Fitting in or standing out? An enquiry into the varied social cultures of UK music conservatoire students

融入还是脱颖而出？

• 批准号: 2285046
• 金额: --
• 依托单位: King's College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2285046
• 关键词: Fitting; standing; out; enquiry; into

There are currently nine music conservatoires in the UK (seePerkins & Mills, 2009). The first UK conservatoire, the RoyalAcademy of Music (RAM) opened its doors in 1822 and sincethen, the RAM claims to have successfully trained some ofthe world's most influential musicians (see RAM, 2018). Areport conducted by Polifonia (2007) states thatconservatoires were originally founded to educate and trainelite musicians for a classical music performing career andmany of these institutions still share these values. Thissuggestion is problematic for two reasons. First, it impliesthat the conservatoires are only for elite musicians.Secondly, it suggests that those entering the conservatoiredo so with the understanding that they have to fit into thismodel of elite. Whilst data from UCAS annual reports show asteady rise in applicants throughout the past 10 years, thereports also show a clear correlation between studentbackground and audition success (See CUKAS, 2006, 2013;UCAS Conservatoires, 2016, 2017). For example, studentsauditioning for entry from advantaged backgrounds into theat all 9 UK conservatoires were four times more likely to haveapplied than those from disadvantaged backgrounds (UCASConservatoires, 2015). Furthermore, the way conservatoiresseek to recruit students can be seen to reflect their elitestatus (see Coughlan, 2017). Although conservatoires haveusually been seen as "highly selective" (see Parakilas, 2002)there has been no empirical research done to date withinthese elite institutions which has analysed the socioculturalpractises to help understand the phenomenon ofconservatoire culture. Conservatoires, just like other eliteinstitutions, questionably allow the elites to seamlessly movethrough these spaces and extend their privilege in ways notopen to students from less advantaged backgrounds (seediscussions in Gumport, 2007; Stevens, 2008). This project7 / 11will be the first of its kind to explore the access issuesconservatoires are currently facing and to problematisethese through a Bourdieusian lens to generate a wealth ofnew forms of practises within higher music educationresearch.In my PhD at Kings College London, I propose to carry out anethnographic study on the London conservatoires, all ofwhich have failed to meet their government benchmark forthe recruitment of state schooled students. Furthermore, thetop three conservatoires also admitted less UK stateschooled students out of any other UK HE institution,including Oxbridge (see data in Arts Professionals, 2018).This makes this research more needed than ever before.Therefore, it is important to make sense of the kinds of socialspaces within these institutions if conservatoires arecommitted to continue to improve access to them.

英国目前有九所音乐学院（参见Perkins & Mills，2009）。英国第一所音乐学院皇家音乐学院 (RAM) 于 1822 年开业，自此，RAM 声称已成功培养了一些世界上最有影响力的音乐家（见 RAM，2018）。 Polifonia 进行的报告（2007）指出，音乐学院最初成立的目的是为了教育和培训古典音乐表演职业的精英音乐家，其中许多机构仍然拥有这些价值观。由于两个原因，这个建议是有问题的。首先，它意味着音乐学院只适合精英音乐家。其次，它表明那些进入音乐学院的人必须明白他们必须适应这种精英模式。虽然 UCAS 年度报告的数据显示过去 10 年申请人数稳步上升，但报告也显示学生背景和试镜成功之间存在明显的相关性（参见 CUKAS，2006 年、2013 年；UCAS Conservatoires，2016 年、2017 年）。例如，在英国所有 9 所音乐学院面试来自优势背景的学生的申请可能性是来自弱势背景的学生的四倍（UCASConservatoires，2015）。此外，音乐学院招收学生的方式可以被视为反映了他们的精英地位（参见 Coughlan，2017）。尽管音乐学院通常被认为是“高度选择性的”（见Parakilas，2002），但迄今为止，这些精英机构还没有进行实证研究来分析社会文化实践，以帮助理解音乐学院文化现象。音乐学院，就像其他精英机构一样，值得怀疑的是，它允许精英们无缝地穿过这些空间，并以不向背景较差的学生开放的方式扩展他们的特权（参见 Gumport，2007 年的讨论；Stevens，2008 年）。这个项目7 / 11将是第一个探索音乐学院目前面临的准入问题的项目，并通过布迪厄的视角来解决这些问题，以在高等音乐教育研究中产生大量新的实践形式。在伦敦国王学院的博士学位中，我建议对伦敦音乐学院进行民族志研究，所有这些音乐学院都未能达到政府招聘公立学校的基准。 学生。此外，排名前三的音乐学院也比牛津、剑桥等其他英国高等教育机构录取了更少的英国公立学生（参见《艺术专业人士》，2018 年的数据）。这使得这项研究比以往任何时候都更加必要。因此，如果音乐学院致力于继续改善这些机构的社交空间类型，那么了解这些机构内的社交空间类型就很重要。