Case study on the impact of IOE research
Music Education
January 2011
Case study on the impact of IOE research
Music Education
“Evidence suggests that learning an
instrument can improve numeracy,
literacy and behaviour. But more than
that, it is simply unfair that the joy of
musical discovery should be the preserve
of those whose parents can afford it.”
Michael Gove, Education Secretary,
speaking at the launch of the Henley
Review of Music Education, September
24, 2010.
Who carries out music research at
the IOE?
The Institute of Education has almost 20
music education specialists – the largest
group of music education researchers
working in the same institution in the
UK. They are all associated with the IOE’s
International Music Education Research
Centre: (http://imerc.org), which was
established in 2005.
Who provides the funding?
The iMerc researchers have attracted
funding from major UK research
councils, the European Community,
government departments, local
authorities, leading charities such as the
Paul Hamlyn and the Esmée Fairbairn
foundations, and other charitable
bodies that promote music.
Introduction
Researchers at the Institute of Education
have had a very substantial effect on
what is taught in the music classroom
– and how it is taught. Like other
researchers, they only occasionally
exert direct influence over the policymakers who shape the music education
curriculum. Most music education
studies are not produced for a policy
audience. Even so, music research can
help decision-makers to evaluate the
range of choices before them. It can
also, crucially, help to create, bolster or
challenge the assumptions that underlie
national and local policy decisions.
A recent example is offered by the
important independent review of music
education in England that the coalition
government launched in September
2010. Education Secretary Michael
Gove told the review chairman, Darren
Henley, managing director of Classic
FM, that he should make several key
assumptions as he set out to gather
evidence. One was that the “secondary
benefits of a quality music education
are those of increased self-esteem
and aspirations; improved behaviour
and social skills; and improved
academic attainment in areas such
as numeracy, literacy and language.1
There is evidence that music and
cultural activity can further not only the
education and cultural agendas but also
the aspirations for the Big Society”.
Where did the evidence supporting this
assumption come from? Much of it was,
in fact, derived from empirical studies
in the UK and Italy under the leadership
of Professor Graham Welch, chair of
1
The IOE’s music research
has done much to publicise
the physical, psychological
and cognitive benefits of
singing or learning to play
an instrument.
Other research led by
Professor Lucy Green
has helped to popularise
informal approaches to
music education that are
similar to the ways in which
rock musicians learn their
craft.
Music Education
music education at the IOE, and from a
major review of music research that was
compiled by his colleague, Professor
Sue Hallam. The then Department for
Children, Schools and Families (DCSF)
commissioned Professor Hallam’s review
to mark the start of Tune In – Year of
Music, which began in September
2009. Her paper, The power of music:
its impact on the intellectual, social and
personal development of children and
young people (http://www.ioe.ac.uk/
Year_of_Music.pdf ) documents the
effects that a child’s active engagement
in music can have on their:
teaching and learning3 and is having a
huge impact on classroom practice, as
will be explained later in this case study.
•
Music research at the IOE has also
served to debunk some myths that
have gained credence in recent years,
such as the suggestion that listening to
Mozart improves children’s cognitive
performance. In fact, some pop songs
can have a more beneficial effect on
pupils’ schoolwork, as Professor Hallam
has pointed out.5
•
•
•
•
•
perceptual, language and
literacy skills
numeracy
intellectual development
general attainment and
creativity
personal and social
development, and
physical development, health
and well-being.
The paper followed an earlier research
review for parents and teachers on
the importance of music by Professor
Welch and Pauline Adams that had
been commissioned by the British
Educational Research Association
(BERA) with support from the UK
Government. This review was launched
at the House of Commons in October
2003.2
Key themes of the Institute’s
music research
The IOE’s own music research has also
done much to publicise the physical,
psychological and cognitive benefits
of singing or learning to play an
instrument. It has emphasised the value
of music in its own right too.
Another very important strand of IOE
research, led by Professor Lucy Green,
has helped to popularise informal
approaches to music education that
are similar to the ways in which rock
musicians learn their craft. Her work
challenges traditional views of music
A key message from several IOE studies
is that musical development is possible
for everyone, not just a ‘talented’
minority.4 “For example, it is not a case
of ‘can sing/can’t sing’. It’s a continuum,”
says Professor Welch. “Everybody can
sing. The term ‘tone deaf’ should be
confined to the very small number
of people who have some form of
neurological disorder in the processing
of sound.”
