# data[].attributes.body
Venue: The Boiler House, Newcastle University, Newcastle-upon-Tyne

Date: Thursday 25th January 2018.

9:30 – Arrivals, registration and tea/coffee

10:00 – WELCOME TO NEWCASTLE, Ian Biddle, Head of ICMuS and Julia Partington – outline of the event

10:15 – Georgina Biddle and Jenny Williams from Music Partnership Newcastle –‘Music Education Hub perspective of current issues in secondary music education’

10:45 – John Finney – ‘In Search of Music Education’ ”In search of

11:30 WORLD CAFÉ EVENT – facilitated by Simon McKerrell

12:30 LUNCH

1:15 Michael Gale ‘The death knell for traditional harmony and counterpoint studies? Some prospects and implications arising from the new A-Level curricula.’

1:45 – Graham Welch – ‘Effective Teacher Education in Music’

2:30 – afternoon refreshments

2:45 – PANEL ROUNDTABLE – Panel: Helen Minors, Chair of NAMHE, Georgina Biddle, Head of Music Partnership North Newcastle, Katherine Zeserson, freelance music educator, consultant and strategic advisor, Keynote speakers Graham Welch, John Finney & Ian Biddle, Head of ICMuS.

3:30 Plenary and thanks

3:45/4pm – END

Additional contributors:

Poster contribution from Jo Saunders, University College London, Institute of Education: ‘Initial teacher education in the primary context: From musical learner to musical leader’

The event will take place in the Boiler House which is a square brick structure right in the centre of Newcastle University’s campus. For those of you coming from outside the North East, the University itself is in the city centre, near to Haymarket bus and metro stations and not too far from St James’s Park football ground and the RVI hospital, all easily spottable landmarks.

There are numerous car parks and on street parking surrounding the university and RVI hospital, although this can be in high demand. A map of car parking can be found here https://community2.newcastle.gov.uk/apps2/car-parks.

Here is a link to a map of the city centre and university campus.

http://www.ncl.ac.uk/media/wwwnclacuk/abouttheuniversity/files/campus-map.pdf

Once on campus, If you find King’s Road as marked on the map, locate the the Student Union building and the main arches in the centre of the campus, it is between those two structures (this is a new space, not yet on the map but there is an open air seating area there with large sculptures of human heads, find those, and you will see the Boiler House easily).

We are starting at 9:30 for tea, coffee, registration and beginning properly at 10am. The day will end by 4pm at the latest.

# data[].attributes.body
Value of music in schools
Value of music in schools
 How to improve the school results: not extra maths but music, loads of it
How to improve the school results: not extra maths but music, loads of it
Abiha Nasir, aged nine, walks quietly into the small classroom, takes a seat, adjusts her hijab and picks up the drumsticks. A shy smile spreads across her face as she begins to play. She was just five when she turned up at Feversham primary academy's after-school clubs, leaving teachers astounded by her musical ability and how her confidence grew with an instrument in hand.
the guardian


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HEFCE NSS 2017
HEFCE NSS 2017
 National Student Survey results - Higher Education Funding Council for England
National Student Survey results - Higher Education Funding Council for England
hefce


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NSS
NSS
 National Student Survey 2017: campuses omitted after NUS boycott
National Student Survey 2017: campuses omitted after NUS boycott
Several major higher education institutions, including the universities of Cambridge, Manchester, Oxford and Sheffield, fail to feature in this year's National Student Survey table after a student boycott in protest over England's teaching excellence framework.
times higher education (the)
1 comment

National Association for Music in Higher Education [NAMHE] 5mo
Thanks for this. It's useful.


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Diversity and the national portfolio
Diversity and the national portfolio
Blog
 Diversity and the National Portfolio
Diversity and the National Portfolio
Diversity is vital to achieving artistic excellence, driving innovation and creating new collaborations. Through embracing diverse influences and practices, artists and organisations can create exciting, new, high quality work to inspire and connect with a wide range of people. The arts are also an essential platform to amplify the voices of communities whose stories have historically been under-represented across the sector.
artscouncil


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Arts Council Job
Arts Council Job
Senior manager - Childen Young People and Learning
 Arts Council - Job Details
Arts Council - Job Details
globalsuccessor


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MEC discussion
MEC discussion 
Question: how can the Arts Council advocate and support Music HUBS more actively in decision making and liaison with head teachers?
 

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Art council video
Art council video
 In Harmony: Progress and performance - a musical lifestyle
In Harmony: Progress and performance - a musical lifestyle
'This film explores progress and performance hrough the In Harmony programme, connecting with pupils through orchestral music teaching and playing. Find out more:
youtube


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Grant for the Arts soon to be relaunched as Grant for Arts and Council
Grant for the Arts soon to be relaunched as Grant for Arts and Council
Keep your eye on the website. More opportunity for Music HUBS to apply for funds.
 Grants for the Arts
Grants for the Arts
artscouncil


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Mentoring programme Music HUBS
Mentoring programme Music HUBS
DEADLINE 7th August 
 MEH_mentor_registration_form_1718-1
MEH_mentor_registration_form_1718-1
Word document
padlet drive


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Peer Development Programme MUSIC HUBS
Peer Development Programme MUSIC HUBS
DEADLINE 7TH AUGUST
 Peer_Development_Programme_Briefing_July2017_1
Peer_Development_Programme_Briefing_July2017_1
Word document
padlet drive


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Music Commission
Music Commission 
 The Music Commission
The Music Commission
Learning music benefits us all. Evidence shows the individual, societal and economic benefits of learning music are of significant value; Yet many people do not pursue their musical learning. The Music Commission aims to understand why and offer practical solutions so that more people can sustain their interest and involvement in learning music.
musiccommission


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MEC
MEC
 MEC Summer Seminar - The Future of Music Education 2018 to 2020 and Beyond
MEC Summer Seminar - The Future of Music Education 2018 to 2020 and Beyond
MEC Seminar 11am to 4pm July 18th 2017 Leeds College of Music The Future of Music Education: 2018 to 2020 and beyond. Following the General Election and developments in music education in England, Wales, Scotland and Northern Ireland, this seminar will support the music education sector in planning for the future.
eventbrite


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Psychological health in academia - a paper presented by Valerie Peters et al
Psychological health in academia - a paper presented by Valerie Peters et al
Please find below the slides presented at a recent presentation. The video is forthcoming on the soon to be relaunched NAMHE website.
 CMS_Panel2016
CMS_Panel2016
PDF document
padlet drive


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Call for Papers - Music Education
Call for Papers - Music Education
 Call For Papers: SMEI Conference
Call For Papers: SMEI Conference
7th Annual Conference of the Society for Music Education in Ireland Dundalk Institute of Technology, 10-11 November 2017 CALL FOR PAPERS, POSTERS, WORKSHOPS, SYMPOSIA The 7th annual conference of the Society for Music Education in Ireland / Cumann Ceol Oideachais na hÉireann
smei


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Paul Kleiman's transcript from the joint NAMHE SCUDD DANCE HE conference
Paul Kleiman's transcript from the joint NAMHE SCUDD DANCE HE conference
 Beyond Teaching Excellence
Beyond Teaching Excellence
This is the transcript of a 'provocation' I presented at the joint conference of the three subject associations for dance (DanceHE), drama (SCUDD) and music (NAMHE) as part of a debate about the Teaching Excellence Framework (TEF), University of Huddersfield, 7th April 2017] So..... We didn't vote for it.
stumbling with confidence


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Empty


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RMA opportunity - editor
RMA opportunity - editor
 Opportunity: Editor of
Opportunity: Editor of
RMA Event: Opportunity: Editor of The Journal of the Royal Musical Association (3 May 17) (Deadline 15 Aug)
rma


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RMA opportunity
RMA opportunity
 Opportunity: RMA Research Training Officer (3 May 17)
Opportunity: RMA Research Training Officer (3 May 17)
RMA Event: Opportunity: RMA Research Training Officer (3 May 17) (Deadline 15 Aug)
rma


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Annual General Meeting 2017 AGENDA
Annual General Meeting 2017 AGENDA
NAMHE
National Association for Music in Higher Education

Tuesday 2 May 2017

Faculty of Education, University of Cambridge


Agenda

1.       Welcome and introduction
2.       Apologies for absence
3.       Minutes of the AGM held on Tuesday 3 May 2016 and matters arising
4.       Chair’s report
5.       Treasurer’s report
6.       Proposals for future directions for advocacy




How can we energising and empower institutional NAMHE reps and members? How might we communicate more directly with our members?

How can we undertake research into perceptions of the UK Music HE scene internationally, in order to qualify views expressed anecdotally?

How can we work more closely with the other associations, e.g. SCUDD, DANCEHE?

In representing greater diversity how might we extend our video project?

What do you want to see on the website?

How might we developing an online discussion forum for students?
7.`      Next conferences
8.       Any other business

 

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My is my curriculum so white?
My is my curriculum so white?
 Why is my curriculum white?
Why is my curriculum white?
In the NUS Black Students Campaign National Students Survey, it was found that, '42 per cent did not believe their curriculum reflected issues of diversity, equality and discrimination.' In addition, it found that, '34 per cent stated they felt unable to bring their perspective as a Black [BME] student to lectures and tutor meetings.
youtube


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NAMHE Constitution
NAMHE Constitution
 NAMHE: National Association for Music in Higher Education
NAMHE: National Association for Music in Higher Education
Membership of NAMHE is open to all institutions offering degree programmes in Music or courses that contribute to such programmes. It is open to: whole institutions (e.g. conservatoires); to appropriate faculties, departments or other units in universities or colleges; to individuals working in Music in non-Music departments and in Music departments that are not members of NAMHE.
namhe


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Annual conference update
Annual conference update
For those having issues booking email the chair at h.minors@kingston.ac.uk with your name and affiliation.
 

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ANNUAL CONFERENCE PROGRAMME FINAL
ANNUAL CONFERENCE PROGRAMME FINAL
 NAMHE CONFERENCE SCHEDULE FINAL-2
NAMHE CONFERENCE SCHEDULE FINAL-2
Word document
padlet drive


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KEYNOTE Georgina Born - pre-conference reading
KEYNOTE Georgina Born - pre-conference reading
We would invite delegates coming ot our annual conference on May 2nd to look at this published article on gender, class and music technologyt in advance.
 FINAL Born & Devine Gender class & music technology 2015
FINAL Born & Devine Gender class & music technology 2015
PDF document
padlet drive


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Annual conference 2nd May
Annual conference 2nd May
 


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Job Opportunity
Job Opportunity
Opportunity to apply for a paid Graduate Teaching Studentship in Music at Maynooth University (up to five years), for anyone intending to commence MLitt/PhD research in September 2017. Deadline is 30 June 2017. Applications welcome from qualified applicants in all areas
 Music%20Graduate%20Teaching%20Studentship%202017_1.pdf
Music%20Graduate%20Teaching%20Studentship%202017_1.pdf
PDF document
maynoothuniversity


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Research Excellence Framework 2021: applications invited for Main Panel Chairs
Research Excellence Framework 2021: applications invited for Main Panel Chairs 
 2017 - Higher Education Funding Council for England
2017 - Higher Education Funding Council for England
Four main panels will provide leadership and guidance to the sub-panels that will undertake the assessment. In the first instance, as chairs designate, the appointees will advise the funding bodies on the initial decisions, and on the further planning and development of the framework, before taking up their roles as Main Panel Chairs later in the year.
hefce


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Embedding EDI
Embedding EDI
 Embedding Equality, Diversity and Inclusion (EDI) in and through the new Academi - Higher Education Funding Council for England
Embedding Equality, Diversity and Inclusion (EDI) in and through the new Academi - Higher Education Funding Council for England
Embedding Equality, Diversity and Inclusion (EDI) in and through the new Academi
hefce


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Sharing our videos
Sharing our videos
Many departments are sharing our videos from the project, 'The Value of a Music Degree'. They are available for deparmtents ot utilise, as seen here:
 Why study our subjects? - Anglia Ruskin University
Why study our subjects? - Anglia Ruskin University
Trumpet virtuoso Alison Balsom explains how a Music degree was fundamental to her career and the importance of music education to society. Source: NAMHE (National Association for Music in Higher Education).
anglia
1 comment

Anonymous 9mo
Useful video


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Petition
Petition
 Petition: Designate music as a core subject
Petition: Designate music as a core subject
When it comes to cost-cutting music and art is one of the 1st to go. Music is an academic subject developing language and mathematical skills as well as the obvious creative and practical benefits. Music is a subject that excludes no one and benefits everyone regardless of their vocation in life .
petitions - uk government and parliament


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UCAS - Margaret Farragher's Presentation
UCAS - Margaret Farragher's Presentation
NAMHE SCUDD DANCEHE conference presentation slides
April 8th 2017
 170403 SCUDD and QR v02
170403 SCUDD and QR v02
Powerpoint presentation
padlet drive
1 comment

Anonymous 9mo
Useful.


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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
 

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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
 

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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
1 comment

National Association for Music in Higher Education [NAMHE] 9mo
A useful read!


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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
 

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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
 

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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
 

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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
 

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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
 How do you solve a problem like REF 2021? | Wonkhe | Comment
How do you solve a problem like REF 2021? | Wonkhe | Comment
Image: Shutterstock The minister certainly has his work piling up for him. His Easter is going to be spent fretting over the fate of the Higher Education and Research Bill before it returns to the Commons at the end of April. Then there is Brexit and its impact on the university sector, a big enough headache on its own.
wonkhe


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REF 2021 - useful commentaries on REF
REF 2021 - useful commentaries on REF
http://blog.hefce.ac.uk/2017/02/10/building-on-the-benefits-of-ref/

 

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QR code
QR code
 


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Flashback - example of activism
Flashback - example of activism
02/09/2014

The NAMHE Committee today sent the following message regarding Facilitating Subjects for the attention of Mrs Nicky Morgan, Secretary of State for Education:

Dear Mrs Morgan,

 We are writing to you on behalf of NAMHE (National Association of Music in Higher Education) to urge you to review the use of Facilitating Subjects in School and College Performance Tables. Whilst the reduction of the use of Facilitating Subjects from 3 to 2 in the 2014 'School and College Performance Tables – Statement of Intent' is much to be welcomed, we are still concerned about the persistent claim that Facilitating Subjects are a measure of high attainment and academic rigour, which could be interpreted as implying that A-level success in subjects not classified as 'Facilitating' is not.

