What is music education for? Making the case for

music in schools

Professor Stephanie PittsDepartment of Music, University of Sheffield

s.e.pitts@Sheffield.ac.uk

Overview•What is claimed for music education?•Why do we need to make the case – and who is listening (or not)?• Some thoughts on musical life histories and identities• A case study from three infant schools in Sheffield• Some conclusions• Questions and discussion

Claims made for music educationMusic for the cultivation of creative citizens:

“If by our manner of education we can cultivate and develop the inner nature of our citizens, we will be raising up a nation full of vitality, striving after ideals, and ever pressing on to higher and higher stages. Even the weariness of life, which is felt so deeply by many of us, will disappear with our new ideals, for the art of music will give the means for self expression, and will provide a new interest in life.”

(Yorke Trotter, The Making of Musicians, 1914)

Music for wellbeing and school engagement:

“Musical activities can lead to a sense of accomplishment, enhanced determination and persistence and of children being better able to cope with anger and express their emotions more effectively. There are also reported benefits in terms of discipline, time management, relaxation, coping with difficulties, communication, and the ability to work with others.”

(Susan Hallam, The Power of Music, 2015)

100 years of advocacy

More on the ‘transferable skills’ argument• ‘Mozart Effect’ captured media attention and turned into big

business … but clinically proven effects are small and transitory• Extra-curricular participation is linked with increased school

engagement and higher attainment … but can be partly explained by parental support and teacher expectations• Background music might improve classroom behaviour …

but that isn’t music teaching• Music needs to be part of the school curriculum for its own

sake – accessible to all children, but not necessarily having the same effects for everyone

Doubts and disinterest in music educationMusic for appreciation rather than skill:

“The aim of music teaching considered as part of a school curriculum should be rather the cultivation of a taste than the acquirement of a proficiency; it should lay the foundation for the intelligent study and enjoyment of music in after life.”

(UK Board of Education, 1926)

Arts limit opportunities and employability:

“If you didn’t know what you wanted to do … then the arts and the humanities were what you chose because they were useful, we were told, for all kinds of jobs […] We now know that this couldn’t be further from the truth. That the subjects to keep young people’s options open are STEM subjects – science, technology, engineering and maths.”

(Nicky Morgan, UK education secretary, November 2014)

100 years of progress?

So what is music education for?• Need to be looking for evidence not (only) in league tables, A Level

results, numbers of music students in higher education• Impact is seen everywhere (but not always noticed) in uses of music

amongst general population – spectrum of involvement/expertise:• small numbers of professional musicians• larger numbers of amateur musicians• live music listeners• recorded music purchasers• parents who encourage their children into learning music• teachers who support music education in their schools

• Music education as foundation for lifelong engagement

When do musical life stories begin?• Influence of the home and family – context for school provision• Research on how much musical experience and expertise children already

have when they begin formal education• “familiarity with the rich world of children’s musical experience outside school is

requisite teacher knowledge when planning formal instruction” (Harwood and Marsh, 2012)

• Transition points inhibit musical continuity – primary-secondary school transition, choices at university level, joining ensembles as an adult• Patterns of engagement are not guaranteed or predictable:

• “[My parents] bought me a flute when I asked, so I suppose that set me off to where I am today, but they also bought me a bike, and I’m not in the Tour de France.”

(Gavin, 2001)

Expectations and experiences of musicA case study from three Sheffield infant schools

• Children aged 6-7 participating in music workshops in three Sheffield schools, led by Polly Ives (Music in the Round)• Three blocks of weekly visits by workshop leader and

professional musicians, leading to a families/schools concert of Sir Scallywag and the Golden Underpants, by children’s composer in residence, Paul Rissmann, and a jointly composed soundtrack to We’re Going on a Bear Hunt• Research carried out with full range of participants:

• Observations of sessions and events [12 x 45 minutes]• Questionnaires and group interviews with children [n = 163] • Questionnaires and interviews with teachers [n = 6]• Questionnaires and group interviews with parents [n = 27]

Children’s views of themselves as musicians• Learning instruments takes effort: “it took me

a year to get up to the grade of Yankee Doodle already” (M-PFG); “I’ve got a recorder but I only know one letter and that’s ‘A’” (J-PFG)• Being a musician involves planning: “play a

song on my piano” in primary school, “be in a band” in secondary school, then “be world famoz [famous]” (J-PQJ)• Learning music requires continuity and

challenge: “a man came with a guitar, a long, long time ago” (F-PFG); excitement “cause we might do more new stuff that we haven’t done” (F-PFG)

Musical life stories begin…

• …with the provision of musical opportunities and the consistent encouragement to pursue them• …with the widening of musical horizons and ambitions• …with the acquisition of musical skills, knowledge and confidence• …with the provision of musical role models, including teachers and

parents• …with the enjoyment of music, shared with others

• Or with the absence of some or all of these factors…

Musical life histories continue…

• …with deliberate engagement in musical activities• …with an eagerness to learn and develop, and the resources and

opportunities to do so• …in an environment which feels comfortable and welcoming• …with the enjoyment of music, shared with others

• …but only for those who seek out opportunities and are already persuaded of the value of musical participation

Musical life stories falter…• …when musical opportunities do not match expectations• …when musical skills prove to have weak foundations• …when the enjoyment of music is lost amongst other pressures

or self-doubts• …when routes back in to musical participation seem difficult or

inaccessible

• …but challenges can be overcome through rediscovering the encouragement, role modelling, and skill development that were critical at the start of a musical life story

Some conclusions and implications

• Access to lifelong musical participation begins in childhood – shaped (but not guaranteed) by encouragement, opportunity, attitudes, skill development• Awareness of musical routes forward is essential to finding them –

importance of connecting formative music-making with future possibilities• Articulation of musical aims and benefits can be helpful in recognising

them – making sense of musical life stories helps to reinforce musical identity; this could be a tool for effective music education

So what is music education for?

• Leaving opportunities open, not closing them down – through skills, attitudes, expectations and experiences• Making connections between school music and

the wider ‘art world’• Offering routes and role models for lifelong

engagement• Access, awareness, articulation – promoting and

demonstrating the impact of music education for individuals, communities and society