Her research into children’s choice
of musical instruments has raised
questions about gender stereotyping
too6. It confirmed that girls tend to
play the harp, flute, piccolo, clarinet,
oboe and violin while boys are far more
likely to choose the electric guitar, bass
guitar, tuba and trombone7. Singlesex ensembles could help to bridge
the divide, Professor Hallam and her
colleagues concluded.
Among the other topics being
investigated by the IOE’s music
researchers are:
•
•
•
•
•
the place and use of music
technology in music education
the professional development of
musicians
music teacher education
motivation and self-perceptions of
conservatoire students, and
effective choral education and
choral leadership.
2
Case study on the impact of IOE research
Major IOE music research
projects
The projects under way include:
Sing Up
The Government’s £40 million fouryear (2007–11) singing programme for
primary schools in England is being
evaluated by Professor Welch, Dr
Evangelos Himonides, Dr Jo Saunders
and Dr Ioulia Papageorgi.8 Sing Up
aims to ensure that primary children
experience high-quality singing on a
daily basis.
The IOE team undertook a baseline
audit of singing in randomly selected
schools and has used this data to
measure the programme’s impact.
Over the first three years of Sing
Up, this evaluation project took the
researchers to 177 English schools. They
have assessed the individual singing
development of nearly 10,000 pupils,
mainly aged 7 to 10, and have noted
children’s attitudes to singing, in and
out of school.
3
They found that children who have
taken part in Sing Up are, on average,
two years ahead in their singing
development, compared to those not
involved in the programme. The Sing Up
evaluation has also confirmed that older
children – including boys – can develop
much more positive attitudes to singing
if they:
•
•
have expert role models,
whether adult or child, such
as those provided in the
Singing Playgrounds (http://
www.excathedra.co.uk/) and
Chorister Outreach programmes
(http://www.choirschools.org.
uk/2csahtml/outreach.htm), and
experience a rich musical
repertoire, including singing
games and opportunities
for performance, which is
interwoven into the school’s
educational culture.
The IOE evaluation has found that
better singers tend to have a more
positive view of themselves and a
stronger sense of social inclusion, a
IOE researchers found that
children taking part in the
Government programme
Sing Up are, on average, two
years ahead in their singing
development.
Music Education
finding that is supported by research
conducted for the Italian government.9
Responses from more than 1,000
teachers and community musicians
involved in Sing Up suggest that their
confidence in their own singing and
teaching has also improved as a direct
result of the professional development
offered by the programme.
Musical Futures
The ‘Informal learning in the music
classroom’ study that a team led by
Professor Lucy Green undertook in
partnership with Hertfordshire County
Council is also making a very important
contribution to music education. This
pathfinder project formed part of the
successful Musical Futures initiative
funded by the Paul Hamlyn Foundation
and the DCSF (now the Department for
Education).10
Professor Green developed and
evaluated radical new teaching and
learning strategies for 11 to 14-yearolds that were drawn from the informal
learning practices of popular musicians.
Whilst popular music has been a part
of curriculum content for over 30
years, classroom pedagogy continued
to use models that were suited for
classical music. By basing itself on the
very different ways in which popular
musicians learn, Lucy Green’s work has
brought a refreshingly new method of
teaching into the classroom.
Pupils taking part in the Hertfordshire
study directed their own learning in
small friendship groups, selecting their
music and attempting to play it by ear
from the recording. Teachers initially
stood back and observed, then acted
as guides and musical models rather
than instructors. Pupils later composed
music, performed in bands with
community musicians, and applied the
learning strategies they had acquired
to classical music, again, under the
guidance of their teachers.
The five-year research-anddevelopment phase of the work ended
in 2007, but the implementation of the
strategies within classrooms is growing
all the time. More than 1,000 schools
are adopting the informal learning
model (see the Impact section of this
case study).
Musical Futures is being evaluated by
another team of IOE researchers led by
Professor Hallam and Dr Andrea Creech.
