Music for all? Pupils' perceptions of the GCSE Music examination in one South Wales secondary school

Abstract

This article originated from a research project examining pupils' perceptions of the GCSE Music examination (for pupils aged 15±16) in one large secondary school in the United Kingdom. The research explored the hypothesis that pupils considered it necessary to have additional instrumental or vocal tuition outside class music lessons in order to secure a high grade in the examination. The research also hypothesised that, despite the egalitarian philosophy underpinning the General Certi®cate of Secondary Education (GCSE) examination system, the music course was still viewed by pupils as being e Âlitist. It was concluded that although there were some very positive comments from pupils, GCSE Music was still not the intended examination for all.

Adolescents' attainability and aspiration beliefs for famous musician role models

“…Despite the fact that adolescents are more likely to identify famous singers as their role models, Wright's (2002) findings would suggest that such musical figures are not influencing adolescents' attitudes towards singing in the classroom. Indeed, North, Hargreaves, and O'Neill (2000) describe the mismatch that often occurs between young people's musical preferences and the music curriculum of schools; these differences can have important consequences for motivation and musical learning.…”

“…This finding might have a potentially positive impact on adolescents' perceptions of voice in the classroom. However, Wright (2002) found in a sample of 181 Year 9 pupils that using the voice as an instrument was placed in low regard, and that over two-thirds considered having an ability to play an instrument was important when it came to their decision to take GCSE music. Wright argues that by raising the status of singing in schools, in combination with the provision of performance training, more pupils may be encouraged to select music in Year 10.…”

“…This, in turn, may subsequently impact GCSE uptake, particularly as adolescents perceive prior musical experience to be an important determinant in continuing with school music after Year 9 (Bray 2000;Lamont and Maton 2008;Wright 2002); exposing adolescents to a wider range of instrumental role models may therefore be crucial to maintaining and sustaining instrumental learning in adolescence. O'Neill (2002b) points out that the way young musicians construct a sense of who they are can act as a constraining influence on their musical learning, particularly as their identities reaffirm societal and cultural norms and stereotypes.…”

“…Research that has been conducted into GCSE (General Certificate of Secondary Education) music uptake rates (e.g. Bray 2000; Lamont and Maton 2008;Wright 2002) has posited that the low rates are partially due to adolescents' perceptions of it being difficult and elite at this level Á e.g. where prior experience is required, the perceived significance of the subject in relation to other curriculum subjects, and the negative perceptions held by others potentially influencing adolescents' decisions (e.g.…”

What impact does teaching music informally in the classroom have on teachers, and their pedagogy?

“…National inspection reports support this revealing wide differences in the quality of teaching at secondary level (Ofsted, 2003(Ofsted, , 2009(Ofsted, , 2011 further supported by differences in the take up of music at KS4 and KS5 (Little, 2009). In addition, there is evidence of a widely held perception that it is necessary to have high level instrumental skills in order to continue with music and take national examinations at age 16 and 18 (Lamont et al, 2003;Wright, 2002). Indeed, some music teachers have been found to discourage pupils with no instrumental skills from continuing with music as an option (Ofsted, 2009).…”