 Music, in common with many of the Creative Arts, requires a high degree of application, self-motivation, and a strong work ethic. All of these attributes not only represent a very high degree of academic rigour, but are also easily transferrable to other subjects. The Creative Arts, moreover, can be studied at A level, and beyond, as part of a well-rounded education, in combination with other subjects, 'Facilitating' or not.

 As you will be aware, the Russell Group initially devised their list of Facilitating Subjects to help young people choose A-level subjects which would give them the widest choice of future study at university. They never intended the concept of Facilitating Subjects to be used in the way that the DfES has decided to do. The – albeit unintentional – consequence of the use of Facilitating Subjects in Performance Tables is to distort schools' and colleges' priorities in such a way that the curriculum is narrowed, with negative consequences for a great many students.

 The UK has been known internationally for its excellence in the Creative Arts for many decades. The exclusion of Creative-Arts subjects, including Music, Drama, Art, and Design, from the Facilitating Subjects has already led to decline in the number of students choosing these subjects at A level, and will ultimately jeopardise the UK's leading reputation for excellence in these fields, which contributes so significantly to the cultural and economic life of the nation.

 We urge you to look again at the use of Facilitating Subjects in School and College Performance Tables, and to re-consider how concentration upon these subjects is affecting the choices and advice being offered to young people. As you will be aware, Russell-Group universities do not emphasise Facilitating Subjects in their admissions criteria other than when an A-level subject is vital for admission to a particular degree programme.

 We very much hope that you will take the time to reflect on how the application of Facilitating Subjects to School and College Performance Tables is affecting the choices, lives, and futures of young people in the UK today.

 Please do not hesitate to contact us, if we can be of any further assistance to you.

 With best wishes

 Dr Laura Hamer
 on behalf of the NAMHE Committee
 

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NAMHE External Examination Survey
NAMHE External Examination Survey
Results of Email Survey of NAMHE Membership on Arrangements for External Examining
 20150531_external_examining_survey_responses
20150531_external_examining_survey_responses
PDF document
padlet drive


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Example of advocacy from 2015
Example of advocacy from 2015
Dr Laura Hamer and Dr Chris Collins have written to Pearson on NAMHE's behalf in support of Jessy McCabe's online petition to ensure the representation of women on Edexcel's AS/A-level Music syllabus.
 20150821_letter_to_edexcel
20150821_letter_to_edexcel
PDF document
padlet drive


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Letter to the Guardian - EBACC
Letter to the Guardian - EBACC
 Ebacc and A-level measures are elbowing music out of the school curriculum | Letters
Ebacc and A-level measures are elbowing music out of the school curriculum | Letters
Professor Roger Marsh (Letters, 19 January) is correct in noting that the universal adoption of the Ebacc attainment measure in England will reduce the availability of creative and artistic subjects in schools.
the guardian


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NAMHE has responded to the government consultation on Implementing the English Baccalaurate (EBacc).A joint response was also made with the Standing Conference of University Drama Departments (SCUDD) and the Standing Conference for Dance in Higher Education (DanceHE).
NAMHE has responded to the government consultation on Implementing the English Baccalaurate (EBacc).A joint response was also made with the Standing Conference of University Drama Departments (SCUDD) and the Standing Conference for Dance in Higher Education (DanceHE).
 20160129_joint_ebacc_response
20160129_joint_ebacc_response
PDF document
padlet drive


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PHD POSTER PRESENTATIONS @ NAMHE ANNUAL CONFERENCE 2017
PHD POSTER PRESENTATIONS @ NAMHE ANNUAL CONFERENCE 2017
 NAMHE: National Association for Music in Higher Education
NAMHE: National Association for Music in Higher Education
Throughout the day (2nd May 2107) we will be displaying posters, and welcome submissions from any active researchers (Doctoral students particularly welcome). Titles may either (a) relate to any of the conference provocations, or (b) feature new and timely provocations evidenced from research projects relating to music and music technology in higher education or (c) feature new and timely contributions to the fields of music, music technology and music education research.
namhe


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NAMHE Annual Conference 2017, 2nd May. Cambridge University.
NAMHE Annual Conference 2017, 2nd May. Cambridge University.

Provisional Programme
 FINAL SCHEDULE@1April2017
FINAL SCHEDULE@1April2017
Word document
padlet drive


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NAMHE takes its work to ISME Conference Glasgow July 2016
NAMHE takes its work to ISME Conference Glasgow July 2016
By Zaina Shihabi
 NAMHE: National Association for Music in Higher Education
NAMHE: National Association for Music in Higher Education
The sessions, talks, workshops and symposia continued in the afternoon, including the NAMHE panel discussion 'Mapping Trends and Framing Issues in Higher Music Education: Changing Minds/Challenging Practices'.
namhe
2 comments

Anonymous 9mo
Can you let us know where this is being published please?

National Association for Music in Higher Education [NAMHE] 9mo
We're currently editing an article following peer review - we will upload a link once the piece is published,.


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NAMHE SUPPORT
NAMHE SUPPORT
NAMHE has signed this letter
 The romanticisation of musical literacy?
The romanticisation of musical literacy?
The text of this open letter has evolved a little, with suggestions for making it more accurate and humane. Its substantive points remain the same. It is very close, I think, to something I hope many could stand behind. If you wish to add your name, please do so in the comments here.
google docs


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NAMHE SUPPORT
NAMHE SUPPORT
NAMHE often supports campaigns which recieve press attention. If there is a letter, article, or consultation you need us to hear, and potentially support, let us know. Email: administrator@namhe.ac.uk [:administrator@namhe.ac.uk]

An example of our contribution to a campaign can be seen in our support of the debate concerning EBacc and the arts (scroll down the link - our item is at the bottom)
 Letters: The Leave campaign needs a clear message that will stick in voters' minds
Letters: The Leave campaign needs a clear message that will stick in voters' minds
SIR - Sir Lynton Crosby has hit the nail on the head in saying that the Leave campaign must “dramatically step up its efforts” and send a clearer and simpler message in support of its case if it is to motivate supporters before polling day.
the telegraph


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Current Issues in HE 1 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
Current Issues in HE 1 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
 'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part I
'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part I
On the final day of RMA Research Students' Conference in January at the University of Bangor, there was an informative and thought-provoking roundtable discussion on the subject of current issues in HE music.
rma


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Current Issues in HE 2 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
Current Issues in HE 2 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
 'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part II
'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part II
In the second part of our transcription of the 'Current Issues in HE' NAMHE-convened roundtable discussion that took place at the RMA Research Students' Conference in January at the University of Bangor, Dr Laura Hamer reflects on the issues of gender and equality in music HE. Presenter [Zaina Shihabi]: Thank you, Dr Collins.
rma


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Current Issues in HE 3 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
Current Issues in HE 3 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
 'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part III
'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part III
In the third part of our transcription of the 'Current Issues in HE' NAMHE-convened roundtable discussion that took place at the RMA Research Students' Conference in January at the University of Bangor, Dr Helen Julia Minors discusses the new TEF [Teaching Excellence Framework] and teaching qualifications in HE institutions.
rma


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Current Issues in HE 4 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
Current Issues in HE 4 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
 'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part IV
'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part IV
In the fourth part of our transcription of the 'Current Issues in HE' NAMHE-convened roundtable discussion that took place at the RMA Research Students' Conference in January at the University of Bangor, Professor Rachel Cowgill reflects on the importance of understanding research expectations in HE and offers some very useful advice.
rma


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Current Issues in HE 5 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
Current Issues in HE 5 - NAMHE's 2016 contribution to the RMA Graduate Students Conference
 'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part V
'Current Issues in HE': NAMHE-Convened Roundtable Discussion from the RMA Research Students' Conference, University of Bangor, Jan. 2016. Part V
In the fifth and final part of our transcription of the 'Current Issues in HE' NAMHE-convened roundtable discussion that took place at the RMA Research Students' Conference in January at the University of Bangor, the RMA Student Committee and NAMHE-Panelists have helped assemble the question and answer session following the roundtable discussion.
rma


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Annual Conferences
Annual Conferences
Ever wondered whether it is worth coming to our annual conference? See an example of our entworking, discussions and co-creative learning in a short video summary of our 2014 annual conference
 NAMHE Annual Conference (Bath Spa - May 2014)
NAMHE Annual Conference (Bath Spa - May 2014)
This is "NAMHE Annual Conference (Bath Spa - May 2014)" by NAMHE on Vimeo, the home for high quality videos and the people who love them.
vimeo


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Value of a Music Degree: the Irish perspective
Value of a Music Degree: the Irish perspective
 www.studymusicireland.ie
www.studymusicireland.ie
A video for those interested in undergraduate or postgraduate Music studies in universities, colleges and conservatoire across Ireland (Republic of Ireland and Northern Ireland). See also www.studymusicireland.ie
youtube


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Keynote Panel at the NAMHE SCUDD DANCEHE conference
Keynote Panel at the NAMHE SCUDD DANCEHE conference
How can we manage the flows and changes of early career colleagues? 
 
1 comment

Anonymous 9mo
Can we have an early career session please?


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Actions
Actions
We're here actively contributing to recent debates in the press, signing responses and supporting collegues in our field.
 

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ACTIONS
ACTIONS
The morning's debates and discussions are informing our website re-design and will lead into the AGM on May 2nd which will be hosted in the Faculty of Education at Cambridge University
 

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Early career workshops
Early career workshops
Following a chat with Fiona Bannon, I'd like to propose that we organise sessions for new lecturers as Palatine used to. Marking, workload management, getting published etc. 
 

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How can we re-energise NAMHE's activism?
How can we re-energise NAMHE's activism?

Can we respond quicker to the press, to government policies, and to press stories? How can we manage this to ensure we are effective and included in recent debate?

How can we ensure we are fighting back at the ATTACKS on our discipline?
 
 

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The website is currently being redesigned - the old site is here: http://namhe.ac.uk/
The website is currently being redesigned - the old site is here: http://namhe.ac.uk/
 

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Trending
Trending
AGM action - set a time/day to action NAMHE video links on social media - let's get it trending.
 

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NAMHE SCUDD DANCEHE conference discussions - TEF
NAMHE SCUDD DANCEHE conference discussions - TEF
TEF discussions raised many questions regarding how assessing teaching through proxy metrics would change the nature of what we do and how we do it. By request, a reminder that the NAMHE response to the original consultation can be found online:
 Green Paper: responses collected | Wonkhe | Policy Watch
Green Paper: responses collected | Wonkhe | Policy Watch
Collected formal responses to the Government's Green Paper consultation, which closed in January. Send yours in to be featured here.
wonkhe


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Advocacy - The Value of a Music Degree with Adrian Sutton
Advocacy - The Value of a Music Degree with Adrian Sutton
 The Value of a Music Degree: Adrian Sutton
The Value of a Music Degree: Adrian Sutton
Composer Adrian Sutton talks about his award-winning theatre work and about the importance of a music degree to his career.
vimeo


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Advocacy - The Value of a Music Degree - Music graduates speak
Advocacy - The Value of a Music Degree - Music graduates speak
 The Value of a Music Degree 1
The Value of a Music Degree 1
Are you thinking of continuing to study music after you leave sixth form? Hear from some of those who have, talking about the opportunities a music degree has opened up for them.
vimeo


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Advocacy - The Value of a Music degree - case studies
Advocacy - The Value of a Music degree - case studies
 The Value of a Music Degree: Tenovus Cancer Care
The Value of a Music Degree: Tenovus Cancer Care
Ruth Morris explains how a Music degree was fundamental to her career working for the Tenovus Cancer Care.
vimeo


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Advocacy - The Value of a Music degree - Alison Balsom
Advocacy - The Value of a Music degree - Alison Balsom
 The Value of a Music Degree: Allison Balsom
The Value of a Music Degree: Allison Balsom
Trumpet virtuoso Alison Balsom explains how a Music degree was fundamental to her career and the importance of music education to society.
vimeo


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Advocacy - The Value of a Music degree - Current students speak
Advocacy - The Value of a Music degree - Current students speak
 The Value of a Music Degree 2
The Value of a Music Degree 2
This is "The Value of a Music Degree 2" by NAMHE on Vimeo, the home for high quality videos and the people who love them.
vimeo


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Advocacy: Gender and Equality in Music - A NAMHE Commissioned Report
Advocacy: Gender and Equality in Music - A NAMHE Commissioned Report
Dr Danijela Bogdanovic
 gender_and_equality_2015
gender_and_equality_2015
PDF document
padlet drive


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Twitter
Twitter 
 NAMHE (@_NAMHE_) | Twitter
NAMHE (@_NAMHE_) | Twitter
The latest Tweets from NAMHE (@_NAMHE_). The National Association for Music in Higher Education is the UK's subject body for those training and educating the next generation of musicians in HE
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Anonymous 9mo
Are there two NAMHE twitter accounts and can we close one of them if it isn't being used?


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Communication dialogue
Communication dialogue
Can NAMHE's jiscmail email be expanded to ensure that all departmental members are able t o engage with the discusion more - can it be developed more in the way SCUDDs emails and debate work?
 

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NAMHE AGM Proposal
NAMHE AGM Proposal
1. Create a new open mailing list which can shake up the discussion and enable the community to speak and promptly to recent debates.
3 comments

Anonymous 9mo
😁♥

National Association for Music in Higher Education [NAMHE] 9mo
2. Create a 'protocol' 'style guide' to manage the quality and professionalism of the list

National Association for Music in Higher Education [NAMHE] 9mo
3. Engage our Music Hubs in the conversation through this list


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TEF discussions at the NAMHE SCUDD and DANCEHE conference
TEF discussions at the NAMHE SCUDD and DANCEHE conference
 The Emperor's Folderol or Tales of the TEF
The Emperor's Folderol or Tales of the TEF
(with apologies to Hans Christian Andersen, adapted from the translation by Jean Hersholt.) Many years ago there was an Emperor so exceedingly fond of excellence in everything and everyone that he spent all his time and money on ensuring that everything and everyone was, indeed, truly excellent. He cared for nothing else.
stumbling with confidence


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NAMHE Annual Conference
NAMHE Annual Conference 
2nd May 2017 @ Cambridge University
 


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Share our NAMHE videos
Share our NAMHE videos
Our videos can be shared on any departmental website - they are created to represent the discipline of music, not specific department. You can see how they've been shared by one department here: 
 NAMHE: The value of a music degree - Faculty of Music
NAMHE: The value of a music degree - Faculty of Music
NAMHE, the National Association for Music in Higher Education, has launched the latest in a series of videos about studying music at university. The series focuses on the broad range of careers followed by music graduates, and the importance of music to society.
cam


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Provocation to Music Colleagues
Provocation to Music Colleagues


We can be inward looking within the disciplinary sub groups - how do we open up and share collectively as a group?