An evaluation they carried out in 2008
established how many schools had
taken up Musical Futures and what they
were doing. Their second evaluation,
which will continue until 2011, is a
longitudinal investigation of how the
project is evolving in six schools.
Sounds of Intent
Graham Welch is leading the Sounds of
Intent programme with Professor Adam
Ockelford, a Visiting Research Fellow
and Professor of Music at Roehampton
University. This programme is
investigating and promoting the
musical development of children and
young people with severe, or profound
and multiple learning difficulties (until
relatively recently, only 5 per cent of this
group were receiving music therapy).
The researchers have devised a new
way of mapping musical development
for such children11 and their methods
have been made available to the
whole special education sector in the
UK and internationally through a new
dedicated website, designed by Dr
Evangelos Himonides.
This project was set up in 2002 by the
IOE in collaboration with the Royal
National Institute of Blind People (RNIB),
building on an earlier national survey.
The latest 15-month extension to the
programme is being funded by the
Esmée Fairbairn Foundation. The project
team includes Sally-Anne Zimmermann
from RNIB and Dr Angela Vogiatzoglou
(Roehampton).
New Dynamics of Ageing (NDA) music
project
This music project is part of the
largest and most ambitious research
programme on ageing ever mounted in
4
Case study on the impact of IOE research
this country. The programme is a unique
collaboration between five UK research
councils.12 The NDA music project being
led by researchers at the Institute of
Education is examining whether older
people’s participation in music-making,
particularly in community settings,
can improve their well-being. It is
also trying to establish whether there
are spin-off benefits for families and
residential communities when older
people become actively involved in
making music.
The study is being carried out by four
IOE researchers – Sue Hallam, Andrea
Creech, Maria Varvarigou and Hilary
McQueen – and involves three-casestudy sites:
•
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•
The Sage Gateshead, where
more than 500 people take part
in weekly music activities such
as singing, African drumming,
and playing guitars, recorders,
steel pans and ukuleles.
The Guildhall Connect Project,
which runs community music
projects in East London with
people from a wide range
of backgrounds, ages and
experiences. It offers everything
from classical to popular music,
western and non-western
genres.
The Music Department of the
Westminster Adult Education
Services, which provides
community music activities
for older people. Courses are
offered in not only singing and
playing instruments, but sound
engineering and composing.
Interviews, focus groups and
observations have been carried out at
each case-study site. Questionnaires
have also been completed by 350
older people participating in musical
activities and by a control group of just
over 100 people who are taking part
in non-musical activities. Most of the
participants are aged between 60 and
80. Preliminary findings suggest that
levels of well-being are higher amongst
5
the music participants than amongst
the control group.
Usability of Music for the Social
Inclusion of Children (UMSIC)
The UMSIC project (2008–2011) is
supporting children’s social inclusion
through music. It is doing this by
developing a hand-held JamMo
(jamming mobile) which encourages
children to communicate musically
using mobile phones. The JamMo
enables them to compose songs, then
create new versions of the song using
virtual instruments. As it has a karaoke
function, a child can also listen to a
song, sing along, save the result and
share it with a teacher, friend or relative.
The project, which also aims to
foster children’s creative musical
development, is targeted at both
pre-school youngsters (3–5 years) and
primary school pupils (6–12 years).
Whilst intended to be suitable for
all children, the JamMo is primarily
designed to help two groups at high
risk of marginalisation: (i) children with
social, attention or emotional disorders
and (ii) migrant children.
The research is funded by the European
Commission (EC) and involves a
network of researchers from universities
in Finland, Switzerland and the UK, as
well as software specialists in Greece
and the phone company Nokia.
During the first two years of the project,
its London team (Professor Graham
Welch, Ross Purves and Dr Tiija Rinta)
has researched aspects of children’s
social inclusion and initiated pilot
studies in primary schools to evaluate
the emerging software packages. The
latest report from the EC (October
2010) praises the quality of these pilot
studies, and says that the IOE team and
its European colleagues are making a
“state-of-the-art contribution” to this
research field.
One project is developing
mobile phones that allow
children to compose music.
The aim is to help those at
risk of social marginalisation.
