View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institute of Education EPrints Post-war developments in music education: an investigation of music education policy and practice, as implemented within three local education authorities during the period, 1944-1988 Pauline Adams Institute of Education University of London Doctor of Philosophy 2013 I hereby declare that, except where explicit attribution is made, the work presented in this thesis is entirely my own. Word count (exclusive of bibliography): 81,652 i Abstract In recent times there has been a resurgence of interest in the history of music education, which has opened up new opportunities for the re-interpretation of both established and changing philosophies, pedagogies and practices. Historical research into music services within LEAs is still a fertile area for investigation. This thesis brings new arguments and evidence to bear upon an under-researched and emerging area of study. The focus of this particular investigation emerged from the author’s earlier research into the history of the Inner London Education Authority (ILEA) music service, the findings of which revealed three interrelated factors underpinning its development: funding and commitment, strong leadership, and the ‘London’ factor. These earlier research findings prompted further questions leading to the conception of the rationale and focus for this thesis. The first was to ask if government reports, and the ensuing initiatives they fuelled, had led to other LEAs developing their approaches to state music education in similar or parallel ways and at similar rates, and the second was to examine the role that individuals played in steering the direction of music education within the different authorities. Empirical research has provided an overview of the developments in England within three separate demographically contrasting LEAs: Leicestershire, London and Manchester, which in turn represent a large rural county, the capital city, and a relatively large northern industrial city. During the period of the chosen time frame of this study the LEAs, and those appointed to lead them, were at their most powerful and influential, but, from the mid-1970s onwards, their autonomy gradually declined as education became more centralised through government intervention, resulting in loss of power and the consequent sidelining of their role, a situation which impacted significantly on state provision for music. This thesis examines the consequences of the effects of decision making, by organisations, and their individual interpretation, on music education thinking and practice. ii From the outset, it has been deemed crucial to set this historical enquiry into the broader context of wider public concerns and debate, and of changing social and economic climates, all of which have ensured that this microcosmic investigation extends beyond the boundaries of institutionalised education. iii Contents Chapter 1 Introduction Focus and aims 1 Conceptualising historical enquiry 2 Historiography and music 4 Influential agencies 10 The rational behind the three chosen LEAs 13 The foundations for LEA choices 15 Recurring themes 16 Methodology 17 Outline of thesis chapters 20 Chapter 2 Secondary education: a place for music in the curriculum Introduction 24 Towards expansion into mass secondary schooling 24 Towards the 1944 Education Act: initial consultation and discussion 26 The Norwood Report and the implementation of the 1944 Education Act 30 The comprehensive ideal: an alternative structure for secondary schooling 33 Staffing: the recruitment situation post- 1944 39 The curriculum: timetabling and a place for music 44 Examination: the argument for change 50 Conclusion 52 iv Chapter 3 Changing perspectives: implications for secondary school music Introduction 54 Unsung traditions and emerging musical trends 55 The rise of the teenage culture: tensions and resolutions 56 A different kind of diversity 64 The avant garde: innovative and contemporary approaches 75 Curriculum change: the York Schools Council Project 79 Examinations: new departures 85 Conclusion 89 Chapter 4 Music as a component of the primary curriculum: ideologies and practicalities Introduction 90 Schooling for all 90 The place of music within mass schooling 91 Towards a different model of teaching 98 A new phase: implications for post- Second World War development 101 Inheritances: the teachers and the schools, 1940s and 1950s 104 The 1960s: optimism and changing pedagogies 110 In service training in Leicestershire, London and Manchester 117 Conclusion 124 v Chapter 5 Instrumental developments: commitment and realisation Introduction 125 Post- war aspirations 125 A significant report 127 The way forward: findings and