Engaging in advocacy, in community response, bring about awareness of other research, creative and practice areas. It could then make everyone stronger.
 

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Advocacy - Gender Equality Report
Advocacy - Gender Equality Report
 Gender Equality in Music Higher Education
Gender Equality in Music Higher Education
Dr Danijela Bogdanovic is the researcher and author of a report exploring gender equality in Music Higher Education in the United Kingdom. The report was commissioned and funded by the National Association for Music in Higher Education (NAMHE).
vimeo


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Music and Performance Research Association MAPRA
Music and Performance Research Association MAPRA
Proposing to set up, thorugh NAMHE a new group - comments please
4 comments

National Association for Music in Higher Education [NAMHE] 9mo
This network must involve performance as well!

National Association for Music in Higher Education [NAMHE] 9mo
With composers we are included too as performers need out music

National Association for Music in Higher Education [NAMHE] 9mo
Working groups could be used, we're here already in our departments

National Association for Music in Higher Education [NAMHE] 9mo
Working groups within a community of practice. What do we feel the need for?


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Wiki
Wiki
Why doesn't NAMHE have a wikipedia entry - create one?
1 comment

National Association for Music in Higher Education [NAMHE] 9mo
A good idea, this will be another way in which NAMHE would gain a wider reach in search engines


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NAMHE SCUDD DANCE HE
NAMHE SCUDD DANCE HE
Challenging Futures in Higher Education Drama, Music and Dance

7th and 8th April 2017

University of Huddersfield

Day 1 – 7 April 2017

11-12.30                      Arrival, registration and lunch

12.30 – 1.00               Welcome from Bob Cryan, Vice Chancellor of the University of Huddersfield and the chairs of SCUDD, NAMHE and Dance HE

1.00 – 2.00                  Keynote 1:  Documentation of practice-as-research and evidencing impact in our subject areas

 

Chair: Helen Minors

 

Matthew Yee-King and Mark d’Invero (Goldsmiths College)

 

2.00-3.30                    Panel 1: Questions of measurement and excellence in teaching

Chair: Alison Jeffers

 

Emma Atkins, Education Officer at University of Manchester Students’ Union

Paul Kleiman, Education Consultant & Visiting Professor

Catherine Boyd, Executive Officer at Wonkhe

 

3.30-4.00                    Tea and coffee

4.00- 5.30                   Panel 2: Challenges to recruitment                                

                              Chair: Stephen Lacey

 

Margaret Farragher, Head of Policy and Qualification, UCAS

 

5.30 – 7.00                 Informal networking event plus food and drink

7.00 – 8.00                 Event showcasing voice work curated by Ben Spatz from Centre for Psychophysical Performance Research, University of Huddersfield

 

There will also be other opportunities for evening entertainments off campus

Day 2 – 8 April 2017

9.30 – 10.00               Registration

10.00- 11.30              Discipline-specific activities

SCUDD – AGM

NAHME – workshop focusing on activism & advocacy for music/music education

Dance HE – What can this body do? Open Forum – time to consider identity, possibility and optimistic futures.

11.30 – 12.00             Tea and coffee

12.00 – 1.30               Keynote 2: Early Career Professionals – flows and transitions between the professional world and higher education

Chair: Rachel Cowgill

Jane Moriarty (Director at National Theatre Studio)

Sally Doughty and Marie Fitzpatrick (Dance scholars and practitioners)

Stef Conner (Musician who has moved into HE with Leverhulme ECRF)

 

1.30 – 2.30                  Lunch

2.30 – 4.30                 Panel 3: REF, Stern and the HEFCE consultation

Chair: Maria Delgado

Panelists: Representative(s) of

SCUDD – Stephen Lacey

NAHME – Michael Clarke

Dance HE – Vida Midgelow

 

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Sign up to the NAMHE JISCMAIL
Sign up to the NAMHE JISCMAIL
https://www.jiscmail.ac.uk/cgi-bin/webadmin?A0=NAMHE
 

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NAMHE on facebook
NAMHE on facebook
You can engage with recent debates and discussions via social media - check it out - NAMHE is msot active here while the website is being re-designed. https://www.facebook.com/groups/533123886729299/
 

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📎 Photo



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National Student Survey results - Higher Education Funding Council for England

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Many of HEFCE's functions will be continued by the Office for Students, the new regulator of higher education in England, and Research England, the new council within UK Research and Innovation.

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Several major higher education institutions, including the universities of Cambridge, Manchester, Oxford and Sheffield, fail to feature in this year's National Student Survey table after a student boycott in protest over England's teaching excellence framework.

Twelve universities have been omitted from the main results of the nationwide student satisfaction survey, published on 9 August, after fewer than 50 per cent of their final-year undergraduates completed the questionnaire.

Overall, about 300,000 students responded to the survey, down from 312,000 in 2016, with the response rate dropping from 72 per cent to 68 per cent.

It follows the decision by about 25 students' unions to participate in a boycott of the NSS, led by the National Union of Students. The boycott came about after it was announced that, as of this year, the teaching excellence framework will use NSS scores among its metrics. The NUS objected to TEF ratings being used by the government to allow some universities to raise fees in line with inflation - although the plan to create differential fee caps based on TEF ratings was subsequently postponed by the government.

The push to "wreck the TEF" through the boycott or sabotage of the NSS was designed to render the survey results unusable. However, Chris Husbands, the TEF's chairman and vice-chancellor of Sheffield Hallam University, has stated that NSS scores would have only a limited impact on whether institutions were rated gold, silver or bronze, and that they are not an "accurate proxy for teaching quality".

The Department for Education has stated that no university will be negatively affected by a student boycott of the NSS, but it was not exactly clear how this would happen, said Camille Kandiko Howson, senior lecturer in higher education at King's College London.

"It will certainly give institutions more excuses to appeal when they do not get the result they want," said Dr Kandiko Howson.

She added: "It will be difficult for those assessing the TEF to make distinctions between those with good scores and those who did not return enough results."

The spread of non-responses across a university - for instance, low response rates in departments with traditionally high levels of satisfaction - could further complicate use of NSS results in future TEFs, as could the issue of sabotage, in which some students return low scores on all questions, added Dr Kandiko Howson.

"If you can say the quality of the data is poor, then it brings into question the integrity of the TEF, which is often making claims for quality based on very small differences," she said.

Sally Hunt, general secretary of the University and College Union, called for the abolition of the TEF, arguing that the reaction to this year's results showed that it did not have the support of the academic community, while "the lack of support for this year's [National Student] Survey shows that many students share these concerns".

"If the government really wants to improve the student experience, it should abandon the flawed metrics of the teaching excellence framework and focus on tackling the widespread use of insecure contracts in higher education teaching," said Ms Hunt.

Overall, the NSS scores were slightly down on previous years, with an overall satisfaction rate of 84 per cent compared with 86 per cent in 2016.

However, the Higher Education Funding Council for England cautioned against comparing satisfaction results with previous years, saying that the inclusion of new questions had changed student response patterns.

The University of Buckingham, the Royal Veterinary College and the University of St Andrews achieved the highest scores of 94 per cent, while the London School of Economics received the lowest score for any university (74 per cent) once arts schools and small or specialist institutions were excluded.
jack.grove@timeshighereducation.com
Burning bright: NSS top tier

Source: Hefce. Note: excludes small and specialist institutions

In the doldrums: NSS bottom tier

Source: Hefce. Note: excludes small and specialist institutions

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National Student Survey 2017: campuses omitted after NUS boycott

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Several major higher education institutions, including the universities of Cambridge, Manchester, Oxford and Sheffield, fail to feature in this year's National Student Survey table after a student boycott in protest over England's teaching excellence framework.

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Blog

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Extraordinary Bodies, a partnership between Cirque Bijou and Diverse City

Why is diversity important?

Diversity is vital to achieving artistic excellence, driving innovation and creating new collaborations. Through embracing diverse influences and practices, artists and organisations can create exciting, new, high quality work to inspire and connect with a wide range of people.

The arts are also an essential platform to amplify the voices of communities whose stories have historically been under-represented across the sector.

How does the Arts Council encourage diversity?

As the main funder of arts and culture in England, it's important that we lead by example and actively promote diversity in the work that we invest in.

We asked all National Portfolio applicants to evidence how they would contribute to the Creative Case for Diversity through their work. The new portfolio showcases some of the best artistic practice, with organisations producing a diverse range of excellent work that represents many different kinds of people.

King Lear by Talawa and Royal Exchange Theatre, in association with Birmingham Repertory Theatre. Photo © Jonathan Keenan

We collect and report on the diversity of leadership in the National Portfolio - this records where organisations are Black and minority ethnic led, disability led, LGBT led and/or female led. We also require all National Portfolio Organisations to have in place an Equality Action Plan. We recently commissioned new guidance on creating and implementing these plans from the Stephen Lawrence Trust.

We believe we've made a good start, but recognise there is more to be done before arts and culture in England truly reflects the diversity of society.

How diverse is the new portfolio?

Find out more

When we analysed our previous National Portfolio (2015-18), we recognised the low number of new applications we received from BME and disability led organisations. To address this we launched the Elevate programme, which funded 40 diverse organisations to both develop their resilience and realise their artistic ambitions.

There are 96 organisations in the 2018-22 National Portfolio that self-define as BME led, and 35 organisations that self-define as disability led. This includes 20 organisations that received investment through the Elevate programme.

Diverse led organisations joining the portfolio for the first time include: Ballet Black, a company of dancers of Black and Asian descent; Diverse City, who bring together disabled and non-disabled people, older and younger people and people from all backgrounds through an ambitious programme of performance and training; Shubbak Festival, which celebrates contemporary Arab culture; and Disability Arts Online, which works to create widespread appreciation for the richness and diversity of disability arts and culture.

The British Paraorchestra (a new portfolio member) and Extraordinary Bodies perform Terry Riley's in C. Photo © Paul Blakemore

In the new portfolio, BME and disability led organisations were particularly successful in their applications for 'uplifts' (an increase in funding to expand their work). Across the whole portfolio the success rate was 8.4%; among organisations that self-define as either BME led or disability led, it was 12.5% and 22% respectively.

Diverse led organisations that were members of the last portfolio and have been offered uplifts in funding include: Talawa, which creates outstanding work by emerging and established Black theatre artists; the Tricycle, which presents innovative work that brings unheard voices into the mainstream; Mind the Gap, which works with learning-disabled artists to create exciting, surprising and challenging experiences; and Attitude is Everything, which improves Deaf and disabled people's access to live music.

How will we tackle the remaining issues?

We recognise there are still challenges; in particular, we want to see greater diversity in leadership among organisations that receive over £1 million investment per year, as well as across the museums and libraries in the portfolio.

Bricks and Pieces by Tiata Fahodzi. Photo © Linda Carter

In 2016 we started to address this issue, by investing £2.6 million in our Change Makers programme to support the development of BME and disabled leaders. The talent is there, so we need to ensure the opportunity is too. Change of this scale will take time, but we're committed to working with our National Portfolio organisations to diversify the leadership of the arts and cultural sector to ensure it is sustainable in the long term.

To meet this challenge and others, we've developed an Equality Action Plan (see page 33 of our Equality Analysis) which lays out the issues and how we intend to tackle them. It sets out actions to diversify leadership and improve the quality of the data we capture around diversity, including socio-economic background and mobility. We will also gather more detailed data on the profile of the audiences that our funded organisations are reaching to inform our decision-making in the future.

Find out more

Read about the Creative Case for Diversity >
Sign up for our newsletter >

Find out more

Extraordinary Bodies, a partnership between Cirque Bijou and Diverse City

Why is diversity important?

Diversity is vital to achieving artistic excellence, driving innovation and creating new collaborations. Through embracing diverse influences and practices, artists and organisations can create exciting, new, high quality work to inspire and connect with a wide range of people.

The arts are also an essential platform to amplify the voices of communities whose stories have historically been under-represented across the sector.

How does the Arts Council encourage diversity?

As the main funder of arts and culture in England, it's important that we lead by example and actively promote diversity in the work that we invest in.

We asked all National Portfolio applicants to evidence how they would contribute to the Creative Case for Diversity through their work. The new portfolio showcases some of the best artistic practice, with organisations producing a diverse range of excellent work that represents many different kinds of people.

King Lear by Talawa and Royal Exchange Theatre, in association with Birmingham Repertory Theatre. Photo © Jonathan Keenan

We collect and report on the diversity of leadership in the National Portfolio - this records where organisations are Black and minority ethnic led, disability led, LGBT led and/or female led. We also require all National Portfolio Organisations to have in place an Equality Action Plan. We recently commissioned new guidance on creating and implementing these plans from the Stephen Lawrence Trust.

We believe we've made a good start, but recognise there is more to be done before arts and culture in England truly reflects the diversity of society.

How diverse is the new portfolio?

National Portfolio Equality Analysis

The equality and diversity of our National Portfolio Organisations

Find out more

National Portfolio Equality Analysis

The equality and diversity of our National Portfolio Organisations

Find out more

When we analysed our previous National Portfolio (2015-18), we recognised the low number of new applications we received from BME and disability led organisations. To address this we launched the Elevate programme, which funded 40 diverse organisations to both develop their resilience and realise their artistic ambitions.

There are 96 organisations in the 2018-22 National Portfolio that self-define as BME led, and 35 organisations that self-define as disability led. This includes 20 organisations that received investment through the Elevate programme.