Music Education
When you sing, you breathe
in a different way ... there’s
a tendency to increase the
airflow so your blood is more
oxygenated.
Professor Graham Welch
How the research messages are
promoted
Academic writing
The IOE’s music researchers have
written hundreds of academic journal
articles, two substantial single-authored
books, and many other shorter works
and edited books in recent years. Some
have been translated into Spanish,
Portuguese, Italian, Swedish, Polish,
Greek, Japanese, Korean or Chinese.
Media articles and interviews
Leading IOE music researchers, such as
Professors Welch, Hallam and Green,
have written about their research
in books and magazines aimed at a
general readership. Their work has also
featured in many newspaper and web
articles. Much of this coverage has
been triggered by their writings on the
physical and psychological benefits
of music-making.13 In May 2009, for
example, the Daily Telegraph quoted
Professor Welch as saying: “When you
sing, you breathe in a different way
so you use more of your total lung
volume. This means there’s a tendency
to increase the airflow so your blood is
more oxygenated.” Professor Hallam has
also spoken about her music research
findings on radio and television
on many occasions and has been
interviewed on Music Matters, Radio
3’s flagship classical music magazine
programme. A BBC1 programme on
the informal learning model based
on Professor Green’s research was
broadcast in 2009. Several newspapers
and magazines have also reported and
commented on her work.
Conference presentations
IOE researchers disseminate their
findings via conference and seminar
presentations in the UK and abroad.
Professors Welch, Green and Hallam
and Dr Colin Durrant, an authority on
choral conducting and singing, have
been invited to give keynote lectures
about their work at universities and
conferences in Europe, Africa, Asia,
Australia and the Americas.
Teacher education
Research findings are also disseminated
via teacher education at the Institute.
The IOE offers an MA in Music Education
and has the largest number of graduate
students in music education in Europe.
Many of its doctoral students work
part-time on funded projects to
extend their research knowledge and
understanding.
6
Case study on the impact of IOE research
Impact of the research
Musical Futures
Some teachers were sceptical when
Musical Futures brought informal
learning to their classrooms. However,
their concerns were quickly dispelled
as soon as they started the work, and
the approach now has the enthusiastic
support of teachers as well as pupils.14
The project has been recommended
by the Music Manifesto,15 and the
Department for Education has made
it available to all schools through its
website. It has also been endorsed by
the singer-songwriter, Sting, the global
patron of the initiative.
Over the past few years, the number of
secondary schools adopting Musical
Futures has risen from fewer than
60 to more than 1,000. The ongoing
evaluation16 by Professor Hallam and
Dr Andrea Creech has found that the
introduction of the Musical Futures
approach prompted a sharp rise in
enrolment for GCSE music courses.17 It is
also said to have had a positive effect on
pupils’ behaviour and motivation levels
and boosted their confidence in their
music-making abilities.
In September 2008 Musical Futures
launched a network of ‘champion
schools’. These schools have developed
the initiative and now devise and
deliver free training for music teachers.18
Musical Futures has also started to
spread overseas. Schools in Australia,
for example, are now introducing the
programme as part of a state-by-state
roll-out, beginning with 10 pilot schools
in Victoria. The work has also spread
to Brazil, where a network of schools
co-ordinated by the University of
Brasilia is adopting the Musical Futures
strategies. The Open University of Brazil
is also piloting a teacher-training unit
promoting the strategies. In the United
States, this groundbreaking approach
to music education has been adopted
by programmes such as ‘Little Kids Rock’
(www.littlekidsrock.org) and by the
Informal Learning Project conducted by
the Westminster Choir College of Rider
University, New Jersey.
7
Lucy Green’s writing on the benefits
of the informal approach to school
music-making had, however, begun
to make an impact in South America
and elsewhere even before Musical
Futures got under way.19 Her influential
2001 book, How Popular Musicians
Learn: A Way Ahead For Music Education,
inspired a collaborative research project
between two Brazilian universities,
the Federal University of Bahia and
the Federal University of Rio Grande
do Sul. Her work has also been widely
discussed by music educationists in
the US. A symposium on her research
was held at the American Educational
Research Association conference in
2008 and the papers presented were
later published in a special edition of a
US journal, Visions of Research in Music
Education.20 Other special issues on her
work have been published by the US
journal, Action, Criticism and Theory in
Music Education, and the British Journal
of Music Education.
