An Interview with Susan Hallam: Music and it’s Impact and Importance

Detail from the Statue of William Tell and his son in Altdorf, Switzerland (Richard Kissling, 1895)

7.20.10 - Michael F. Shaughnessy - The academic year 2009-2010 has been the Year of Music in the UK. The book was written in part to celebrate the end of that year. We were also aware of the impending general election and the likelihood of budget cuts so we wanted to set out the strength of music education so that cuts could be made from an informed position by policy makers.

Michael F. Shaughnessy

Eastern New Mexico University

Portales, New Mexico

1) Susan, could you first tell us a little bit about your background, and musical interests?

I trained at the Royal Academy of Music and on leaving became Principal 2nd violin in the then BBC Midland Light Orchestra. While there I became interested in psychology and began studying in my spare time for a degree in psychology externally with London University. Over time I became more and more interested in psychology of music so I left full time professional playing and trained to teach music. Once qualified I taught for several Instrumental Music Services in the UK, also being promoted to Head of Area and Head of String positions. While teaching I continued to undertake freelance work playing and also study. I completed my degree, went on to complete an MSc in Psychology of Education also part time and enrolled for a PhD about practising. While doing this the UK experienced some very severe expenditure cuts during the Thatcher era. The Instrumental Music Service I worked for was threatened. My husband was the Director of that service so our situation was somewhat fragile. Locally, we fought the cuts and won but afterwards my husband and I decided that this was rather a risky situation to be in. So I took on a new job teaching psychology in a Further Education College and after two terms secured a post at the Institute of Education, University of London where I currently work. I commended as a lecturer and have been consistently promoted and am currently Dean of the Faculty of Policy and Society.

2) What led up to this book? What was your motivation?

The academic year 2009-2010 has been the Year of Music in the UK. The book was written in part to celebrate the end of that year. We were also aware of the impending general election and the likelihood of budget cuts so we wanted to set out the strength of music education so that cuts could be made from an informed position by policy makers.

3) How responsible are the schools in England and Europe for exposing children in the schools to music?

Music is part of the National Curriculum in England and has to be taught for children up to the age of 14. In addition there are Local Authority Music Services who provide instrumental tuition. The previous government also committed to music education and various national schemes are running which give every child the opportunity to learn to play an instrument free of charge and to engage in high quality singing.

In Europe more generally, tuition is largely provided through conservatoires which operate in most towns. These take children from a very early age.

4) Let's start with classical music- why should school children in England and Europe be exposed to say, the William Tell Overture?

School music education in England is based on three main elements, listening/appraising, performing and composition. It is a very practical curriculum. Students are exposed to different types of music but this is usually in relation to a practical activity. So exposure to different kinds of music is based on issues relating to the activities that the children do rather than the strengths or weaknesses of particular composers.

5) Let me throw out a few random names-- Bach, Beethoven, Handel and Mozart---what do you see as their main contributions?

See above

6) How much music theory should a typical adolescent be exposed to in the schools?

In the UK, music theory is learnt through practical music making. Only children taking graded examinations beyond grade 5 and those studying for a General Certificate of Secondary Education (national examinations taken at age 16) in music will study any theory of music separately from active music making.

7) Let's venture into jazz and improvization- why would an adolescent benefit from being exposed to say Clifford Brown, Herbie Hancock, and that genre?

Everyone benefits from being exposed to all kinds of music. All music has the power to move us emotionally, change our mood, enable us to express feelings cathartically. In addition all music offers intellectual challenges in understanding its structure, instrumentation and so on. The greater the exposure to different kinds of music the greater understanding of music as a whole is developed. The National Curriculum in England requires that children are exposed to different world musics.

8) Sadly, the " big band sounds " of Benny Goodman, Artie Shaw , and that period are only appreciated by a few. How can we convince students today who seem to be into hip hop and rap that this music is worthy of appreciation and listening?

We need to get the various radio stations to broaden their remit so that they play different kinds of music. We know that we like music the more we listen to it – familiarity, in this case, leads to liking, as long as we do not become so familiar that we become bored. So exposure is the key. Exposure can occur through formal education but given the relatively small amount of time that children spend in school it really needs to come through other media – so radio stations, TV, etc.

9) I have been to Eastern Europe and certain countries seem to keep the music of Chopin, Antonin Dvorak and others quite alive---who or what is behind these endeavors?

These countries place a much greater emphasis on their culture at every level. 

10) Obviously, England has given us The Beatles, the Stones, and many other rock and roll groups- but the focus seems to be on the " big hits " while extremely sophisticated, well constructed music by these groups seems to sadly be ignored. I am thinking here of McCartney's tune " I Will ", which is exquisitely crafted, musically sophisticated, but rarely played or appeciated. Any ideas?

Persuade someone to play it often enough and it will probably become a big hit!!!!

11) Another two genres, baroque and chamber music only seem to be performed in certain select venues- what do music teachers have to do to encourage greater exploration of these areas?

We need to find ways to expose children to different kinds of music often enough that they come to like it.

12) Let's discuss some specific domains in music- for example- transposition. Who needs to know about this aspect of music, and other areas of music theory?

In the UK, transposition in compulsory music education will not be taught. Beyond that it will be mainly related to instruments that need to transpose. The emphasis is very much on practical activities.

13) On my last visit to London, I was lucky enough to attend a concert at St Martin's in the Fields. What role do you see such organization in promoting quality music and a depth of appreciation of various types of music?

In these times of ‘austerity’ everyone has a contribution to make.

14) What do you see as the main contributions of your book to the field of music education?

In the UK, I expect that it will inform educators and policy makers about the range of activities that are going on, the value of them, where the weaknesses are and what we can do about them.

15) What are some of the social, emotional and inter-personal contributions that music makes to the individual?

Active participation in music making has the power to assist in the development of language, literacy skills and enhance spatial reasoning. It also seems to have a more general impact on attainment later in the school years even when things like socio-economic status have been taken into account. Providing it is an enjoyable activity and leads to some level of success it can raise self-esteem and confidence. It can also facilitate the development of team work, leadership, and skills of negotiation.

16)  I have done some work with music therapy with Kimmo Lehtonen of Finland. Does your book have a chapter on the field of music therapy?

No.

17) What were some of the contributions of your co-editor?

We jointly edited the whole book. In addition to editing the book we are also single and joint authors with others in other chapters. 

18) How would our readers get a copy of Music Education in the 21st Century in the UK: Achievements, analysis and aspirations?

The book can be ordered directly from the distributor Stylus Publishing (www.styluspub.com)  or from all online retailers such as Amazon.com or TheBookDepository.com