Diverse led organisations joining the portfolio for the first time include: Ballet Black, a company of dancers of Black and Asian descent; Diverse City, who bring together disabled and non-disabled people, older and younger people and people from all backgrounds through an ambitious programme of performance and training; Shubbak Festival, which celebrates contemporary Arab culture; and Disability Arts Online, which works to create widespread appreciation for the richness and diversity of disability arts and culture.

The British Paraorchestra (a new portfolio member) and Extraordinary Bodies perform Terry Riley's in C. Photo © Paul Blakemore

In the new portfolio, BME and disability led organisations were particularly successful in their applications for 'uplifts' (an increase in funding to expand their work). Across the whole portfolio the success rate was 8.4%; among organisations that self-define as either BME led or disability led, it was 12.5% and 22% respectively.

Diverse led organisations that were members of the last portfolio and have been offered uplifts in funding include: Talawa, which creates outstanding work by emerging and established Black theatre artists; the Tricycle, which presents innovative work that brings unheard voices into the mainstream; Mind the Gap, which works with learning-disabled artists to create exciting, surprising and challenging experiences; and Attitude is Everything, which improves Deaf and disabled people's access to live music.

How will we tackle the remaining issues?

We recognise there are still challenges; in particular, we want to see greater diversity in leadership among organisations that receive over £1 million investment per year, as well as across the museums and libraries in the portfolio.

Bricks and Pieces by Tiata Fahodzi. Photo © Linda Carter

In 2016 we started to address this issue, by investing £2.6 million in our Change Makers programme to support the development of BME and disabled leaders. The talent is there, so we need to ensure the opportunity is too. Change of this scale will take time, but we're committed to working with our National Portfolio organisations to diversify the leadership of the arts and cultural sector to ensure it is sustainable in the long term.

To meet this challenge and others, we've developed an Equality Action Plan (see page 33 of our Equality Analysis) which lays out the issues and how we intend to tackle them. It sets out actions to diversify leadership and improve the quality of the data we capture around diversity, including socio-economic background and mobility. We will also gather more detailed data on the profile of the audiences that our funded organisations are reaching to inform our decision-making in the future.

Find out more

Read about the Creative Case for Diversity >
Sign up for our newsletter >

Your area and the National Portfolio

We discuss how the National Portfolio 2018-22 will affect different parts of the country

Find out more

Your area and the National Portfolio

We discuss how the National Portfolio 2018-22 will affect different parts of the country

Find out more

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Diversity is vital to achieving artistic excellence, driving innovation and creating new collaborations. Through embracing diverse influences and practices, artists and organisations can create exciting, new, high quality work to inspire and connect with a wide range of people. The arts are also an essential platform to amplify the voices of communities whose stories have historically been under-represented across the sector.

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Senior manager - Childen Young People and Learning

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Question: how can the Arts Council advocate and support Music HUBS more actively in decision making and liaison with head teachers?

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In Harmony: Progress and performance - a musical lifestyle

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'This film explores progress and performance hrough the In Harmony programme, connecting with pupils through orchestral music teaching and playing. Find out more:

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Grant for the Arts soon to be relaunched as Grant for Arts and Council

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Grant for the Arts soon to be relaunched as Grant for Arts and Council

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Keep your eye on the website. More opportunity for Music HUBS to apply for funds.

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DEADLINE 7th August

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DEADLINE 7TH AUGUST

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Learning music benefits us all. Evidence shows the individual, societal and economic benefits of learning music are of significant value; Yet many people do not pursue their musical learning. The Music Commission aims to understand why and offer practical solutions so that more people can sustain their interest and involvement in learning music.

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mec summer seminar - the future of music education 2018 to 2020 and beyond

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mec summer seminar - the future of music education 2018 to 2020 and beyond  tickets

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mec summer seminar - the future of music education 2018 to 2020 and beyond  leeds

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mec summer seminar - the future of music education 2018 to 2020 and beyond  leeds tickets

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MEC Summer Seminar - The Future of Music Education 2018 to 2020 and Beyond

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MEC Seminar 11am to 4pm July 18th 2017 Leeds College of Music The Future of Music Education: 2018 to 2020 and beyond. Following the General Election and developments in music education in England, Wales, Scotland and Northern Ireland, this seminar will support the music education sector in planning for the future.

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Psychological health in academia - a paper presented by Valerie Peters et al

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Psychological health in academia - a paper presented by Valerie Peters et al

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Please find below the slides presented at a recent presentation. The video is forthcoming on the soon to be relaunched NAMHE website.

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The 7th annual conference of the Society for Music Education in Ireland / Cumann Ceol Oideachais na hÉireann will be hosted by the Department of Creative Arts, Media and Music, Dundalk Institute of Technology from 10-11 November 2017.

Proposals from all areas of music education are invited for the following:

Individual papers

Themed panel sessions

Symposia

Workshops

Poster presentations which will include scheduled question-answer sessions

We look forward to including a broad range of topics relating to music education in the conference. Areas of research include but are not limited to music learning, music teaching, assessment, community music, formal and informal music making, musical development and creativity.
Duration of Presentations
Individual paper: 20 minutes, followed by 10 minutes discussion
Themed panel sessions: 60 minutes (for three papers), followed by discussion
Workshop: 50 minutes, followed by 10 minutes discussion. Practical workshops linking research to practice are especially welcome.
Proposals
All proposals should be submitted using the submission form which is available at www.smei.ie. Individual, joint and group submissions are welcome.

Individual papers, posters or workshops: Abstracts should not exceed 300 words.
Themed panel sessions, symposia: There should be an abstract for the full session (maximum 300 words) plus an abstract for each individual speaker (maximum 300 words each). All should be submitted on the one submission form.
Deadline
All proposals should be submitted using the proposal Submission Form ( SMEI 2017 Submisson Form), and returned to smeidkit2017@gmail.com by 18 June 2017.

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7th Annual Conference of the Society for Music Education in Ireland Dundalk Institute of Technology, 10-11 November 2017 CALL FOR PAPERS, POSTERS, WORKSHOPS, SYMPOSIA The 7th annual conference of the Society for Music Education in Ireland / Cumann Ceol Oideachais na hÉireann

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Paul Kleiman's transcript from the joint NAMHE SCUDD DANCE HE conference

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Paul Kleiman's transcript from the joint NAMHE SCUDD DANCE HE conference

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[ This is the transcript of a 'provocation' I presented at the joint conference of the three subject associations for dance (DanceHE), drama (SCUDD) and music (NAMHE) as part of a debate about the Teaching Excellence Framework (TEF), University of Huddersfield, 7th April 2017]

So.....
We didn't vote for it. It's far more complicated than those who envisaged it thought it might be. There are serious doubts about whether it's going to achieve what it set out to do. But it's here, it's happening, and we're told we've got to make the best of it.

And that's just the TEF.

So what are the "known knowns", which in some cases turn out to be "unknowns" anyway.

Take 'excellence' for example. In the original government Green Paper, there's a very helpful section headed:
What do we mean by excellence? (At this point you have to imagine a scene from Yes Minister, in which Sir Humphrey, in his inimitable way, explains 'excellence' to a rather bewildered Jim Hacker)
Humphrey: Well, Minister.....

"There is no one broadly accepted definition of "teaching excellence". In practice it has many interpretations and there are likely to be different ways of measuring it. The Government does not intend to stifle innovation in the sector or restrict institutions' freedom to choose what is in the best interests of their students. But we do think there is a need to provide greater clarity about what we are looking for and how we intend to measure it in relation to the TEF. Our thinking has been informed by the following principles:

excellence must incorporate and reflect the diversity of the sector, disciplines and missions - not all students will achieve their best within the same model of teaching;

excellence is the sum of many factors - focussing on metrics gives an overview, but not the whole picture;

perceptions of excellence vary between students, institutions and employers;

excellence is not something achieved easily or without focus, time, challenge and change."

Hacker: Really? Is that it?
Humphrey: Yes, Minister.

So that's much clearer isn't it? The Government clearly believes that excellent teaching can occur in many different forms, in a wide variety of institutions, and it is not the intention of the TEF to constrain or prescribe the form that excellence must take. What we should expect though, is that excellent teaching, whatever its form, delivers excellent outcomes.

Well, for a start, the TEF has criteria, and metrics, so the notion and form of excellence in regard to the TEF is already proscribed or constrained. In fact, what will - and no doubt is happening - is that institutions are aligning their priorities precisely to those criteria - which, as almost everyone admits - are in any case based on the proxy 'outcomes' of NSS scores, retention and most importantly graduate salaries which are high enough to pay back all the money the government has lost in its ill-advised restructuring of HE finance.

What about some "known unknowns"?

What we do know is that the TEF puts the so-called 'elite' institutions, whose excellence is hitherto self-evident and uncontested, under some pressure. It's been noticeable that while there has been a great deal of loud and insistent criticism of the NSS metrics from that quarter, there has been far less directed at the stats on employment and earnings. Surely that has nothing to do with the fact that, in regard to employment and earnings, Russell Group graduates do rather well.....but the evidence shows that has more to do with the social, educational and cultural capital of Russell Group students than the quality of the teaching

So, while we know that it's hard to fall once you've been at the top for a long time, the "unknown" is how the politics of this will play out in practice when our much vaunted and excellent 'elite' institutions don't appear at the top of whatever league table appears for Teaching Excellence. Paul Blackmore, at Kings, argues that long-held prestige - primarily based on research outcomes - will probably still trump the TEF outcomes in the short-term.

Some years ago, way before TEF even glimmered on the horizon, I was asked to contribute to a special 'On Excellence' issue of the HEA's 'Exchange' magazine. I was writing at a time when I'd just been at a large academic conference where there had been a major debate about excellence in higher education.

Even back then there was a clear majority who felt that the term has lost credibility and value. When all institutions are either 'excellent' or, at the very least, 'striving for excellence' then we are witnessing a lot of sound (but hopefully not fury) signifying nothing. Excellence, in the memorable term coined by Bill Readings' has become 'de-referentialised'.

Readings' extraordinarily prescient book - The University in Ruins - appeared 21 years ago. He described the university, forced to abandon its historical raison d'etre as a bastion of knowledge and culture, now enmeshed in corporatist, consumerist ideology, and obsessed by the ubiquitous, but empty, quest for excellence. Everywhere one looks, one sees mission statements and vision statements aspiring to excellence. There are no modifiers to the word, and thus the excellence can seem empty. It is unspecific. Excellence in teaching, excellence in research, and not forgetting excellence in parking (I kid you not). Everybody's striving for excellence, because who wants to strive for just being 'pretty good'.

The "excellence in parking" demonstrate the vacuity of the term. It was actually awarded to a university's Parking Services for their success in restricting vehicle access to the university, and significantly reducing the number of parking spaces. Excellence could just as well have meant making people's lives easier by increasing the number of parking spaces available. The issue here is not the merits of either option but the fact that excellence can function equally well as an evaluative criterion on either side of the issue of what constitutes "excellence in parking", because excellence has no content to call its own.

So beyond the dodgy but unavoidable metrics, and the slipperiness of the notion of excellence, how do we demonstrate our 'excellence'?

Well, there is of course the Provider Submission to supply a richer, deeper more meaningful narrative. Well having seen a few, there's a clear M.O. (as the police say at a crime scene):

Use the word excellence or excellent a lot, particular if you can quote a reputable source e.g. QAA or External Examiner or provide some evidence where you can.

Write things like....

"We recognise and reward excellent teaching."

"Team teaching and team meetings all support teaching excellence"

"Our eternal examiner comments that students' standards of analysis are at times excellent"

"Our accrediting body commented on our 'Excellent interaction with industry bodies and exemplary experiential learning practices'"

So we do what we've always done which is to play the game, and play it as well, or as excellently, as we can.

But...thinking back to that article on excellence I wrote for the HEA: my starting point for the article was the thought that we tend to avoid the 'E' word when it comes to talking about our art and performance practices. I know it's a cliché, but when we greet the performers after a great show, we rarely, if ever, say "That was excellent".

We say "That was wonderful" (the 'darling' is an optional extra), and I do think 'wonderful' is truly a much better word than 'excellent'. Rather than 'excellent's' rather hard-edged, triumphalist implication of being better than others, 'wonderful', i.e. full of wonder, has a sense of the remarkable, the extraordinary, the inspirational, the truly successful that is the mark of the highest quality work.

W. B. Yeats wrote that ' education is not filling a pail but the lighting of a fire '. I know that is what we truly strive for, and that we need to look beyond our obsession with trying to define, achieve, assess and reward excellence. What the TEF forces us to do is to focus on the filling of the pail, and then tick off when it is full, when we should be focusing on the fire.

© Paul Kleiman 2017

If you enjoyed this, you might also enjoy The Emperor's Folderol or Tales of the TEF: https://stumblingwithconfidence.wordpress.com/2015/11/12/the-emperors-folderol-or-tales-of-the-tef/

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This is the transcript of a 'provocation' I presented at the joint conference of the three subject associations for dance (DanceHE), drama (SCUDD) and music (NAMHE) as part of a debate about the Teaching Excellence Framework (TEF), University of Huddersfield, 7th April 2017] So..... We didn't vote for it.

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RMA Event: Opportunity: Editor of The Journal of the Royal Musical Association (3 May 17) (Deadline 15 Aug)

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Opportunity: RMA Research Training Officer (3 May 17)

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RMA Event: Opportunity: RMA Research Training Officer (3 May 17) (Deadline 15 Aug)

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NAMHE
National Association for Music in Higher Education

Tuesday 2 May 2017

Faculty of Education, University of Cambridge

Agenda

1.       Welcome and introduction

2.       Apologies for absence

3.       Minutes of the AGM held on Tuesday 3 May 2016 and matters arising

4.       Chair’s report

5.       Treasurer’s report

6.       Proposals for future directions for advocacy

How can we energising and empower institutional NAMHE reps and members? How might we communicate more directly with our members?

How can we undertake research into perceptions of the UK Music HE scene internationally, in order to qualify views expressed anecdotally?

How can we work more closely with the other associations, e.g. SCUDD, DANCEHE?

In representing greater diversity how might we extend our video project?

What do you want to see on the website?

How might we developing an online discussion forum for students?