Sing Up
Although Sing Up is undoubtedly a
collective enterprise, Graham Welch is
recognised as one of its architects. The
programme, launched in late 2007, was
partly shaped by the advice he offered
at the planning stage, and Professor
Welch was subsequently appointed
as its main research adviser. His team’s
evaluation findings have fed into the
development of Sing Up, which has
been adopted by more than 85 per cent
of England’s 17,000-plus maintained
primary schools.
Professor Welch’s contribution has been
acknowledged by Baz Chapman, the
programme’s director: “We believe that
Sing Up’s research needs have been too
complex and specialist to be carried
out by any but a very few researchers.
This is, for us, the ultimate research
partnership.”
Year of Music research
Professor Hallam’s review of research
into the cognitive, physical and
psychological benefits of music
was referred to by Ed Balls, the then
Music Education
Secretary of State for Children, Schools
and Families, at the launch of the first
National Year of Music in September
2009. The ex-Schools Minister Diana
Johnson also cited Professor Hallam’s
review at the launch event: “Research
from the Institute of Education tells us
that involvement with music can have
a huge impact on the development
of young people, and that it can even
promote social cohesion and better
behaviour. And because we know that
learning to play an instrument can
improve both reading and writing,
it is right that music should play an
important role in school life, and
beyond.” As noted at the beginning
of this case study, the key findings of
Professor Hallam’s research review
have also been accepted by leading
members of the coalition government
elected in 2010.
Professor Hallam’s research digest has
been posted on the websites of several
national organisations, such as the
Training and Development Agency for
Schools and the Associated Board of
the Royal Schools of Music. She has also
been commissioned to write a number
of articles based on her research review.
One was featured in an issue of Music
Journal, the monthly magazine of the
Incorporated Society of Musicians.21
Increased investment in music
education
IOE surveys of local authority music
services in 200522 and 200723 in England
have also helped to provide the
rationale for increased government
investment in music education in recent
years.
A document published by the previous
Labour government, “Music education
and the music grant (Standards
Fund 1.11)”,24 acknowledges the
importance of the two survey reports
by Professor Hallam and her colleagues.
“Government has learned from the pilot
programmes and from the National
Survey reports in 2005 and 2007,”
it says. “The key factors supporting
the programmes and the barriers to
widening participation have been
identified.” The document then goes
on to list the principal actions taken
to address the issues highlighted by
the pilots and the IOE surveys. These
include:
•
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•
funding changes designed to
encourage local authorities
to prioritise spending on
instrumental and vocal
programmes at Key Stage 2
(ages 7 to 11),
an extra £40 million made
available to ensure pupils
have access to the full range of
instruments, and
high quality continuing
professional development,
provided free of charge.
Child choristers
Graham Welch has researched and
written extensively on child choristers.25
Several studies he conducted with
colleagues found that even expert
listeners could seldom tell the
difference between all-boys, allgirls and mixed choirs. This research
also concluded that sounds that are
perceived as ‘masculine’ are often
made by choirs trained by men whilst
‘feminine’ sounds are generated by
choirs trained by women. These findings
strengthened the argument that the
introduction of girls into cathedral
choirs would have no effect on the
choral tone produced.
Music teaching in primary schools
Research led by Sue Hallam showed
that there was great variability in the
quality of music teaching and singing in
primary schools.26 It also confirmed that
many trainee primary teachers lacked
confidence in their ability to teach
music.27 As a result of these findings,
the EMI Music Sound Foundation, a
leading music education charity, asked
Professor Hallam and her colleagues to
carry out a further survey that provided
additional insights into the problem.
The survey found, for example, that
almost four in ten primary teachers
could not read music and some did
not even feel confident enough to
sing in front of a class of four-year8
Case study on the impact of IOE research
9
olds. However, the IOE research also
revealed that even a day of training
could dramatically improve teachers’
confidence and ability to teach music.28
Four months after the training day, 98
per cent of the teachers agreed that it
had improved their music teaching, and
that pupils were enjoying music lessons
more. EMI Music Sound Foundation is
now rolling out the training programme
to a further 30 schools.
on special schools. It is helping to
change perceptions about the musical
development that is possible with
children and young people who have
complex needs. The Qualifications
and Curriculum Development Agency,
inspectors and schools have all
expressed keen interest in this project.
