The other week I found myself in a conversation with someone who was studying for a PHD in Ethnomusicology (if I remember correctly), focusing specifically on Scots song.  The interesting thing was, that she was clearly so used to being the subject of intense derision for this - no stranger to the phrase "mickey mouse course", it took her a good 10 minutes or so to establish that I was not quietly chuckling to myself over the uselessness of such studies (at least I think I established that).  The really sad thing that I gleaned from this conversation was the extent of collective disdain with which our society perceives the study of it's own cultural history, and it got me to thinking about our attitudes towards traditional music and folk song within education. 

There are two main branches of mainstream education which deal with traditional music and song: The more academic studies through the likes of the School of Scottish Studies and the "Folk Music" degrees available through Universities such as RSAMD and Newcastle. 

 

Many Further Education Music departments are starting to incorporate some sort of traditional musicianship into their syllabus too, and whilst the standard must obviously vary across these institutions this must surely be a positive thing for the scene.  But what exactly do they offer to their students with regards to teaching them about "folk music"?  What expert tuition can they hope to receive within a course which usually doesn't last beyond a year, and what exactly defines an "expert" in folk music anyway?

The big argument within the folk scene however, is not directed at further education - but at the University level Folk Music "Degrees" which can be obtained through institutions like RSAMD in Glasgow and Newcastle University.  If I might nail my colours to the mast now, I do not consider these courses to be "mickey mouse" degrees - from my own experiences of talking to people who have studied at both RSAMD and Newcastle, the degrees are by no means a breeze and they consistently churn out an extremely high standard of musicianship. So much so in fact, that a huge proportion of the alumni of such institutions are almost guaranteed a certain level of exposure and acclaim within the folk scene following their departure from full time education.  Alas though, this is the very sticking point which riles large swathes of the folk music community - and I tend to agree to an extent that it is a slightly unnatural way to approach a career in traditional music.

 

I've heard the term "folk singer factory" used to describe the RSAMD, along with accusations levelled towards its students for being removed from the "coal face" of the folk scene - having little experience of pub sessions (not to mention the often harsh realities of life which have traditionally contributed to folk music - specifically song - over many hundreds of years).  True as this will inevitably be for some, it is unfair to tar everyone with the same brush - and there must be very few who are truly passionate about folk music who would not jump at the chance to study it for 4 years in a controlled environment designed specifically to nurture that passion.  One does have to wonder to what extent these barbed statements might be tinged with elements of jealousy, even where the arguments are extremely convincing.

 

Certainly, it is true to say that their is a growing void within the scene now which is creating (at the very least) a two-tiered system which is getting ever closer to the point where never the twain shall meet.  There are those who have studied and those who have not, and it would not be short sighted to suggest that the opportunities are disappearing for those who have not.  A standard of musicianship hitherto only associated with Classical performance has crept into traditional music (certainly the instrumental elements of it anyway).  It seems crazy that of all the musical genres to start developing their own inbuilt class system, it should be "Folk" music that leads the way with this oxymoronic anomaly.

In the defense of the musicians who have come through these (or similar) institutions - this "class" system is not their fault, nor should the Universities themselves be blamed - it can be traced back to those institutions who ultimately offer exposure to the wider world - ie, the media, record companies etc.  The laziness with which the BBC (for example) approaches the Folk scene worsens with each year and they have contentedly settled in to a banal and predictable routine of merely looking at the output of the likes of RSAMD and Newcastle to find the "talent of tomorrow".  Whilst it is true to say that they will find some extremely talented musicians via this route, they will completely miss those who have not pursued a career through such channels - potentially discarding (in absentia) the future Dick Gaughans, Sandy Dennys or Andy Irvines of this world.

Essentially, I think that Folk Music Degrees are wonderful things which perform an extremely valuable service for those who have a passion for traditional music - I am however, very uneasy about the effortless way in which the mainstream media has quietly accepted these institutions as their unofficial Folk Music Department.

I started though, by referencing the academic study of folk music - and I feel as though I should place that into the context of this argument.  There are those who would say that such studies "take the fun out of it" - twaddle.  I can think of two people off the top of my head for whom the academic study of folk song has no bearing on any qualification.  If the fun is drained from it by studying it, then it probably never really interested you in the first place.  Studies through the likes of the School of Scottish Studies are consistently very appealing to folk musicians/singers, and in many ways it feels like a much more honest approach.  Taking into account the historical context of the material whilst developing a real sense of scale regarding the genesis of traditional music must hold more merit than simply teaching performance styles, songs and tunes by rote, in the hope that students will eventually develop their own sound.

 

Ultimately though, the study of our traditional music, it's performance and historical context should not be the subject of widespread derision.  Folk Music is one of the cornerstones of our cultural identity, and if the mainstream media would only realise that the RSAMDesque degrees are merely one part (though an extremely important part) of Folk Music - we would have a stronger, considerably more creative scene.  It's not too late, but it will become harder and harder to bridge the gap if the current situation is allowed to continue unabated.
 

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