7.`      Next conferences

8.       Any other business

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NAMHE: National Association for Music in Higher Education

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Membership of NAMHE is open to all institutions offering degree programmes in Music or courses that contribute to such programmes. It is open to: whole institutions (e.g. conservatoires); to appropriate faculties, departments or other units in universities or colleges; to individuals working in Music in non-Music departments and in Music departments that are not members of NAMHE.

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For those having issues booking email the chair at h.minors@kingston.ac.uk with your name and affiliation.

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KEYNOTE Georgina Born - pre-conference reading

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KEYNOTE Georgina Born - pre-conference reading

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We would invite delegates coming ot our annual conference on May 2nd to look at this published article on gender, class and music technologyt in advance.

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FINAL Born & Devine Gender class & music technology 2015

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Opportunity to apply for a paid Graduate Teaching Studentship in Music at Maynooth University (up to five years), for anyone intending to commence MLitt/PhD research in September 2017. Deadline is 30 June 2017. Applications welcome from qualified applicants in all areas

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Research Excellence Framework 2021: applications invited for Main Panel Chairs 

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Research Excellence Framework 2021: applications invited for Main Panel Chairs 

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The deadline to apply for the position of REF2021 Main Panel Chair has now closed.

The REF is the system for assessing the quality of research in UK universities and higher education colleges. The results of the REF drive the allocation of public funding for research. This major exercise is undertaken by the four UK higher education funding bodies. It was first conducted in 2014, replacing the Research Assessment Exercise.

Following an independent review of the 2014 REF that was undertaken in 2016, the funding bodies are developing the framework for the second REF, scheduled for 2021. Through a process of peer review, discipline-based panels will assess

the quality of research outputs

the impact of research beyond academia

the research environment.

Following a consultation held between December 2016 and March 2017, initial decisions on the second REF are due to be taken in summer 2017.

Four main panels will provide leadership and guidance to the sub-panels that will undertake the assessment. In the first instance, as chairs designate, the appointees will advise the funding bodies on the initial decisions, and on the further planning and development of the framework, before taking up their roles as Main Panel Chairs later in the year. The main panels will be responsible for assuring the effective conduct of the assessment process. The main panels will cover the following broad areas:

Main Panel A: Medicine, health and life sciences

Main Panel B: Physical sciences, engineering and mathematics

Main Panel C: Social sciences

Main Panel D: Arts and humanities

We are interested in further applications for REF2021 Main Panel Chair of C (Social Science) and are working with the Academy of Social Sciences to increase the pool of applicants. The deadline for applications for the role of Chair to REF2021 Main Panel C has been extended to noon on Wednesday 24 May 2017.

Applications are invited from people with successful senior-level experience in the leadership, commissioning or application of research. We are seeking applicants that will command the confidence of key stakeholders, and will have senior-level experience in research quality assessment and in chairing and leading groups to achieve consensus, along with additional qualities detailed in the further particulars.

Notes

Full details of the role and information on how to apply are given in the attachment.

Deadline for applications for REF2021 Main Panel Chair for A, B and D: closed

Deadline for applications for REF2021 Main Panel Chair for C: noon on Thursday 27 April 2017

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2017 - Higher Education Funding Council for England

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The deadline to apply for the position of REF2021 Main Panel Chair has now closed. The REF is the system for assessing the quality of research in UK universities and higher education colleges. The results of the REF drive the allocation of public funding for research.

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Embedding Equality, Diversity and Inclusion (EDI) in and through the new Academi - Higher Education Funding Council for England

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Many of HEFCE's functions will be continued by the Office for Students, the new regulator of higher education in England, and Research England, the new council within UK Research and Innovation.

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Many departments are sharing our videos from the project, 'The Value of a Music Degree'. They are available for deparmtents ot utilise, as seen here:

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Learn from the experts - professional, industry-connected leading academics and visiting tutors

Make connections - in the music, theatre and creative industries, and explore options in other sectors

Work and live in Cambridge - a safe and vibrant student city and one of the UK's top creative hotspots*

Get experience - through work experience, internships, and collaborations

Benefit from a full University experience - get support and advice from study skills to well-being

Graduate job ready - with a background in performance and production and the experience and key skills needed for the future of jobs

Get noticed - showcase your talents at shows on-campus and off-campus at venues like the Mumford Theatre and Cambridge Junction

Develop a broad skill set - including employability and entrepreneurialism

Collaborate and innovate - work with other students and lecturers

Hone your skills - with our industry-standard equipment and purpose-built facilities, and individual instrumental or vocal tuition

Broaden your horizon - with modules from other subjects and study abroad opportunities

*NESTA Creative Clusters and Innovation report 2010

Why study our subjects?

Trumpet virtuoso Alison Balsom explains how a Music degree was fundamental to her career and talks about the importance of music education to society.
Source: NAMHE (National Association for Music in Higher Education).

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Ten reasons to study at our School of Performance - Anglia Ruskin University

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Learn from the experts - professional, industry-connected leading academics and visiting tutors Make connections - in the music, theatre and creative industries, and explore options in other sectors Work and live in Cambridge - a safe and vibrant student city and one of the UK's top creative hotspots* Get experience

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Petitions - UK Government and Parliament

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Archived Petition: Designate music as a core subject

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When it comes to cost-cutting music and art is one of the 1st to go. Music is an academic subject developing language and mathematical skills as well as the obvious creative and practical benefits. Music is a subject that excludes no one and benefits everyone regardless of their vocation in life .

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UCAS - Margaret Farragher's Presentation

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UCAS - Margaret Farragher's Presentation

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NAMHE SCUDD DANCEHE conference presentation slides
April 8th 2017

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We've spent a good part of the past few months discussing the proposals with a wide range of people and organisations - thank you all for your willingness to engage and share your ideas.

We've already shared a lot of the feedback we've heard so far. We'll now pause for breath as we focus on analysing the written responses. But before then, I'd like one further opportunity to take stock of where we are.

Hot topics

The proposals around submitting staff and outputs have undoubtedly received the lion's share of attention. We've previously set out some of the issues raised around using HESA returns to identify research-active staff. As David Sweeney's blog this week outlined, we have begun to consider other ways to identify these staff that will meet our intention for implementing an 'all-in approach'.

Discussion has also been intently focused on non-portability of outputs. This is a knottier issue to untie and we have not heard overall consensus in responses to date. We are keen to identify the best way to implement this recommendation: a way which can address some of the concerns raised for ECR mobility, new units and staff moving in from outside higher education without introducing considerable burden through complexity.

Institutional impact case studies have been regarded as something of a mystery, with more questions than answers raised. What exactly do they look like? What are they for? Aren't case studies pretty interdisciplinary already? I expect the written responses may follow this trend - which will leave us well-placed for setting up a pilot exercise to begin addressing some of these questions.

Equality and diversity measures in the REF have also been high on the discussion agenda. While there has been recognition of some of the burden of 2014 processes, there has also been some nervousness expressed about losing ground on embedding equality and diversity in institutions. It is clear that we will need carefully to explore the potential for disadvantage arising for submitting units with different staff profiles that are required to meet a set number of outputs. One suggestion here includes individual unit circumstances. These could allow a reduction in the number of outputs required as a result of an equality assessment.

What else?

With so much attention given to the issues outlined above, there's been relatively limited discussion of the other issues raised in the consultation. This has masked to some degree the importance of these issues: we're therefore looking forward to reading the written responses across the full range of questions.

For example, we're looking for a firm basis from which to explore any changes to the unit of assessment structure with the relevant subject communities. There has also been a lot to think through in terms of impact. We've heard support for the proposal to maintain consistency with the 2014 process, but mixed feedback on some of the others. This includes broadening out the underpinning research to encompass research activity or a 'body of work', which while broadly welcomed has raised questions about the details of implementation.

I'm delighted by the level and quality of engagement with the proposals. This engagement is integral to the development of an exercise that will work across the range of disciplines and institution types in our diverse research landscape.

This blog post was originally published by MediaFHE.

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We've spent a good part of the past few months discussing the proposals with a wide range of people and organisations - thank you all for your willingness to engage and share your ideas. We've already shared a lot of the feedback we've heard so far.

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On 8 December last year, the UK higher education funding bodies launched the consultation setting out proposals for implementing the Stern recommendation on the next REF. Since then, there has been a lot of discussion about the proposals, including at the consultation events.

Through these, and at other engagements, quite a lot of people have said to me that they do not support the Stern proposals. They would prefer a re-run of REF2014. That is certainly not the position of the funding bodies.

The UK Government asked us to implement the principles set out by Lord Stern. This is still what we expect to do. Still, we recognise that several of our proposals for putting the principles into practice can be improved, and we will use the consultation responses to inform precisely how we do that.

The issue of contractual status

One area in which we have heard many people raise concerns is around the use of contractual status, as notified to HESA, to determine who is research-active.

We have heard, during our events, that many universities, particularly in Scotland, are required to use a model contract, which includes both teaching and research duties. These standard contracts do not represent any specific pattern of work which the academic is expected to do. The employment contract is an agreement between university and academic.

The funding bodies and the REF should respect the employment relationship. We are therefore considering other ways to capture 'Research-active staff'. These will need to recognise the contract, but truly reflect the university's and the academic's expectations of where there is a responsibility to carry out research that would be appropriately assessed by the criteria used by the REF.

An alternative solution

We recognise that staff selection has been an issue which provokes tension between staff member and employer. So we do wonder if we could look to a solution based firstly on an evidence-based definition (perhaps agreed sector-wide), and then agreement between the university and the academic about a status of 'research-active'.

That would likely lead to consistently very high submission rates in the research-intensive universities (rather than variations seen by some as game-playing). In universities where the focus may be primarily on teaching and knowledge exchange, there might, as previously, be much lower submission rates reflecting that fewer staff are hired with a primary success criterion being world-leading research outputs.

If we were to proceed along those lines, we would expect universities to develop and publish the process they used to establish agreement with their staff on their 'research-active' status. Equality and diversity issues would need to be carefully tested by appropriate impact analysis to ensure staff with protected characteristics were not disproportionately disadvantaged by this approach.

The cost of staff selection was significant in REF2014 and everyone wants to minimise the cost of determining the eligible population for 2021. It may be that the consultation will throw up a better approach which implements the Stern principle of '100% research-active submission' - and we are eagerly awaiting the outcomes of our analysis of responses on this issue.

But we also welcome discussion of an evidence-based consensual approach as an alternative to the contract-based approach which has been criticised in our consultation meetings.

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Who is research-active? - A key question for the future of research assessment

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On 8 December last year, the UK higher education funding bodies launched the consultation setting out proposals for implementing the Stern recommendation on the next REF. Since then, there has been a lot of discussion about the proposals, including at the consultation events.

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The consultation on the second REF was launched in December 2016, and over the last month we have been travelling far and wide to hear views and discuss the proposals.

Why? All in all, we want to develop a framework with input from across the research community and which reflects Lord Stern's principles. We want to address some of the key issues raised about previous exercises. We also want a framework which continues to meet our key purposes for assessing research: informing funding allocations, and providing accountability and reputational yardsticks.

We held five consultation events around the UK, two in London and one each in Glasgow, Manchester and Bristol. The events set out our proposals in the context of the Stern Review. But primarily we wanted to encourage a frank and open discussion among delegates to shine a light on common issues and areas of difference.

We hope, through the consultation events, we have managed to portray the genuinely open nature of this consultation and the need for responses to address the challenges and benefits of the proposals for implementation - but also for responses to offer alternatives and constructively tell us where the sector's priorities sit.

Throughout the events, we have heard similar messages begin to emerge - not always with complete consensus and often nuanced.

HESA data

We have, for example, heard a lot about the use of HESA data. The consultation proposes to define 'research-active' staff using the employment function of academic staff, as returned to HESA according to staff contracts. It also proposes to allocate research-active staff to Units of Assessment by mapping them to HESA cost centres (HESA-defined groupings to delineate where activity takes place within institutions).

Some could see the benefits of a process which uses existing data. But many have fundamental concerns about using the data in this way.

How far contracts accurately reflect research activity varies. Many staff on teaching and research contracts focus on knowledge exchange activity or professional practice. Staff are also allocated to HESA cost centres for different purposes. These often reflect the structure of teaching at an institution, rather than research.

Points of tension

In working through discussions, groups at the events have also reflected on other areas of tension.

Will submitting all staff relieve the burden of managing the exercise? Or will it simply shift it to output selection? Is returning research for assessment by using the disciplinary structures of HESA cost centres the best way to present interdisciplinary research?

A number of discussions have questioned what 'problem' Lord Stern's recommendations are trying to solve. But it is important to remember that Lord Stern's report was informed by a call for evidence to the sector. So the recommendations address some of the key issues raised by the academic community about burden of management, 'playing the system', and the impact of non-inclusion in the REF on individual researchers.

In considering these and further questions at the events, delegates have reflected on the different ways that proposals will affect types of institution, groups of staff and discipline areas - and it is important that we understand the range and intensity of these different effects through this consultation process.

Keeping the conversation going

Our engagement activity does not end with the five formal consultation events. We want to keep the conversation going. The REF team and other funding body representatives are continuing to meet with a range of groups, from subject associations and the academies, to mission groups and sector bodies.

We'll also publish a series of blog posts - both from the REF team, but perhaps more importantly, from guest authors in the sector with a range of perspectives.

The higher education sector is diverse and varied. The next REF must recognise this range, both of university and research types.

It is, after all, the foundation on which the UK research base is built.

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We need to understand the diversity of research to assess it properly

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The consultation on the second REF was launched in December 2016, and over the last month we have been travelling far and wide to hear views and discuss the proposals. Why? All in all, we want to develop a framework with input from across the research community and which reflects Lord Stern's principles.

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Principles are one thing. Logistics quite another. It can only be good news that the next Research Excellence Framework will aim to reduce burden on the sector and attempts to game the system.

Still, some of the proposed mechanisms for doing so might have unintended consequences. They could affect certain practice-led disciplines, and the specialist institutions that form part of the UK's research base.

Ecology of institutions

Not all research in the UK is conducted in large multidisciplinary institutions. This is particularly marked in the case of the creative arts sector. Its specialist art schools and conservatoires provide unique, world-leading and innovative research environments.

Certain subjects (as with dance) don't have a departmental presence in Russell Group institutions. Video game design largely features within post-1992 universities. The UK's art schools and colleges offer key hubs for art and design innovation. Drama sometimes operates as a pocket of excellence in an institution that does not submit to the REF across all disciplines.

