatoires, but no case emerges for any reduction in overall student numbers.

10 Collaboration

Both informal and formal areas of collaboration between universities and conservatoires are continuing to develop. Some of those are informal such as intellectual exchange and a longstanding tradition of shared examining. Others are more formal, including degree validation by universities, instrumental teaching supply by conservatoires, joint courses and humanities course supply by universities. Such linkages can meet specific needs and should be encouraged, though care should be taken in joint courses to tailor ambitions so that expectations do not prove unrealistic. Every effort should be made to ensure that academic pathways in the conservatoires do not duplicate the work of university music departments.

11 Distinctive role

Recent changes in university syllabuses for music involve more emphasis on performance, and more academic strands have been added to conservatoire programmes of study. Despite this apparent "convergence", it should be emphasised that the role of the conservatoires is distinctive. Whilst universities deliver all-round musical education, the conservatoires are training people to enter the performing profession and this entails requirements which universities are not usually organised/resourced to provide:

• a critical mass of students and teachers in all relevant specialisms;
• concentrated focus on solo and ensemble practice; and
• a competitive environment focused on international professional standards of performance.
  

12 Composers

Perhaps the training of composers is one area of overlap, though the emphases are different. The conservatoires argue that they can provide exceptional conditions for the rehearsal and performance of student compositions.

13 University destinations

The destination data of university music departments confirm that they have a different role from the conservatoires. These show a broad recruitment pattern into commercial and professional occupations. Perhaps one in 15 university music graduates enters a conservatoire for postgraduate study.

14 Conclusion on the conservatoires

The conservatoires are effective in discharging their role as specialist institutions for educating and training students in the performance skills necessary for a career in the music profession. Whilst forming part of the integrated higher education funding system, the conservatoires inhabit more than one world and their status and significance goes far beyond their education/training role. Their flexible staffing model (with extensive use of working professional musicians) gives a practical purpose to their activities and provides intimate links to the music business. Their strategic position as trainers for the music profession is combined with a parallel cultural responsibility to preserve/enhance music as an art form (including the particular traditions developed in Britain). The conservatoires also function as public institutions which offer public programmes of concerts and a range of other services.

15 Extend role

In addressing the changing demands of the music profession, the Group has identified certain areas in which the role of conservatoires might be extended. The opportunity afforded by in-service training is beginning to be understood. Conservatoires are well placed to define a framework for providing career-long access for performers to specialist updating and supplementary training. It would be prudent for the conservatoires to consider the means of developing more systematic links with the profession and of monitoring relevant requirements and expectations.

16 Instrumental teaching

There is a national shortage of instrumental teachers of quality and yet the matter is neglected as a field of national policy. A national examination of arrangements for training and the teaching of performance should be instituted. This should include the potential leadership role for the conservatoires in this area.

17 Constraints

The positive achievements of the HEFCE conservatoires are considerable but there is a risk to standards of teaching and achievement if the present "under-funded status quo" is allowed to persist. The Group is concerned about constraints in the current situation which limit the room for manoeuvre:

• the broadening market creates supplementary demands for training which do not generally replace established ones (with a consequent cost implication);
• the conservatoires are operating close to a minimum critical mass needed to sustain diverse training;
• the current cost base may already be too close to the minimum for comfort.
  

18 Cost assessment

There is a need to be fully informed on how costs and income arise in order to address the effective utilisation of staff/facilities and to define the resources needed to sustain the international competitiveness of these institutions.

19 Managed change

Whilst recognising that the ability to respond flexibly to new developments and opportunities would be easier in larger institutions, the Group suggests in para 5.29 a number of possible directions for change. These are directed at improving the flexibility, competitiveness and effectiveness of these institutions with the intention of strengthening, through an evolving "federated approach", their collective ability to respond to new demands. This implies no need to change the overall student numbers for the HEFCE conservatoires, which we believe currently to be about right.

20 Federated approach

It is essential to establish a new framework which could enable the conservatoires collectively as a group to address such changes. The HEFCE may wish to initiate relevant discussions on this matter. This should take account of departmental responsibilities beyond the DfEE, especially those of the Department of Culture, Media and Sport, as well as reflecting the needs of the music profession and the situation in pre-conservatoire training.

1 Introduction

1.1 Terms of reference

A Policy Group was established in July 1996 with the task of reporting to the Conservatoires Advisory Group of the Higher Education Funding Council for England on matters relating to the changing nature of conservatoire training and performance practice. In particular, it was asked to advise on:

• present patterns of employment, including:
  • student destinations on exit from conservatoires
  • the way in which musicians work with other professionals, including performers and teachers in education and the community
• implications for the desirable pattern of future training, including
  • the degree of emphasis on solo performance training
  • the length and nature of training required
• the relationship with university music departments.
  

1.2 Membership of Policy Group

1.3 Methodology

The Group met on nine occasions. It initially gave consideration to its role, its terms of reference and to the issues surrounding its assignment. It was joined at various meetings by informants from relevant musical fields who contributed to the general discussion on issues raised in the Group's work (see Appendix B for list of informants).

1.4 Researchers

The Group appointed John Myerscough as researchers who began work in October 1996. Among the tasks undertaken were:

• assembling and assessing data from central HE statistical sources on student logistics and destination data (including USR, HESR, DfEE and HESA);
• carrying out a literature review of available information dealing with the employment of musicians and the economic characteristics of the music industry (see Appendix A for list of reports considered);
• obtaining and analysing necessary data direct from the conservatoires and carrying out structured interviews with principals and others to establish views on key issues; the conservatoires were most cooperative but were not always able to supply data requested, mainly owing to changes in IT systems;
• instituting a sample survey of members of UK orchestras to establish sources and levels of performance training; a sample of 12 orchestras was chosen which produced 374 completed questionnaires (response rate of 61 per cent);
• interviewing (also fax/phone communication with) a range of informants from other HE organisations/public agencies and the music industry (see Appendix B for list of people consulted).
  

1.5 Report

The Group held a series of discussions on the research findings. It deliberated at three meetings on the text of this report.

1.6 Structure of report

Section 2 examines the roles of conservatoires and their place in the wider world. Section 3 summarises the course of change over the last 30 years. Section 4 sets out certain concerns and caveats about the interpretation of employment data before presenting the findings on materials supplied by the conservatoires. Section 5 describes the response of the conservatoires to a changing musical profession and examines the possible directions of future change. In Section 6 the relationship with university music departments is discussed.