Ten schools in the Midlands and South
of England are working closely with the
research team.
Special educational needs
Sounds of Intent, the joint IOE,
Roehampton University and RNIB
project, is having a substantial impact
Local authority music services and
exam bodies
The influence of IOE research can
be detected in many local authority
Music Education
documents. The introduction to
the booklet setting out the Devon
Music Service Strategy for 2005–2009
begins with one of Graham Welch’s
characteristic comments: “Everyone
has the capacity to be uniquely musical
but the development of our musicality
and the realisation of our potential are
shaped by experience.”29 The Devon
document responds by adding: “Our
mission therefore should be simple: to
create frequent high quality musical
experiences for all learners.”
Exam bodies have cited the Institute’s
music studies too. For example, the
Scottish Qualifications Authority uses
a quotation from Professor Hallam
to help explain the context for its
Higher National Unit on Music and
Cultural Policy: “Music is powerful at
the level of the social group because
it facilitates communication which
goes beyond words, induces shared
emotional reactions and supports the
development of the group identity.”30
Health
IOE research that has drawn attention
to the cardiovascular benefits of singing
has been heeded by Heart Research UK.
It organised a national singing week in
December 2009 and decided to repeat
the exercise in December 2010. The
charity cited Professor Welch’s research
in its event publicity and quoted some
of his main conclusions on the health
benefits of singing.31
A second singing initiative, Learn to
Sing, supported by the National Lottery
through Arts Council England, has used
similar comments from Graham Welch
in its recent publicity (http://www.
choiroftheyear.co.uk/press-release4.
htm).
International reputation
The international regard for the IOE’s
music research is indicated by the fact
that Professor Welch is president of
the world body for music education,
the International Society for Music
Education. He is only the second English
person in more than 50 years to be
elected to this post. Professor Welch
is also chair of another international
organisation, the Society for Education,
Music and Psychology Research
(SEMPRE) and co-editor of the Oxford
Handbook of Music Education and Oxford
Handbook of Singing. Professor Hallam,
is a leading expert in the psychology
of music and edited SEMPRE’s journal
from 2001 to 2007. Sue Hallam is also
co-editor of the Oxford Handbook of
Music Psychology. Governments and
institutions around the world have
consequently sought the advice of
IOE music researchers. Sue Hallam has
provided advice on the development
and protection of music services in
Australia and the US. Graham Welch
has been consulted about children’s
singing, teacher development and
the evaluation of music initiatives by
the Italian Ministry of Education, the
National Center for Voice and Speech
in Colorado, US, the Swedish Voice
Research Centre, the British Council in
the Ukraine, the South African National
Research Foundation and the Ministry
for Education and Youth in the United
Arab Emirates.
As noted earlier, Lucy Green’s work
on informal music education, which
underpinned the Musical Futures
programme, has also proved
influential around the world. She is
an international authority not only in
informal music learning practices, but
also innovative ways in which to adopt
and adapt these for the classroom. She
sits on the editorial boards of no fewer
than 10 academic journals, two of which
are published in Brazil, one in Greece,
one in Australia, and another in SouthEast Asia.
The future
IOE music researchers will be reporting
on their latest findings at conferences
around the world.
Graham Welch and his team intend
to continue their research into the
wider benefits of singing. They are
aiming to identify the key principles
of high-quality singing education,
based on the evidence gathered. This
10
Case study on the impact of IOE research
work will benefit from the findings
of new collaborative research with
neuroscientists at Birkbeck College and
the University of Sheffield. Additionally,
he and his co-researchers on the
Sounds of Intent project are using their
new funding to ensure that the world’s
first interactive website to support the
music work of special school teachers
has a global reach, with an initial pilot in
Pakistan.