For small specialist institutions, the institutional framework and the REF's Unit of Assessment are often one and the same thing. Would an institutional-level assessment force certain environments into a framework that appears to have been conceived for large scale HEIs?

Not all HEIs are equal - we forget this at our peril. Let's ensure REF isn't about simply rewarding those who are able to afford a highly developed research management infrastructure. It's not what you have but what you do with it that matters.

Excellent research is produced at institutions of different scales and scopes. This respect for the rich and varied ecology of research institutions in the UK has arguably led to world-leading research.

Industry collaborations

The emphasis on recognising collaborations between academia and organisations beyond higher education is welcomed by research communities that feature a high number of staff members working between the two sectors.

The mechanisms for assessment, however, need to recognise that industry professionals moving into higher education are often on fractional contracts, since the value of their research depends on their continuing work with industry.

The Creative Industries Federation lists the positive contribution the arts and culture sector - to which research in HE contributes - makes to the UK economy. It's responsible for approximately 0.4 per cent of UK GDP. It contributed £27 billion to the UK economy in 2015. It supports 1.1 per cent of total UK employment, and makes a valuable contribution to health and well-being.

Any proposal to shift the submission minimum of 0.2 FTE could affect, in a detrimental manner, our ability to retain world-leading researchers working at the interface between higher education and industry.

Non-portability of outputs

There are huge challenges for practice research in Stern's recommendation that 'acceptance for publication' be presented as a suitable marker to identify outputs that an institution can submit for assessment. The term 'publication' seems to make a series of assumptions about what constitutes an output that undermines the aspiration to recognise research excellence across different shapes and forms.

REF 2014's Sub-panel 35 (Music, Drama, Dance and Performing Arts) delineated over 34 different types of output submitted for assessment: from advisory reports to databases, exhibition catalogues to electronic resources, compositions and musical scores to patents, performances and films.

Only 29.5 per cent of the research outputs submitted to Unit of Assessment 35 came in article form (compared to 37.7 per cent across Main Panel D, 99.5 per cent across Main Panel A, 94.4 per cent across Main Panel B, and 80.9 per cent across Main Panel C). In Music, non-text media submissions stood at 42 per cent.

While the principle of acknowledging investment is to be welcomed, the proposed non-portability of outputs presents a series of issues - ethical, practical, intellectual - that may have wider implications for issues of how ownership operates within the sector.

It is sometimes difficult to demonstrate where, precisely, 'an output was demonstrably generated'. Consider, for example, a monograph that might have taken six years to research and write. Four years of the research might have been spent at one HEI with one sabbatical, and two years at another HEI, who granted a second period of sabbatical leave.

The institutional affiliation on publication might rest with the second HEI, but the first may legally claim it was 'demonstrably generated' there as this is where the academic was based when the work was initially accepted for publication. What might the implications be for chapters, articles or practice submitted to REF 2014 that form part of an extended project for REF 2021?

And what happens to outputs that don't necessarily have an acceptance date for publication, as per creative practice? Is REF 'ownership' here determined by the date of commission? The date of completion? The date of performance? It is very hard to 'date' when exactly an artistic (or indeed academic) work originates - certainly it is irreducible to the point at which it is commissioned.

Indeed, it could be possible for a work to owe its entire existence to experiences of an artist/academic based at one institution over a number of years, working through informal collaborations with colleagues, discussions, experiments, without any commission at all.

How might REF ownership of outputs generated over years, or indeed decades, that might draw on multiple HEI or industry affiliations be attributed? How might investment of non-HEI collaborators - in an exercise seeking to support collaboration between academia and organisations beyond higher education - be acknowledged?

Artistic production - even where it leads to research outputs - is rarely developed solely in the context of an HEI, and is frequently collaborative, with a variety of external stakeholders.

Researchers are understandably concerned that intellectual and creative proprietorship of their own work could be diminished by what is proposed here. The need to acknowledge investment needs to take on board both the complex pattern of investments that often underpin research outputs and the promotion of equality and diversity - especially in terms of opportunities and support for Early Career Researchers and researchers moving between industry and the HEI sector.

Investing in research with an eye to the future means looking after our research cultures for future generations. Our REF should be about recognising where we want to be as much as where we're coming from, and that includes respecting the diversity of the UK's higher education sector - supporting both large and small institutions.

Look out for tomorrow's guest blog post, when Tom Frostick from University Alliance will be reflecting on the proposal to submit all staff.

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Research takes many forms - this should shape how we assess it

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Principles are one thing. Logistics quite another. It can only be good news that the next Research Excellence Framework will aim to reduce burden on the sector and attempts to game the system. Still, some of the proposed mechanisms for doing so might have unintended consequences.

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The next steps in the evolution of research assessment are upon us with the publication of the consultation for REF2021.

Quite rightly, there will be extensive conversations and much exchanging of views before formally responding to a consultation, which, given the significance of the proposals on which it is based, is necessarily world-beating in length. For any higher education policy veteran, this is a familiar pattern of activity.

However, that simple description of the task in hand is deceptive and underplays the importance of those conversations in guiding us to understand just what the proposals for the next REF will mean for universities. The overarching question those tasked with drafting responses need to confront is whether, and to what extent, the latest REF proposals will deliver an evolution which is helpful in supporting and growing the excellence of the UK's research base in universities across the UK.

The challenge for the funders will be to interpret lengthy responses and consider how and to what extent all universities can be treated fairly in future, regardless of the size or intensity of their research activity.

In terms of the future of research, this consultation is probably the most significant for at least a decade, and this will need to be kept in mind. At the request of ministers, the proposals for next REF are based on recommendations produced by the Stern review. The proposal to submit all research-active staff to the REF, and the consequential proposals on decoupling and the non-portability of outputs, have received substantial attention and in my view are the most significant.

'All-in'

Research assessment in the UK has a long history of selectivity, enabling universities to submit their best efforts for consideration by expert peer reviewers. The proposed 'all-in' exercise will tip the scales away from institutions with research concentrated in a few areas. In this scenario, these institutions are unlikely to be able to fully demonstrate their excellence.

It is difficult to see how this proposal provides a basis to fairly assess research excellence across the whole sector, comprised of small and specialist institutions, modern universities, and institutions with differing levels of research intensity.

Just as important is the knock-on effect of the proposed definition of research-active staff. There is every prospect that institutions will conclude they have little choice but to review staff contracts and definitions of research activity.

This might undermine the career choices of some researchers, including early career researchers. The employment choices of institutions, while perfectly rational in terms of an 'all-in' REF, may well prove unhelpful to the long-term health and dynamism of the sector.

The proposal to decouple staff from outputs could well promote the work of a unit of assessment more broadly. However, any minimum requirement of outputs for each staff member submitted will need to be considered in terms of the potential impact on equality and diversity.

There is also a risk that, although all staff will be submitted, a small number of staff will be responsible for the outputs. This could be the case regardless of any minimum of outputs applied.

'Non-portability'

The 'non-portability' of outputs raises other questions. Though this may reduce the likelihood of late-stage 'transfers' in the REF submission period, it could still create destabilisation after the assessments are announced if individuals choose to move on, or are targeted for recruitment based on known results. The transfer market would remain, but would take place at a different time. The complexity of managing cut-off dates, and what is credited where and when should give many pause for thought.

REF2014 was highly significant in its greater regard for equality and diversity, and in properly acknowledging the work of early career researchers. An 'all-in' submission is unlikely to provide for the same considerations. New approaches should not discriminate against those at the beginning of their career, those who work part-time, or those who take extended breaks from the workplace.

Assessing impact

Alongside those concerns about staff selection, I have mixed views about the proposals for assessing impact.

Maintaining consistency of approach with the previous REF is beneficial, particularly as institutions will have made decisions about identifying the impact of research based on REF2014 experiences. Broadening the definition of impact and how it can be demonstrated will also be beneficial, allowing institutions to highlight a wider range of achievements.

But I worry that these improvements will be dampened by other possible changes. The importance of impact has been highlighted consistently since it was first proposed to be part of the assessment exercise, and the Government has been clear about its ambition to promote an understanding of the value of research investment. Given this, wrapping the information obtained via the impact template into the environment template could be a backward step.

The importance of impact could be strengthened by increasing the weighting to at least 25 per cent, and potentially reducing outputs to 60 per cent (thereby maintaining the environment weighting at a high enough level to make it worthwhile retaining in the assessment).

Leaving the profile weightings as they are is a missed opportunity. Despite the next REF potentially looking very different in terms of process, with a large amount of extra work created by an 'all-in' submission approach, the outcomes in terms of ratings and funding will end up looking much like before. Universities, particularly modern universities, may have to engage with a hugely disruptive process that they cannot afford to avoid taking part in, but without much reward for their efforts.

Unlike in teaching, where the Government has embarked on policies that seek to disrupt the established orders and perceptions, the REF proposals may well simply reinforce past findings, patterns and behaviours.

Look out for tomorrow's guest blog post, when Matthew Guest from Guild HE will argue that research is all about impact.

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The more things change with the REF, the more they stay the same

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The next steps in the evolution of research assessment are upon us with the publication of the consultation for REF2021. Quite rightly, there will be extensive conversations and much exchanging of views before formally responding to a consultation, which, given the significance of the proposals on which it is based, is necessarily world-beating in length.

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A general point on REF2021

GuildHE and CREST broadly welcome HEFCE's development of the Stern recommendations. Like others, there are a few areas in the current proposals where we have concerns. For example, fixing the number of outputs at one rather than zero per researcher could lead to undue pressure on certain groups. Further discussion is best reserved for our consultation response (which you'll be able to find on our website after 17 March 2017).

The philosophy of impact

The REF consultation invites us to comment on impact and in particular the recommendation to broaden and deepen its definition. This is a welcome approach.

It's very easy for those of us who work in the higher education sector to get caught up in the nitty gritty of defining and implementing frameworks and measurements, rather than looking at their broader purpose, and, dare I use the word, impact.

Research impact is viewed first and foremost as how research impacts upon itself. A paper is said to be impactful when it has been cited a high number of times. And it is right that importance is placed on generating knowledge for the purpose of advancing individual disciplines, and that excellence in such work is rewarded. But it's all too easy to leave it just at that: a valuable, heavily cited paper that the greater, non-academic community doesn't know about, let alone how to access.

We need to place greater emphasis on taking that knowledge out into the world, translating theory into practice, and learning from what goes on outside academia to address today's greatest societal challenges.

Proposed definitions of impact

Looking at the word cloud above, you might say impact is central to REF2021. To an extent, I agree. It's great, for example, HEFCE and the other funding bodies have got two universal definitions for impact:

' Academic impact: the demonstrable contribution that excellent research makes to academic advances, across and within disciplines, including significant advances in understanding, methods, theory, application and academic practice.

Wider impact: an effect on, change to or benefit to the economy, society, culture, public policy or services, health, the environment, or quality of life, beyond academia.'

The definition for academic impact is good. The second, whilst broad, could go further. For example, listing a few ways in which research can affect the wider world could unintentionally limit research impacts (does, for example, culture include arts? What about impacts on technology?)

It's worthwhile remembering that the dictionary definition for 'impact' is 'the action of one object coming forcibly into contact with another.' It's a violent verb and noun, not something easy to avoid.So what is the big bang our research aims to make? What is that actual tangible change we are trying to achieve? This can be hard to think through, yet must be fundamental to any research we undertake.

So what?

This second definition of research impact is particularly important because we face heightened societal, economic and global challenges (in which Brexit is both evidence and potentially future cause). Excellent research is fundamental here. And Government is starting to see this. Research is, for example, the first pillar underpinning the new Industrial Strategy.

Yet the REF proposals around impact do not go far enough. They do not provide enough of an incentive for institutions to address such challenges because the proposals do not directly link into the wider national agenda.

Still, it's promising to see that further guidance on the impact of public engagement is proposed. Such guidance must help us get better at telling the story of what our research achieves. It should help us show the immense differences work across all disciplines makes beyond academia.

A challenge and a solution

By thinking about research programmes and their interactions with wider society, we have the potential to greatly advance the difference our work makes. REF can help incentivise us to think in this way, through greater linkages to schemes, such as the Global Challenges Research Fund and the new Industrial Strategy Challenges Fund.

One such way to do this would be to increase the weighting for impact above 20 per cent (Stern's recommendation after all suggested the impact should account for at least 20 per cent of the exercise). Given our wider context, an impact weighting of 30 per cent, for example, would encourage us to consider both types of research impact further.

This of course could be challenging for researchers and institutions. Part of the solution may lie in what we can learn from the wider charitable sector, where the impact initiative is much further advanced.

Hundreds of charities dedicate web space to demonstrating their impact. Organisations such as NPC and Cass CCE lead the way in helping others think through their theories of change and impact cycles. The Great Ormond Street Hospital Charity, for example, offers a really clear report focusing on how they achieve their impact, tying their research strand into their overall mission. Young Enterprise NI has a clear theory of change tied into their desired objectives. Similarly, Mind, the mental health charity, uses a blend of stats and stories to show the difference their work makes.

Such approaches may help us address the challenges in demonstrating the criteria of reach and significance holistically.

In conclusion

There are two questions that we continually need to ask ourselves: 'what is the change I am seeking to make?' and 'so what?' If we can clearly define and answer these for ourselves, we stand a better chance of defining it for others, and taking steps to truly understand our impact.

So we should be daring and challenge ourselves by increasing the overall weighting of impact within REF. Doing so will make a more compelling case for our work within the wider world.

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GuildHE and CREST broadly welcome HEFCE's development of the Stern recommendations. Like others, there are a few areas in the current proposals where we have concerns. For example, fixing the number of outputs at one rather than zero per researcher could lead to undue pressure on certain groups.

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The minister certainly has his work piling up for him. His Easter is going to be spent fretting over the fate of the Higher Education and Research Bill before it returns to the Commons at the end of April. Then there is Brexit and its impact on the university sector, a big enough headache on its own. There are the TEF results to process. He also has to get his skates on as BEIS work up the new industrial strategy.

