Arts and Cultural Education in Iceland : Professor Anne Bamford

schools have waiting lists of children wishing to start music lessons. This is especially the case in
the area of singing and guitar, where demand seems to be in excess of supply of teachers.
Most music schools have developed their own pattern of offerings. These can include a
range of in-school and out-of-school lessons. To accurately map these offerings is quite difficult
as they not only vary from one school to the next, but also at different ages within the school as
the following example highlights:
In pre-primary school the children get one 30 minute lesson per week. The six year olds get 2 x 30 minute
small group lessons per week. The seven year olds choose an instrument (e.g. accordion, piano, violin and
guitar). The 8 year olds get one hour individual lesson. Nine year olds get 2 x 60 minute lessons. These
lessons are all free. We provide African drumming lessons for nine year olds and grade seven also get
African music. These are whole class lessons given during class time and are free. But pupils can also do
additional music lessons that are individual and paid for by the parents. Grades eight to ten can choose a
music elective and most pupils do choose it because music is very popular. Children can apply to the music
school for private lessons and these can be done during school time too, but for these they have to pay. It
costs around 26,000 ISK for 18 weeks. This covers a one hour private lesson per week. In total we have 356
pupils in the music school across all programmes. Of these, more than 50% of the students do additional
private lessons.
While historically, music schools have had little direct contact with schools, this pattern is
changing. Many music schools are now working in very close collaboration with compulsory and
secondary schools and pupils are able to attend the music school during school time. Staff from
the music school may also teach group music classes and pre-instrumental lessons within the
general school. This is particularly the case for younger pupils. Specialist music teachers in the
music schools are generally reluctant to teach in the compulsory school. They feel that “it is hard
work and low salaries”. Many schools “lack the facilities” and do not “support the music
teacher”. The following quote from a teacher educator for music education in schools suggests
that there are different training requirements for class or group teachers in compulsory schools
compared to those teaching individual lessons in music school contexts:
I think the music teacher education within the education department is better for music teachers in the
compulsory school. We teach them how to teach music in bigger groups and how to motivate students. We also
talk about how to reach students from a range of abilities. I think music has changed a lot. But music education is
still expensive – it is quite luxurious really. Students coming from the conservatoire are not prepared to teach in
the classroom. There is a big difference between teaching a private musical instrument lesson compared to
communicating music to a whole class. Teachers need skills in evaluation and how to cope with a wider range of
more varied types of students. Music needs to become more integrated into the school. The arts subjects still
remain isolated. They have been the same for decades. The problem is, when we talk about ‘integrated arts’ then
it is an excuse for everything to be minimised and then you can’t teach the skills. It is really frustrating. The
common core gets reduced. Teaching hours get reduced and then you can’t attract good teachers.
A small number of music schools are physically based within the compulsory school buildings
or site and pupils are able to move freely to their instrumental lessons in the music school. While
this pattern has generally been well-received by all, some music school teachers have expressed
concern that teaching within the general school is often poorly regarded with low levels of
specialist equipment, isolation from peers and lack of genuine integration with the general
school context and staff. There is a desire for collaborations between regular schools and after
schools with the intention that closer links would be mutually beneficial but there is also concern
that the pattern of funding for such collaborations is unclear. Where music schools are working
within the compulsory school, they appear to find this way of working very rewarding with
mutual benefits for all, as the following vignette (1.12.7) from a music school embedded within a
compulsory school suggests:
Vignette 1.12.7 A very positive effect on the culture of the compulsory school
We are very lucky. This school was built around the principle that the library and the music school would be actually at
the centre of the school.
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