Colin Durrant is continuing his
research into singing and choral
conducting while Sue Hallam and her
co-researchers will be undertaking
their evaluation of the long-term
impact of Musical Futures, and their
New Dynamics of Ageing research
into the benefits of music-making
in later life. However, they are also
planning to assess the effect that active
engagement with music can have at
the other end of the life cycle – the
‘early years’ – and they will be mounting
11
another study of instrumental
tuition at all levels, from beginners to
professionals.
Lucy Green is carrying out research,
funded by Esmée Fairbairn, into how
informal music learning practices can
be transferred from the classroom
to one-to-one instrumental lessons.
This research has already generated
some new concepts concerning
musical learning styles, which will
be discussed in an article in a major
journal (Psychology of Music) next year.
Professor Green has also been invited
to contribute a chapter on this work
to a book edited by Scandinavian
academics.
It therefore seems certain that IOE
researchers will continue to have
a significant influence on music
education not only in this country, but
around the world, in the years ahead.
Further Reading / Notes
Further Reading
Notes
DURRANT, C. (2003). Choral Conducting: Philosophy
and Practice. New York: Routledge.
GREEN, L. (2008). Music, Informal Learning and the
School: A New Classroom Pedagogy. London and New
York: Ashgate Press.
1 Lord Hill of Oareford, Parliamentary Under Secretary
of State for Education, made a similar statement in
the House of Lords on October 5, 2010. See http://
www.theyworkforyou.com/wrans/?id=2010-1005a.1.0&s=music
HALLAM, S., CROSS, I. and THAUT, M. (eds) (2008).
Oxford Handbook of Music Psychology. Oxford: Oxford
University Press.
2 WELCH, G.F. and ADAMS, P. (2003). ‘How is
music learning celebrated and developed?’ [BERA
Professional User Research Review]. Southwell, Notts:
British Educational Research Association. [pp24] [ISBN
0 946671 22 2] http://www.bera.ac.uk/publications/
reviews/
HALLAM, S. and CREECH, A. (eds) (July 2010). Music
education in the 21st Century in the United Kingdom:
Achievements, analysis and aspirations. London:
Institute of Education, University of London.
WELCH, G.F., PURVES, R., HARGREAVES, D. and
MARSHALL, N. (2010). ‘Early career challenges in
secondary school music teaching’. British Educational
Research Journal. First published online 26 March
2010, DOI: 10.1080/01411921003596903.
WELCH, G. F. and PAPAGEORGI, I. (2008). ‘Investigating
Musical Performance: How do musicians deepen
and develop their learning about performance?’
ESRC/TLRP: Teaching and Learning Research Briefing
61; see also http://www.tlrp.org/proj/Welch.html
for an extensive list of publications related to the
Investigating Musical Performance project.
3 GREEN, L. (2001). How Popular Musicians Learn: A
Way Ahead For Music Education. London and New York:
Ashgate Press.
4 WELCH, G.F. (2001). The misunderstanding of music.
London: University of London Institute of Education.
[pp 42] [ISBN 0-85473-660-3]; WELCH, G.F.(2005). We
are musical. International Journal of Music Education,
23(2), 117-120.
5 HALLAM, S. (2004). ‘The Mozart Effect’, keynote
presentation to Thurrock Schools’ Music Conference,
Thurrock, Essex, 18th March.
6 This work built on earlier research by other music
specialists, such as Professor Green, author of the only
book to be published on gender and music education:
GREEN, L. (1997). Music, Gender, Education. Cambridge
University Press.
7 HALLAM, S., ROGERS, L. and CREECH, A. (2008)
‘Gender differences in musical instrument
choice’, International Journal of Music Education, Vol.
26(1).
8 WELCH, G.F., HIMONIDES, E., SAUNDERS, J.,
PAPAGEORGI, I., VRAKA, M., PRETI, C., and STEPHENS,
C. (2010). ‘Researching the impact of the National
Singing Programme Sing Up in England’. Institute of
Education, University of London.
9 WELCH, G.F., PRETI, C., and HIMONIDES, E. (2009).
Progetto Musica Regione Emilia-Romagna: A researchbased evaluation. London: International Music
Education Research Centre.
10 The pilot work for the informal learning strand was
funded by the Esmée Fairbairn Foundation.