Resolving paradox

Now that the consultation on REF 2021 has closed, Jo Johnson might be forgiven for putting the responses at the bottom of his red box. However, we have been promised the outcome of the consultation by mid-2017. This is a curiously vague timescale (though not unusual for government). It is not clear whether it means early June or mid-August, when most academics have packed the Volvo and headed to the South of France. Last time the civil servants were left in the office on their own over the summer they came up with the Gold, Silver and Bronze of the TEF based upon the subliminal effects of the Rio Olympics.

Despite other pressing concerns, the future of the REF now presents a significant problem for the minister. In adopting the recommendations of Lord Stern's independent review he has set his stall out for changes in the way we assess research in our universities. The consultation has shown that while each of Stern's suggestions on their own may seem entirely reasonable, taken collectively they are an unworkable mess.

So, we are now in the Whitehall game of creating a solution in which the minister can claim that all his red lines have been met, while vice chancellors and mission group heads can say with a straight face, "we welcome these proposals". Fortunately, resolving paradox is an essential skill of any senior British civil servant. The recent consultation will show sector-wide opposition to whole staff submission and the technical difficulties of submission by HESA codes. Nevertheless, the minister will have a REF based on submission of all research active staff. How are these two antimonies to be reconciled?

It is accepted by everyone that Stern's proposal to pre-ordain a Unit of Assessment for staff through JACS code is a non-starter. It would create all sorts of perverse results and would disadvantage interdisciplinary work. We can expect this suggestion to be dropped. However, once this principle has been ceded then selectivity is immediately reintroduced into the exercise. There is nothing to stop universities creating ghost UoAs full of unfundable research to protect selectivity elsewhere. This only adds to the burden for institutions and panels, while making a mockery of a REF intended to stop game playing. It is much better simply to have a selective exercise that will protect the overall grade point average of UK research.

However, we are told whole staff submission is a red line for the minister. Stern, for what it is worth, actually recommended the submission of "all staff that have a significant responsibility to conduct research".

Get off the road

On 15 th March, a few days before the closing date for the consultation, HEFCE published a remarkable blog on its REF website. David Sweeney, Director of Research, Education and Knowledge Exchange (Mr. REF to you and I) reflected on the problems thrown up by the consultation over the definition of 'research active' staff. While Sweeney said there would be no re-run of REF 2014 rules, he recognised that there were issues around the use of contractual status, as notified to HESA, to determine who is research active. He suggested that the peculiarities of the Scottish system made this particularly difficult. This mystification might pull the wool over the eyes of the Westminster set, but an Aberdonian cannot kid a Glaswegian. There is no significant difference between Scottish contracts that include both teaching and research but do not determine any specific pattern of academic work, and contracts elsewhere in Britain. This is a UK-wide problem.

That being said, Sweeney went on to solicit alternative solutions to the problem of defining the research active. He offered the suggestion that "we would expect universities to develop and publish the process they used to establish agreement with their staff on their 'research-active' status". He also said that the consultation might throw up better ideas on this. What this means, should it be adopted, is that universities must devise a way in which their own academic staff will declare themselves to be research inactive for REF purposes.

There would seem to be consensus across mission groups for this idea, which some are comparing to a 'Statutory Off Road Notification' for academics during the REF period. Staff could be asked to make a self-declaration that excludes them from consideration in the REF. Much management time would be spent identifying and persuading staff members to declare themselves research inactive. How labour-intensive this will be depends upon where you sit in the sector. The average post-92 institution submits around only 20% of its staff to the REF. It will be no small matter to harvest self-declarations of inactivity from 80% of staff in order to retain previous levels of selectivity.

However, in this way the minister can have a REF based on the submission of all research active staff and universities continue to select who is submitted. So much for the end of game playing and for reducing the burden of assessment on institutions.

It is, equally, only a sticking plaster solution for this REF cycle, allowing universities more time to dichotomise their work force between those on research designated contracts and those substantially involved in teaching. Perhaps, by REF 2027 there will be additional categories in HESA for reporting staff activity.

Elsewhere

There are other contentious issues in the consultation but their fate is more clear-cut. We can expect the proposals for institutional level impact and environment to be quietly dropped. Too great a percentage of QR funding would be tied up in the aggregation of mediocrity rather than supporting excellence. The impact agenda of the next REF is likely to be driven by the emerging industrial strategy and may attract a QR supplement from the hefty industrial strategy challenge fund.

It has been a close call around the portability of outputs, but the sector cannot be seen to have it all its own way. On this point the likely compromise is that staff may be able to take one output with them if they move between institutions. This will be in line with a suggested minimum of one, and maximum of four, outputs for submitted staff. How universities are to agree between them which output is to be ported, or, whether the same output can be submitted for two institutions is not clear. However, if you still think that this has anything to do with reducing administrative burdens on universities, you have not been paying attention.

All of this is a brave attempt to retain the principles of funding research excellence while keeping both the government and the sector on side. If it can be pulled off, we can look forward to that series of summer press releases welcoming the new proposals and praising the work done by the valiant men and women of HEFCE. However, in shifting the goal posts away from Stern's recommendations, it is possible that any new set of rules will throw up their own unintended consequences. I would not be surprised to see a second technical consultation next year to test these changes.

If the prospect of a second Brexit or Scottish independence referendum fills you with dread, then spare a thought for the wonks if we have a second REF consultation.

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How do you solve a problem like REF 2021? | Wonkhe | Comment

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The minister certainly has his work piling up for him. His Easter is going to be spent fretting over the fate of the Higher Education and Research Bill before it returns to the Commons at the end of April. Then there is Brexit and its impact on the university sector, a big enough headache on its own.

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http://blog.hefce.ac.uk/2017/02/10/building-on-the-benefits-of-ref/

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02/09/2014

The NAMHE Committee today sent the following message regarding Facilitating Subjects for the attention of Mrs Nicky Morgan, Secretary of State for Education:

Dear Mrs Morgan,

We are writing to you on behalf of NAMHE (National Association of Music in Higher Education) to urge you to review the use of Facilitating Subjects in School and College Performance Tables. Whilst the reduction of the use of Facilitating Subjects from 3 to 2 in the 2014 'School and College Performance Tables – Statement of Intent' is much to be welcomed, we are still concerned about the persistent claim that Facilitating Subjects are a measure of high attainment and academic rigour, which could be interpreted as implying that A-level success in subjects not classified as 'Facilitating' is not.

Music, in common with many of the Creative Arts, requires a high degree of application, self-motivation, and a strong work ethic. All of these attributes not only represent a very high degree of academic rigour, but are also easily transferrable to other subjects. The Creative Arts, moreover, can be studied at A level, and beyond, as part of a well-rounded education, in combination with other subjects, 'Facilitating' or not.

As you will be aware, the Russell Group initially devised their list of Facilitating Subjects to help young people choose A-level subjects which would give them the widest choice of future study at university. They never intended the concept of Facilitating Subjects to be used in the way that the DfES has decided to do. The – albeit unintentional – consequence of the use of Facilitating Subjects in Performance Tables is to distort schools' and colleges' priorities in such a way that the curriculum is narrowed, with negative consequences for a great many students.

The UK has been known internationally for its excellence in the Creative Arts for many decades. The exclusion of Creative-Arts subjects, including Music, Drama, Art, and Design, from the Facilitating Subjects has already led to decline in the number of students choosing these subjects at A level, and will ultimately jeopardise the UK's leading reputation for excellence in these fields, which contributes so significantly to the cultural and economic life of the nation.

We urge you to look again at the use of Facilitating Subjects in School and College Performance Tables, and to re-consider how concentration upon these subjects is affecting the choices and advice being offered to young people. As you will be aware, Russell-Group universities do not emphasise Facilitating Subjects in their admissions criteria other than when an A-level subject is vital for admission to a particular degree programme.

We very much hope that you will take the time to reflect on how the application of Facilitating Subjects to School and College Performance Tables is affecting the choices, lives, and futures of young people in the UK today.

Please do not hesitate to contact us, if we can be of any further assistance to you.

With best wishes

Dr Laura Hamer
on behalf of the NAMHE Committee

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Results of Email Survey of NAMHE Membership on Arrangements for External Examining

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Dr Laura Hamer and Dr Chris Collins have written to Pearson on NAMHE's behalf in support of Jessy McCabe's online petition to ensure the representation of women on Edexcel's AS/A-level Music syllabus.

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Professor Roger Marsh (Letters, 19 January) is correct in noting that the universal adoption of the Ebacc attainment measure in England will reduce the availability of creative and artistic subjects in schools. The adoption of a similar performance measure in sixth-form league tables (the percentage of students with top grades in two or more "facilitating subjects") has led to an 18% reduction in the number of students taking A-level music. Since creative arts subjects like music tend to be more expensive to deliver in schools, they are all the more susceptible to being axed when times are hard and budgets tight. This slump has made A-level music unviable in many schools and colleges, further perpetuating the decline and resulting in regional deserts where the subject is completely unavailable. If, as we fear, the forced adoption of the Ebacc results in a similar decline for GCSE music, the subject will be decimated in English schools. If the government is not alarmed by the prospect of fostering a generation for whom art, creativity and culture are meaningless, it may like to consider the future effects on the creative industries' contribution to the UK economy (£84.1bn a year).Dr Chris Collins Professor Rachel CowgillNational Association for Music in Higher Education
Topics

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Ebacc and A-level measures are elbowing music out of the school curriculum | Letters

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Professor Roger Marsh (Letters, 19 January) is correct in noting that the universal adoption of the Ebacc attainment measure in England will reduce the availability of creative and artistic subjects in schools.

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NAMHE has responded to the government consultation on Implementing the English Baccalaurate (EBacc).A joint response was also made with the Standing Conference of University Drama Departments (SCUDD) and the Standing Conference for Dance in Higher Education (DanceHE).

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NAMHE has responded to the government consultation on Implementing the English Baccalaurate (EBacc).A joint response was also made with the Standing Conference of University Drama Departments (SCUDD) and the Standing Conference for Dance in Higher Education (DanceHE).

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PHD POSTER PRESENTATIONS @ NAMHE ANNUAL CONFERENCE 2017

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PHD POSTER PRESENTATIONS @ NAMHE ANNUAL CONFERENCE 2017

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NAMHE: National Association for Music in Higher Education

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Share your views on any matter of interest or concern relating to HE Music by visiting our discussion forum.

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NAMHE Annual Conference 2017, 2nd May. Cambridge University.

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NAMHE Annual Conference 2017, 2nd May. Cambridge University.

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Provisional Programme

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NAMHE takes its work to ISME Conference Glasgow July 2016

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NAMHE takes its work to ISME Conference Glasgow July 2016

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By Zaina Shihabi

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NAMHE: National Association for Music in Higher Education

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Share your views on any matter of interest or concern relating to HE Music by visiting our discussion forum.

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NAMHE has signed this letter

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NAMHE often supports campaigns which recieve press attention. If there is a letter, article, or consultation you need us to hear, and potentially support, let us know. Email: administrator@namhe.ac.uk [:administrator@namhe.ac.uk]

An example of our contribution to a campaign can be seen in our support of the debate concerning EBacc and the arts (scroll down the link - our item is at the bottom)

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SIR - There have been calls to scrap Quality and Outcomes Framework (QOF) payments, which link GPs' pay to targets. This could see GP budgets cut by a quarter. Since these payments are often used to fund staff, cutting them will harm service.

The QOF system has focused our attention on specific areas, as dictated by the Government. If we follow the rules but the system fails, it is hardly our fault.

Under the current system there is no premium for continuity, one of the most important aspects of care. There is a growing separation between the patient and their known GP: the trusted professional has been replaced by frequently changing staff who are not invested in their community. However, further reductions in funding will only make this more entrenched as general practice struggles to survive.

Don't blame GPs for the policies of our elected representatives.

Dr Chris Perks
Pershore, Worcestershire

SIR - This is not the first study to find that QOF has been ineffective, inefficient and probably harmful to patients. It has encouraged the current trend for over-diagnosis and over-treatment, and cut severely into normal consultation time with patients.

The Government and NHS England need to accept that micromanagement of this type is counterproductive.

Dr Paul Loxton
Virginia Water, Surrey

SIR - My asthma qualifies me for an annual screening to achieve a GP target. My hay fever can disable me to the point of virtual blindness and exacerbates the asthma.

I have now been told by my GP that hay fever has been removed from his remit, and I should buy whatever medication I need. When I expressed my dismay at the divorcing of two conditions known to be hand-in-glove, I was told: "This is your NHS."

Helen Burnside
Wakefield, West Yorkshire

EBacc and the arts

SIR - The new English Baccalaureate (EBacc) will force pupils to be entered for seven narrowly defined subjects, restricting their opportunity to take rigorous, challenging GCSEs in a range of creative, artistic and technical subjects. Parental and pupil choice within education is being disregarded in favour of yet another accountability measure for schools.

Given that the average number of full GCSEs taken by pupils is eight, there will be precious little room outside the EBacc for the subjects that underpin our creative industries.

These industries represent 5.2 per cent of Britain's economy, generating £84.1 billion in 2014 and employing almost two million people, according to the Government.

