For anyone who might be interested, this is the type of approach which has informed my rejection of the populist view of commercial mass culture as emancipatory at #ctfmsg2018 icce.rug.nl/~soundscapes/V…

Another issue which arose in discussion in the pub after #ctfmsg2018 - linguistic diversity should also be a consideration. There were only a small few people who spoke English with a non-Anglophone accent.

[My thought] We cannot sort out these issues in HE alone - the problems run much deeper in primary/secondary education. Though educationalists who influence policy may have some questions to answer here. #ctfmsg2018

Some bleak conclusions - many in academic music are likely to lose jobs, departments will be closed. #ctfmsg2018

One of the problems is that academics, seeking certain conditions of work, can never be disinterested parties in these debates. #ctfmsg2018

And then the lines separating Western art music and popular music/music tech could become starker. And this might not help those who want research-active jobs in these latter fields. #ctfmsg2018

.....But if this happened, there would be academic jobs lost, or changed drastically. I suspect that many jobs in vocationally-oriented institutions would be teaching-only, without research time. #ctfmsg2018

Very provocative question asked at #ctfmsg2018 : would it necessarily be a bad thing if fewer people went to university, or if more went to more vocationally-focused courses instead? New HE bills might indeed bring this situation about, re-inscribing uni/poly pre-1992 divide....

In debate in #ctfmsg2018 , many questions about reconciling ideals about education with the pressures from management and others.

Another thought in response to the roundtable at #ctfmsg2018 - Marxism and neo-liberalism appear to be the only options considered on the political spectrum. They are numerous other positions, and nuances of each of these as well.

In #ctfmsg2018 , Emily Doolittle talking about tension between ‘traditional’ and ‘new’ musicology. But [this is me speaking] these are not the only two options, and certainly what is sometimes called ‘traditional’ musicology has also been a heterogenous field.

Rachel Day introducing the roundtable at #ctfmsg2018 : with Rachel McCarthy, Emily Doolittle, Oliver Chandler and @TheDrRodriguez . Noting that of 26 proposals to conference, only 2 were by women.

PHS: Liberals have claimed that class is a dead letter. But it returns continuously. The ‘masses’ will be those who suffer most from Brexit and Trump. Teaching highbrow to unfree might make them a little less unfree. #ctfmsg2018

PHS conclusion: we cannot escape from economic circumstances. Not simply about introducing working classes to Wozzeck and The Waste Land. But attacks on canon a way of keeping working-class and unfree people away from these. #ctfmsg2018

PHS: Curlew River Britten’s first signal towards a utopian vision, and protagonist is a woman. #ctfmsg2018

PHS citing Adorno on collision between act of composing and pre-existing schema. #ctfmsg2018

PHS now playing Tutti after fig. 49 in Curlew River. Staggered independent parts singing similar lines in different keys/modes. Asking why their different lines shouldn’t be organised through harmony and counterpoint. #ctfmsg2018

PHS: now looking at ‘Curlew River, the middlebrow, and revolution’. Going to look at madwoman’s response to loss of her son. #ctfmsg2018

PHS: most critical theory a series of footnotes to Marx. Really feared for its politics. #ctfmsg2018

PHS: commitment to common sense and folk wisdom just as ideological as other things branded ‘ideological’. Critical theory dismissed for being too clever and too foreign, elite and highbrow. #ctfmsg2018