deliberations 130 London: early commitment to instrumental provision 136 Manchester: an early instigator of instrumental teaching 146 Leicestershire: a latecomer and example of post- war commitment 150 Conclusion 156 Chapter 6 The Youth Orchestra: a post- war phenomenon Introduction 158 Early commitments: influences and inroads 158 Post- war context: the focus of extra-curricular provision 160 Leicestershire: starting from scratch 163 Broadening horizons: realising ambition through exposure 168 Financial constraints: implications and responses 171 London: starting from a secure base 174 Manchester: transcending difficulties 179 Conclusion 184 vi Chapter 7 Music appreciation and concerts for schools Introduction 187 The music appreciation movement: a place in the curriculum 187 The growth of professional orchestras: civic pride and cultural 190 transmission Government policy and the arts: a commitment 195 Manchester: an early example of concert provision 199 London: an example of wartime provision and continuing commitment 203 Leicestershire: an example of challenges facing a rural county 213 Conclusion 217 Chapter 8 Conclusions Introduction 219 Early key players 219 LEA commitment: extending musical opportunity 221 A place for music: wider vision tempered by physical constraints 223 Divisions exposed 225 Strengths of the research and areas for further enquiry 226 Bibliography 229 vii Acknowledgements The research base has been gathered from a number of libraries and repositories, and thankful recognition is due to all those archivists who have made visits relevant and profitable: Adam Goodwin, Leicestershire Record Office, Stuart Robinson, Hallé Orchestra Archives, Frances Cook, London Philharmonic Orchestra Archives, Anna Wright, Royal Northern College of Music Archives, and Chris Bornet, Royal College of Music Library. In addition, archivists at The Manchester City Library, the Manchester Record Office, and the London Metropolitan Archives have supported areas of enquiry. Particular thanks are given to the invaluable help given by John Whitcombe, compiler and current holder of the Leicestershire Schools Symphony Orchestra’s archive, whose own appreciation of his time as a member of the Orchestra has provided some of the impetus for pursuing aspects of this study. There is appreciation to all those who have agreed to provide oral testimony: Eileen Bentley, Kate Buchanan, Helen Coll, Gerald Forsyth, Malcolm Fletcher, Victor Fox, Richard Hallam, Stuart Johnson, Allan Jones, Emyr Wynne Jones, Anice Patterson, John Ridgeon, and Sally Zimmermann. Special thanks goes to John Stephens, who has been a source of continuing encouragement, and has been willing to pass on some of his extensive and insightful knowledge gathered from a long and illustrious career in music education. A special thank you also goes to Yvonne Browne, who has given time to proof reading the text with a seasoned eye, and whose support has been greatly valued. Grateful thanks are due to Dr Tom Woodin, the internal reader for the thesis, who has provided additional and valuable perspectives for consideration. Lastly, and above all, much appreciation is given for the patient and expert guidance that my supervisor, Dr David Crook, has unstintingly offered throughout the often challenging and difficult periods of the writing of the thesis. viii Abbreviations ACGB Arts Council of Great Britain BBC British Broadcasting Corporation CEMA Council for the Encouragement of Music and the Arts CEO Chief Education Officer CSE Certificate of Secondary Education CYM Centre for Young Musicians DES Department for Education and Science ESTA European String Teachers Association GCSE General Certificate of Secondary Education GLC Greater London Council GRSM Graduate of the Royal Schools of Music GSE General Certificate of Education HMI Her Majesty’s Inspectorate ILEA Inner London Education Authority LEA Local Education Authority LCC London County Council LCM London College of Music Leicestershire SSO Leicestershire Schools Symphony Orchestra LPO London Philharmonic Orchestra London SSO London Schools Symphony Orchestra MANA Music Advisers National Association MYO Manchester Youth Orchestra NAME National Association of Music Educators NATG National Association of Teachers and Governors ix NUT National Union of Teachers NUWT National Union of Women Teachers RAA Regional Arts Association RAM Royal Academy of Music RCM Royal College of Music RMCM Royal Manchester College of Music ROSLA Raising of the School Leaving Age RSA Royal Society of Arts RSMA Rural Schools Music Association SBL School Board for London SCCE Schools Council for Curriculum and Examinations TCM Trinity College of Music x Chapter 1 Introduction Focus and aims The period of study chosen for