We urge Nicky Morgan, the Education Secretary, to allow her predecessor Michael Gove's eight-subject school league tables to settle before pushing ahead with a top-down mechanism that will put the arts and technical subjects at risk.
Julian Lloyd Webber
Principal, Birmingham Conservatoire
Christopher Le Brun
President, Royal Academy of Arts
Tasmin Little Elizabeth Berrington Ian Livingstone
Co-founder, Games Workshop
Arlene Phillips Dr Helen Charman
Director of Learning and Research, Design Museum, London
Professor Gavin Henderson
Principal, Royal Central School of Speech and Drama
Christine Payne
General Secretary, Equity
John Kampfner
Chief Executive, Creative Industries Federation
Nadia Stern
Chief Executive, Rambert
Jo Dipple
CEO, UK Music
Professor Jonathan Freeman-Attwood
Principal, Royal Academy of Music
Sir Mark Featherstone-Witty
Founding Principal and CEO, Liverpool Institute for Performing Arts
Bob and Roberta Smith Mark Pemberton
Chief Executive, Association of British Orchestras
Mary Bousted
General Secretary, Association of Teachers and Lecturers
Sarah Munro
Director, BALTIC Centre for Contemporary Art
Nigel Carrington
Vice-Chancellor, University of the Arts London
Tim Cannell
Chairman, Choir Schools' Association
Rosy Greenlees
Executive Director, Crafts Council
Katy Spicer
Chief Executive and Artistic Director, English Folk Dance and Song Society
Tamara Rojo
Artistic Director, English National Ballet
Marisa Draper
Head of Engagement, HOME
Deborah Annetts
Chief Executive, Incorporated Society of Musicians
Professor John Last
Vice-Chancellor, Norwich University of the Arts
Christine Blower
General Secretary, NUT
Joe Hallgarten
Interim Director, RSA Global
Peter Green
Head Master, Rugby School
Neil Constable
Chief Executive, Shakespeare's Globe
Alice Barnard
Chief Executive, The Edge Foundation
Dr Michael Pritchard
Director-General, Royal Photographic Society
Professor Anthony Bowne
Principal, Trinity Laban Conservatoire of Music and Dance
Rachel Tackley
President, UK Theatre
Joanna MacGregor Murray McLachlan
Chairman, European Piano Teachers' Association
Aine Lark
Chairman, National Drama
Paula Briggs
Director, AccessArt
Jeanie Scott
Executive Director, a-n The Artists Information Company (Paying Artists campaign)
David Ryder
Chair of Trustees, Art in Perpetuity Trust
Jane Wilson
Chairman, Arts Development UK
Leslie East
Chairman, Association of British Choral Directors
Dr Chris Collins
Head of Music, Bangor University
Toby Watley
Director of Collections, Birmingham Museums Trust
Marcel Baettig
CEO, Bow Arts
Dominic McGonigal
Chairman, C8
Kwong Lee
Director, Castlefield Gallery, Manchester
Paul Fletcher
Managing Director, Charanga
Michael Smith
Director, Cog Design
Gilane Tawadros
Chief Executive, Design and Artists Copyright Society
Richard Green
Chief Executive, Design and Technology Association
Gavin Sutherland
Music Director, English National Ballet
Susie Crow
Chair of Trustees, Exuberant Trust
Simon Thomsett
Chief Executive, Fairfield Halls
Adrian Friedli
Former Programme Lead, Hull 2017
Ed Scolding
Director, Greenwich Music School
Patricia Lovett
Vice-Chair, Heritage Crafts Association
Sarah Gee
Managing Partner, Indigo
Patrice Baldwin
Past President, International Drama, Theatre and Education Association
Saffron van Zwanenberg
Artistic Director, Jackdaws Music Education Trust
Dr Helen Julia Minors
Head of Department of Music, Kingston University
Richard Smith
Curator, Lancaster Institute for the Creative Arts
Vicky Prior
Director, League of Culture
Lucy Phillips
Director, Leicester Print Workshop
Paul Smith
Executive Director, Liverpool Biennial
Magnus Long
Magnus Long Design Studio
Barbara Eifler
Executive Director, Making Music
Paul Hobson
Director, Modern Art Oxford
Susan Whiddington
Director, Mousetrap Theatre Projects
Richard J Hallam
Chairman, Music Education Council
Elizabeth Stafford
Director, Music Education Solutions
Karen Dickinson
Director, Music for Little People
Lesley Butterworth
General Secretary, NSEAD
David Martin
Executive Director, Oldham Coliseum Theatre
Andrew Hurst
Chief Executive, One Dance UK
Jacqui Cameron
Education Director, Opera North
Paul Reynolds
Acting Chair, Producers and Composers of Applied Music
Lucinda Mackworth-Young
Director, Piano Teachers' Course, European Piano Teachers' Association
Peter Heath
Managing Director, PLASA
Professor Andrew Brewerton
Principal, Plymouth College of Art
Mali Morris
Trustee, Poetry London
Martha Kapos
Poetry Co-editor, Poetry London
James Otter
Director, Potclays
Paul Hoskins
Music Director, Rambert
Stephen Lacey
Chairman, Standing Committee for University Drama Departments
Siobhan Davies
Siobhan Davies Dance
Philip Flood
Director, Sound Connections
Margot Heller
Director, South London Gallery
Helen Legg
Director, Spike Island, Bristol
Chris Romer-Lee
Director, Studio Octopi and Thames Baths
Terry Luddington
Chief Executive, British and International Federation of Festivals
Wozzy Brewster
Executive Director, The Midi Music Company
Henry Fagg
Director, The Tutor Pages
Dr Claire Mera-Nelson
Director of Music, Trinity Laban Conservatoire of Music and Dance
Professor Rachel Cowgill
Head of Music and Drama, University of Huddersfield
Lindsay Taylor
Arts Curator, University of Salford
Donna Lynas
Director, Wysing Art Centre, Cambridge

Living with depression

SIR - I read with interest Wilko Johnson's reflections on living with both cancer and depression.

He says: "I have never really sought help for [depression]. I have always had an aversion to psychoactive medication, and dread the thought of finding myself dependent on something or other. I just think that is the way I am."

I am sorry Mr Johnson feels that help is only offered via medication, and that, because he believes that he will never shake off the depression, he is beyond help.

In my experience, personally and as a psychotherapist, depression is indeed a fiendishly difficult mental illness to "cure" or even alleviate.

However, it can help to have someone with whom you can talk, remain silent, despair, share what it is like to live with the "misery" (as Mr Johnson calls it), make meaning of that experience and maybe accept it - but also learn not to be defined by it.

Corinne Lowry
Barnet, Hertfordshire

New-build nests

SIR - Local councils hold the key to the revival of our declining population of swifts (Letters, May 16).

All it requires is for their planners to impose a condition that every new-build property of two storeys or higher must incorporate at least one nest box.

At negligible cost to the developers, our summer skies would soon become filled with these magical birds.

Jim Wright
Cleethorpes, Lincolnshire

How the tide could turn for British eels

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Letters: The Leave campaign needs a clear message that will stick in voters' minds

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SIR - Sir Lynton Crosby has hit the nail on the head in saying that the Leave campaign must “dramatically step up its efforts” and send a clearer and simpler message in support of its case if it is to motivate supporters before polling day.

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Current Issues in HE 1 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 1 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 2 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 2 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 3 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 3 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 4 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 4 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 5 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Current Issues in HE 5 - NAMHE's 2016 contribution to the RMA Graduate Students Conference

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Ever wondered whether it is worth coming to our annual conference? See an example of our entworking, discussions and co-creative learning in a short video summary of our 2014 annual conference

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NAMHE Annual Conference (Bath Spa - May 2014)

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This is "NAMHE Annual Conference (Bath Spa - May 2014)" by NAMHE on Vimeo, the home for high quality videos and the people who love them.

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Value of a Music Degree: the Irish perspective

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Value of a Music Degree: the Irish perspective

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Council of Music in Higher Education Ireland

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A video for those interested in undergraduate or postgraduate Music studies in universities, colleges and conservatoire across Ireland (Republic of Ireland and Northern Ireland). See also www.studymusicireland.ie

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Keynote Panel at the NAMHE SCUDD DANCEHE conference

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Keynote Panel at the NAMHE SCUDD DANCEHE conference

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How can we manage the flows and changes of early career colleagues?

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We're here actively contributing to recent debates in the press, signing responses and supporting collegues in our field.

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The morning's debates and discussions are informing our website re-design and will lead into the AGM on May 2nd which will be hosted in the Faculty of Education at Cambridge University

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Following a chat with Fiona Bannon, I'd like to propose that we organise sessions for new lecturers as Palatine used to. Marking, workload management, getting published etc.

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How can we re-energise NAMHE's activism?

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How can we re-energise NAMHE's activism?

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Can we respond quicker to the press, to government policies, and to press stories? How can we manage this to ensure we are effective and included in recent debate?

How can we ensure we are fighting back at the ATTACKS on our discipline?

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The website is currently being redesigned - the old site is here: http://namhe.ac.uk/

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The website is currently being redesigned - the old site is here: http://namhe.ac.uk/

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AGM action - set a time/day to action NAMHE video links on social media - let's get it trending.

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NAMHE SCUDD DANCEHE conference discussions - TEF

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NAMHE SCUDD DANCEHE conference discussions - TEF

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TEF discussions raised many questions regarding how assessing teaching through proxy metrics would change the nature of what we do and how we do it. By request, a reminder that the NAMHE response to the original consultation can be found online:

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Members of the Social Science Centre, Lincoln

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Green Paper: responses collected | Wonkhe | Policy Watch

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Collected formal responses to the Government's Green Paper consultation, which closed in January. Send yours in to be featured here.

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Advocacy - The Value of a Music Degree with Adrian Sutton

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Advocacy - The Value of a Music Degree with Adrian Sutton

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The Value of a Music Degree: Adrian Sutton

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Composer Adrian Sutton talks about his award-winning theatre work and about the importance of a music degree to his career.

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Advocacy - The Value of a Music Degree - Music graduates speak

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Advocacy - The Value of a Music Degree - Music graduates speak

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Are you thinking of continuing to study music after you leave sixth form? Hear from some of those who have, talking about the opportunities a music degree has opened up for them.

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Advocacy - The Value of a Music degree - case studies

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Advocacy - The Value of a Music degree - case studies

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The Value of a Music Degree: Tenovus Cancer Care

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Ruth Morris explains how a Music degree was fundamental to her career working for the Tenovus Cancer Care.

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Advocacy - The Value of a Music degree - Alison Balsom

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Advocacy - The Value of a Music degree - Alison Balsom

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The Value of a Music Degree: Allison Balsom

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Trumpet virtuoso Alison Balsom explains how a Music degree was fundamental to her career and the importance of music education to society.

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Advocacy - The Value of a Music degree - Current students speak

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Advocacy - The Value of a Music degree - Current students speak

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This is "The Value of a Music Degree 2" by NAMHE on Vimeo, the home for high quality videos and the people who love them.

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Advocacy: Gender and Equality in Music - A NAMHE Commissioned Report

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Advocacy: Gender and Equality in Music - A NAMHE Commissioned Report

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Dr Danijela Bogdanovic

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Tweets by _NAMHE_

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Can NAMHE's jiscmail email be expanded to ensure that all departmental members are able t o engage with the discusion more - can it be developed more in the way SCUDDs emails and debate work?

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1. Create a new open mailing list which can shake up the discussion and enable the community to speak and promptly to recent debates.

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TEF discussions at the NAMHE SCUDD and DANCEHE conference

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TEF discussions at the NAMHE SCUDD and DANCEHE conference

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The Emperor's Folderol or Tales of the TEF

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(with apologies to Hans Christian Andersen, adapted from the translation by Jean Hersholt.) Many years ago there was an Emperor so exceedingly fond of excellence in everything and everyone that he spent all his time and money on ensuring that everything and everyone was, indeed, truly excellent. He cared for nothing else.

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2nd May 2017 @ Cambridge University

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Our videos can be shared on any departmental website - they are created to represent the discipline of music, not specific department. You can see how they've been shared by one department here:

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NAMHE: The value of a music degree - Faculty of Music

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NAMHE, the National Association for Music in Higher Education, has launched the latest in a series of videos about studying music at university. The series focuses on the broad range of careers followed by music graduates, and the importance of music to society.

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We can be inward looking within the disciplinary sub groups - how do we open up and share collectively as a group?

Engaging in advocacy, in community response, bring about awareness of other research, creative and practice areas. It could then make everyone stronger.

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Gender Equality in Music Higher Education

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Dr Danijela Bogdanovic is the researcher and author of a report exploring gender equality in Music Higher Education in the United Kingdom. The report was commissioned and funded by the National Association for Music in Higher Education (NAMHE).

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Music and Performance Research Association MAPRA

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Music and Performance Research Association MAPRA

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Proposing to set up, thorugh NAMHE a new group - comments please

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Why doesn't NAMHE have a wikipedia entry - create one?

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Challenging Futures in Higher Education Drama, Music and Dance

7 th and 8 th April 2017

University of Huddersfield

Day 1 – 7 April 2017

11-12.30                      Arrival, registration and lunch

12.30 – 1.00               Welcome from Bob Cryan, Vice Chancellor of the University of Huddersfield and the chairs of SCUDD, NAMHE and Dance HE

1.00 – 2.00                  Keynote 1:  Documentation of practice-as-research and evidencing impact in our subject areas

Chair: Helen Minors

Matthew Yee-King and Mark d’Invero (Goldsmiths College)

2.00-3.30                    Panel 1: Questions of measurement and excellence in teaching

Chair: Alison Jeffers

Emma Atkins, Education Officer at University of Manchester Students’ Union

Paul Kleiman, Education Consultant & Visiting Professor

Catherine Boyd, Executive Officer at Wonkhe

3.30-4.00                    Tea and coffee

4.00- 5.30                   Panel 2: Challenges to recruitment

Chair: Stephen Lacey

Margaret Farragher, Head of Policy and Qualification, UCAS

5.30 – 7.00                 Informal networking event plus food and drink

7.00 – 8.00                 Event showcasing voice work curated by Ben Spatz from Centre for Psychophysical Performance Research, University of Huddersfield

There will also be other opportunities for evening entertainments off campus

Day 2 – 8 April 2017

9.30 – 10.00               Registration

10.00- 11.30              Discipline-specific activities

SCUDD – AGM

NAHME – workshop focusing on activism & advocacy for music/music education

Dance HE – What can this body do? Open Forum – time to consider identity, possibility and optimistic futures.

11.30 – 12.00             Tea and coffee

12.00 – 1.30               Keynote 2: Early Career Professionals – flows and transitions between the professional world and higher education

Chair: Rachel Cowgill

Jane Moriarty (Director at National Theatre Studio)

Sally Doughty and Marie Fitzpatrick (Dance scholars and practitioners)

Stef Conner (Musician who has moved into HE with Leverhulme ECRF)

1.30 – 2.30                  Lunch

2.30 – 4.30                 Panel 3: REF, Stern and the HEFCE consultation

Chair: Maria Delgado

Panelists: Representative(s) of

SCUDD – Stephen Lacey

NAHME – Michael Clarke

Dance HE – Vida Midgelow

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https://www.jiscmail.ac.uk/cgi-bin/webadmin?A0=NAMHE

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You can engage with recent debates and discussions via social media - check it out - NAMHE is msot active here while the website is being re-designed. https://www.facebook.com/groups/533123886729299/