Music Programmes at Folk High Schools: Open Yet Exclusive

Bild

We already know that social inequality plays a big part in the aesthetic programmes at folk high schools. In relation to this, Julia Eckerstein, a doctoral student in music education, has investigated the norms and ideals that characterise teaching and assessment, and how this affects who is given the opportunity to study music at folk high schools.

One example is entrance exams. In addition to auditions, applicants are also assessed in ways that are unclear to them. Folk high schools focus especially on personal qualities, and this affects admissions decisions, regardless of whether the programme is genre-oriented, music industry-oriented or has a specific folk education profile.

“Applicants are often assessed by how they do in an interview or by how they behave when they socialise with other students on the music programme. This weighs heavily in the assessment, and whether an applicant fits in socially is very important for the possibility of being admitted”, says Julia Eckerstein.

The impact of these unspoken norms and ways of judging is particularly evident in genres that are also taught at university, such as classical music, jazz and folk. The norms of these genres determine the ideal image of both musical expression and the way musicians behave on stage and in an ensemble. This creates a culture where the same norms and ideals keep being repeated over time.

“This is one possible way of understanding the social imbalance in music programmes at folk high schools. We already know that most people who apply for and are admitted to music programmes are young adults who are Swedish-born and have highly educated parents”, says Julia Eckerstein.

Potential for Change in Music Programmes

Despite these challenges, there are opportunities for change. In her analysis, Julia Eckerstein says that folk high schools often think of themselves as open and inclusive. However, this perception - of already being 'good' - can make it more difficult to accept criticism and make changes. When schools see themselves as inclusive, it becomes hard to challenge the usual ways of doing things and show that they need to improve.

At the same time, Julia Eckerstein emphasises that the teachers she has spoken to really care about teaching and helping their students to develop musically.

“My thesis can serve as a knowledge base for folk high schools and music programmes to develop. As the schools have a lot of freedom and make their own courses, there are already good opportunities for change. The programmes can become more accessible to more people with different experiences and life situations”, says Julia Eckerstein.