Content area
Full text
(ProQuest: ... denotes non-US-ASCII text omitted.)
Articles
The research for this article was funded by the European Research Council's Advanced Grants scheme, project number 249598, titled 'Music, Digitization, Mediation: Towards Interdisciplinary Music Studies' (2010-15). We are greatly indebted to Mark Taylor, whose quantitative and analytical skills were very important in relation to the data analysis, whose involvement in both the events held on the research was invaluable, and whose comments throughout were immensely helpful. We are also indebted to David Marquiss, who took charge of the early data collection and analysis. Mark Taylor and Mike Savage provided key comments on earlier drafts of this article, as did Andrew Barry, Anna Bull, Eric Clarke, Simon Emmerson, Lucy Green, Dan Grimley, Christopher Haworth, David Hesmondhalgh, Roger Parker, Christina Scharff, Jason Stanyek, and Robert Adlington, as well as Twentieth-Century Music's two anonymous reviewers. We warmly thank Michael Clarke, Simon Emmerson, Cathy Lane, Pedro Rebelo, Thomas Schmidt, and Simon Waters for their advice at earlier stages and on the design of the study. We are enormously grateful for all the comments, some of which stretched the demands on this research beyond what can be managed in a single article. We take full responsibility for the results of the iterative process of inviting and responding to comments. We hope that others will join us in pushing to a further stage of work on, and in adding further nuance to, the major issues raised by this article, some of which, regrettably, we have barely touched on. We hope also to initiate a constructive conversation among those engaged in, and managing, music in higher education in Britain and beyond about the critical questions raised by this research.
Introduction
Recent decades have seen major changes in music education in Britain; things are in flux. The clearest manifestation of these changes is the establishment of music technology programmes, which have grown dramatically in the past fifteen years in both schools and universities in Britain. At a time when new higher education fee structures have raised serious questions about the value of a music degree, and when some university music departments face recruitment difficulties and others are under threat of closure, the apparent vitality of music technology undergraduate degree programmes is perhaps a...