11 WELCH, G.F., OCKELFORD, A., ZIMMERMANN, S-A.,
HIMONIDES, E., and CARTER, F-C. (2008). ‘Sounds of
Intent’. London: Institute of Education; WELCH, G.F.,
OCKELFORD, A., CARTER, F-C., ZIMMERMANN, S-A.,
and HIMONDES, E. (2009). ‘Sounds of Intent: Mapping
musical behaviour and development in children and
young people with complex needs’. Psychology
i
Notes
of Music, 37(3), 348-370; OCKELFORD, A., WELCH,
G.F., JEWELL-GORE, L., CHENG, E., VOGIATZOGLOU,
A., and HIMONDES, E. (in press). ‘Sounds of Intent,
Phase 2: Approaches to the quantification musicdevelopmental data pertaining to children with
complex needs’. European Journal of Special Education.
12 Further information about the NDA programme
can be found at www.newdynamics.group.shef.ac.uk
25 WELCH, G.F. and HOWARD, D.M. (2002). ‘Gendered
Voice in the Cathedral Choir’. Psychology of Music, 30,
102-120; WELCH, G.F. (in press). Culture and gender
in a cathedral music context: An activity theory
exploration. In M. Barrett (Ed.), A Cultural Psychology of
Music Education. New York: Oxford University Press.
13 Graham Welch can be heard speaking about
the health benefits of singing in a Radio 4 Today
programme broadcast in April 2009. news.bbc.co.uk/
today/hi/today/newsid_8003000/8003719.stm
26 HALLAM, S., ROGERS, L., CREECH, A. and PRETI,
C. (2005). ‘Evaluation of a Voices Foundation Primer
in primary schools’. Research Report. London:
Department for Education and Skills.
14 A case study illustrating the benefits of Musical
Futures can be found at curriculum.qcda.gov.uk/
key-stages-3-and-4/case_studies/casestudieslibrary/
case-studies/Personalised_learning_breathes_life_
into_music.aspx
27 HALLAM, S., BURNARD, P., ROBERTSON, A., SALEH,
C., DAVIES, V., ROGERS, L. and KOKATSAKI, D. (2009).
‘Trainee primary school teachers’ perceptions of their
effectiveness in teaching music’. Music Education
Research, 11(2), 221–240.
15 Further information about the Music Manifesto
campaign is available from www.musicmanifesto.
co.uk/
28 HALLAM, S., CREECH, A., RINTA, T. and SHAVE, K.
(2009) EMI Music Sound Foundation: Evaluation of the
impact of additional training in the delivery of music
at Key Stage 1, Institute of Education, University of
London.
16 HALLAM, S., CREECH, A., SANDFORD, C., RINTA,
T. and SHAVE, K. (2008). Survey of Musical Futures:
a report from Institute of Education, University of
London for the Paul Hamlyn Foundation. Project
Report.
17 The evaluation team has, however, noted that GCSE
music may not be appropriate for all pupils involved
in informal music-making. Several schools following
the Musical Futures programme have switched to
BTEC examinations.
18 Information on the training programme can be
found at www.musicalfutures.org.uk/training
19 HENTSCHKE, L. and MARTINEZ, I. (2004). Mapping
Music Education Research in Brazil and Argentina: The
British Impact, Psychology of Music; 32; 357.
20 This edition of the journal can be found at wwwusr.rider.edu/~vrme/
21 ‘How powerful is music?’ www.ism.org/news_
campaigns/article/how_powerful_is_music/
22 HALLAM, S., ROGERS, L., and CREECH, A. (2005).
Survey of Local Authority Music Services 2005.
Research Report 700. London: Department for
Education and Skills.
23 HALLAM, S., CREECH, A., ROGERS, L. and
PAPAGEORGI, I. (2007). Survey of Instrumental Music
Services 2007. London: DfES.
ii
24 www.ks2music.org.uk/do_download.
asp?did=29568
29 ‘This is our music: Devon Music Service Strategy
for 2005–2009’ www.devon.gov.uk/thisisourmusicjune05.pdf
30 The SQA document can be found at www.sqa.org.
uk/files/hn/DDR2M34.pdf
31 www.heartresearch.org.uk/Singing_is_good_for_
you.htm