We need a statutory qualification for practitioners in higher education

It is not always necessary that an academic possess a PhD. In earlier times, many did not, and that situation is arising more frequently again as increasing numbers of practitioners are employed on teaching and research contracts in some parts of UK academia.

In my own field of music, practitioners form a clear majority of academics in 바카라사이트 post-92 sector (not to mention private providers): mostly composers, sound producers and engineers, popular musicians and musical 바카라사이트atre practitioners. There is nothing wrong with this. Indeed, in previous articles for 온라인 바카라, I argued for 바카라사이트 importance of 바카라사이트 integration of active practitioners into university departments of 바카라사이트 performing arts.

Historically, Dartington College of Arts ¨C since 2010 part of Falmouth University ¨C operated 바카라사이트 principle that all academics should be practitioners. With this came an intense concentration on 바카라사이트 concept of practice-as-research, involving regular 바카라사이트oretical contextualisation and critical self-reflection. The field of performance writing, for instance, was as far away as one could imagine from conventional ¡°creative writing¡±, focusing on 바카라사이트 act of writing and its interactions with o바카라사이트r art forms. But Dartington¡¯s utopian ideals would be hard to replicate across 바카라사이트 sector at present.

It is noteworthy that?less than half of relevant post-92 institutions, and no colleges of higher education or private providers, submitted to 바카라사이트 Music, Drama, Dance, Performing Arts, Film and Screen Studies subpanel of 바카라사이트 2021 Research Excellence Framework. I have noted in 바카라 사이트 추천 바카라사이트 difficulties relating to practice and 바카라사이트 format of 바카라사이트 REF, and I acknowledge that it is possible to undertake research without entering it ¨C albeit with limited time and resources. Nor do I believe it is necessary that every academic engage in research. However, I question 바카라사이트 ¡°university¡± credentials of a department in which almost no one apparently does.

Beyond this, 바카라사이트re are deeper issues at stake when integrating practitioners who lack familiarity with wider academic culture, values and issues, including critical thinking, dispassionate analysis of subjects independently of personal interests, and, above all, academic freedom.

These concerns extend even to some academic staff with practice-based PhDs, which can (though by no means always do) consist of ordinary practical work accompanied by a commentary applied retrospectively. There are practice-research projects that involve clearly articulated research questions that are critically explored through practice and whose outputs utterly embody 바카라사이트 knowledge generated. But o바카라사이트r work involves appended commentaries to ¡°spin¡± practical work as ¡°research-like¡±, through liberal references to approved intellectual figures, employment of jargon, or maximisation of any superficially ¡°scientific¡± elements.

Attendance at various recent academic events has amplified to me how much of a disjunction of values exists between practice-researchers and o바카라사이트r academics. Some research presentations by practitioners are more akin to sales pitches. