Levelling the playing field? Changing entry requirements for music at university

It won't surprise any music teacher to hear that the number of students taking A Level Music is in rapid decline across the UK. As reported by Dr Adam Whittaker and professor Martin Fautley in MT's August issue, the decrease has been building year after year – in 2006 there were over 10,000 A Level Music entrants; by 2020 this number was fewer than 6,000.

Once a necessity for students applying to study music at university, now A Level Music is not an essential requirement for a number of higher education courses. Is this development a positive step towards inclusivity and a necessary response to the current situation at Key Stage 5, or is this an unwanted contributor to the qualification's death knell?

It is worth acknowledging here that there are many music qualifications a student may pursue at Key Stage 5. A Level Music, while not a one-size-fits-all solution, still seems to be a well-trodden path followed by many schools, especially those who wish to study the subject at a higher level but whose interests are not suited to more vocational courses. There are also several other higher education routes for students, such as conservatoires, but as a traditional path for many, university courses are worth investigating.

Access

From the perspective of an admissions officer, broadening the entry requirements of any course is widening its accessibility. During a time in which A Level Music provision across the country lacks consistency, and with the reality that not all students have the opportunity to take the qualification, no longer requiring students to have an A Level in music does widen the range of people who could apply for a university music course.

The admissions officer I spoke to at the University of Leeds told me that their decision to accept students without A Level Music for the BA Music course was ‘motivated by a recognition of the shrinking pool of A Level Music students, and a desire to make what [they] do accessible to students from schools where “traditional” forms of musical education might be replaced by music tech or popular music performance Level 3 qualifications.’

This specific course at the University of Leeds does not require a performance grade, however its BA in Music Performance – alongside numerous examples across the country – shows that it is now common to ask for instrumental/vocal Grade 8 from students alongside a minimum of Grade 5 Music Theory. For example, the BA Music at the University of Bristol asks students for AAB with an A Level in Music, or alternatively AAB with Grade 8 Theory or Practical (ABRSM or Trinity) at pass.

At a glance, some music courses at the University of York, the University of Birmingham, the University of Edinburgh, Goldsmiths, the University of Cardiff and the University of Durham also provide offers for students without A Level Music who achieve Grade 8 on instrument or voice. Oxford and Cambridge are also accepting ABRSM Music Theory Grade 7 and above and ABRSM Music Theory Grade 8 at merit respectively as a substitute for having an A Level in music. However, there are some exceptions; for example, the University of Glasgow still requires Music A Level for its Music BMus course.

A forced change

National organiser for education at the Musicians’ Union Chris Walters suggests that the shift in entry requirements at HE is a result of two things. Firstly, because A Level Music numbers are lower that what they once were, universities would be limiting their applicant pool if they didn't rethink their criteria. Secondly, and ‘more philosophically’, Walters says, ‘A Level Music simply doesn't meet the needs of all students who want to pursue music at higher education. Many people still assume that most music degrees are based on classical music, but that's no longer the case – there's a big variety now.’ Walters points out that this is a much bigger issue: ‘Many students cannot access the support they need at school level to develop their musicianship.’

While it could be argued that in doing so universities are widening the pool of students who could apply, is accepting students based on privately funded tuition and assessment – often completed outside of school – any fairer? In addition to cost, these grades do not necessarily assess academic thinking or creativity, particularly in terms of composition. ‘Instrumental grades still skew towards classical music and its practices – but they can be useful as entry criteria if the skills they assess are relevant to the course being applied for,’ says Walters.

What do teachers think?

One director of music, Jane Werry, says this decision from HE institutions is widening accessibility to university courses. However, she adds: ‘Whether it is widening access to a career in music is debatable.’ Head of music James Manwaring believes that while it is important that those who do not attend schools offering A Level Music have the opportunity to study the subject at a higher level, the coverage of the course across the UK is becoming even more sparse due to this shift in entry grades.

He says: ‘The issue is that if A Level Music is no longer required, then why would students study it, even if it is offered? A Level Music will disappear unless it is seen as a necessary pathway to HE.’ He argues that instrumental grades may not indicate that a student can ‘study’ music, stating: ‘I am a firm believer in listening and contextual knowledge. Students can be Grade 8 and yet not know their Mozart from their Mahler, their Price from their Poulenc, their Portland from their Steiner. We need A Level Music to cover all of this and give students a chance to explore the creation of music through composition.’

Director of music Emily Gunton knows first-hand that the number of candidates for A Level Music has fallen by 44 per cent since 2011: ‘Since AS Levels were dropped as a fourth option, the numbers of students taking A Level Music has continued to dwindle.’ She believes that marking for certain components, such as composition, has been inconsistent at A Level, causing some schools to avoid the qualification due to the uncertainty of grades. This issue was noted in the Sound and Music's 2019 Can Compose report, which stated: ‘Educators’ confidence is further undermined by exam boards’ assessment methodologies, which are not always perceived to be reliable or transparent.’

Gunton suggests that a recording or portfolio of evidence to support a student's application would be a great alternative to A Level Music or instrumental/vocal grades. ‘The ABRSM's 2021 Making Music report study showed that 26 per cent of children made music through digital means. This should be explored,’ adds Gunton.

Looking to the future

The suggestion of a portfolio could be a promising temporary plaster for a much bigger wound. It seems clear from the universities and teachers that I spoke to that the current A Level Music syllabus is not sustainable. ‘A Level needs to change, and it needs to change quickly,’ says Gunton. ‘There needs to be much more flexibility for students to choose the components that suit their interests. We need to see a broader range of set-works which include genres such as rap and hip-hop and better gender equality. Fundamentally, for A Level Music to survive, we need more bums on seats; for that to happen we need to diversify and demystify the marking as well as making additional funding available to support school's delivering the course to small cohorts.’

Until other accessible methods of assessment and education are rolled out across the country, higher education institutions have a limited amount of power to ensure accessibility. A Level Music is an essential offering in music education, and for that to be withdrawn or replaced would be expensive and possibly detrimental to students and the subject. However, it is clear that the course needs to be modernised and made more inclusive to provide a more comprehensive education for future students, and to encourage others to pursue the subject.

As less students are choosing A Level Music, it is harder for the exam boards to justify spending resources and time modernising the qualification, which is ultimately a commercial product. However, funding and investment in music education would help this problem tremendously. A closing statement from Walters cements wider fears surrounding the issue: ‘Realistically, A Level Music will continue to decline until the current government and its incoherent policies can be voted out.’ For the sake of teachers and future musicians across the UK, let's hope that A Level Music makes a promising comeback, rather than fading away completely.