The appeal of vocational music qualifications

Gone are the days of assessing music solely through exams. The landscape of music education has adapted and grown since the introduction of the A Level course some decades ago – namely with vocational courses, first introduced in 1994. Further education (FE) diplomas have opened doors to the music industry as well as higher education, particularly for students wanting hands-on experience.

Careers for all

‘It's important for music teaching to reflect how the industry has changed. We need to prepare people to work in an industry where record companies want 360-degree deals, including marketing and live-music rights,’ said Jon Fell, head of creative arts at Southwark College.

Vocational pathways are traditionally seen as practical courses developing skills related to a specific job. This differs to A Levels, which focus more on academic achievement and assessment through exams.

Students who don't achieve passes in English and maths at GCSE can still be accepted onto the courses at FE colleges. The opportunity is there for them to retake GCSEs while studying for the music diploma and building a professional skillset. This is seen across colleges offering the University of Arts London's (UAL) Level 3 Extended Diploma in Music Performance and Production – the most common music diploma delivered across the country, according to most websites.

The appeal of such courses also relates to musical genre. ‘Diplomas allow students to study popular music, which you can't pursue at A Level’, explained Fell, before returning to the theme of careers: ‘Diplomas develop the building blocks to become an artist. Our course is music business, music performance and music technology combined. We aim for everyone to be able to create content, do social media marketing, use cameras, edit footage, compose, perform live, produce, know graphic design, and be able to create a high-quality online portfolio.’ The offer is comprehensive.

Cohort

For the music industry to progress, pathways need to be available for a mix of students. The industry is on track to achieving equality but work still needs to be done. UK Music's 2022 Diversity Report highlights that 52.9% of individuals working in the music industry in 2022 identified as a woman. Meanwhile, the number of those working in the industry in senior positions that identify as ethnically diverse was only 18.2%.

‘Although the industry is still very misogynistic, courses like ours have contributed to the gradual erosion of some outdated attitudes,’ reflected Pete Thorogood, lecturer of FE music and leader of college music courses at Hereford College of Arts. He went on to say his cohort is nearly 50% female and is enrolled onto a wide range of instruments. He also enlists students from settings such as pupil referral units and hospital schools.

Mike Bandoni, leader of music diplomas at Reading College, points to its ‘diverse student populace’ as proof of progress, both in background and in musical preference. ‘There are singer-songwriters, production and engineering enthusiasts, those who want to make “beats”, and rock musicians. We get them to specialise towards the end of the qualification after they've had a taste of different activities, styles of music, and ways of writing and producing.’

Students need a high-quality music portfolio including recordings of their work and performances to be accepted onto diploma courses. The courses provide a mix of practical elements, often in well-resourced studios, and academic work, which is made accessible for students. Bandoni emphasises ‘research and contextualisation as the cornerstone of UAL qualifications’.

‘Students need to understand the history of the music they present, the rehearsal techniques, and how the business works. We encourage self-assessment, and we often get students who switch to us after starting an A Level because they discover that the A Level isn't as flexible,’ revealed Bandoni.

With the range of skills and genres taught, and the mix of students accepted, it's easy to see why numbers on vocational courses have grown from 83 in 1994 to almost 40,000 in 2023 (see Music Teacher, April 2023).

Control room at Southwark College, including a Mackie 32/8/2 mixing desk.
Credit: Jon Fell

The learner's perspective

Teachers of diplomas often find their students ‘assume more growth, maturity and independence’ as they have a vested interest in music, according to Fell.

Anecdotally through my experiences at GCSE, though at a lower level, this is something I have personal experience of. Studying music at GCSE was much more enjoyable than it was in Years 7–9 because the class was made up of students who really wanted to be there.

At Reading college, Ailsa, a student on the Level 3 Extended Diploma in Music Performance and Production, chose to study the course as it ‘gives the opportunity to create your own path, which the A Level course lacks’.

She was also encouraged by the resourcing and funding available to invest in her musical development.

‘Studying at a vocational college meant I was reassured that adequate funding was being put into the resources and educators that are there to support me. The standard of equipment and experience that has been available is so valuable in a musical environment – this wasn't something I experienced at secondary school. The freedom of choice is held within a reasonable boundary, creating a wide curriculum that provides an insight into industry work. I think this course, offering more independence and experience, is what has helped in my musical development. I urge anyone with a creative mind to pursue this path,’ shared Ailsa.

Routes to FE teaching

Bandoni, Thorogood and Fell all worked in the industry before obtaining PGCEs and becoming FE music teachers – a route which Fell says was common in the 90s. They believe their backgrounds allow them to pass on subject matter and industry know-how, including etiquette.

Some may argue that teaching styles differ between types of courses. Hanh Doan, lead for Secondary Music Initial Teacher Education (ITE) at the University of Hertfordshire, on the other hand, feels that it is her ‘responsibility to prepare tomorrow's music teachers with pedagogies and skills in order for them to teach as musically as possible’, which doesn't involve targeting specific qualifications.

At Hertfordshire, ‘Vocational courses and practices are discussed as much as the more “traditional” routes, but at the core of it all is key music education pedagogies, practices, and ideologies,’ she continued.

‘For me as a higher education ITE provider, the focus is on musical teaching and pedagogies, and developing the music teacher as a critical thinker. With this grounding, music teachers can apply concepts to their practices at all levels and types of qualification.’

T Level future?

Entries for A Level music have seen a general decline in recent years, as reported in Music Teacher.

Another spanner was thrown in the works for the future of FE music when T Levels were introduced by the DfE in March 2023 as another post-GCSE qualification. The UK government is promoting these as offering a 45-day industry placement, dubbed as 80% classroom and 20% work.

Then, in February 2024, Education Secretary Gillian Keegan announced plans for a phased pause in funding for Level 3 music qualifications over the next two years. The announcement met with a backlash and brought further uncertainly. Yet the testimonies don't lie – vocational diplomas are still retaining their popularity, according to course leaders. Though there is a lack of freely available data, Thorogood says his intake has more than doubled for music diplomas, and Bandoni notes an increased interest in creative courses across Reading.

AT Level music course isn't currently available but could change the face of FE again. But is it needed, or even appropriate?

‘The way T Levels are composed right now is not appropriate to the needs of people who study Music at diploma level,’ said Fell.

‘Current T Levels in business and IT ask for five strong GCSE passes – many of our students don't have that. The people who do are applying to sixth form colleges for a more academic route.’

Bandoni welcomes a music T Level, but not at the sacrifice of diplomas which ‘offer a different way to learn and need to be kept.’

‘Vocational qualifications offer flexibility and the chance to specialise to move into freelancing or small enterprises. I wouldn't say no to a T Level, but it's going to need real industry support, which is difficult,’ continued Bandoni.

Whether it's a T Level, A Level or diploma, what's most important is setting students up confidently to enter the music industry, which Fell reflected on:

‘Industry leaders are looking for someone who has developed all the basics of their career. I think there is a big, continued future for diplomas.’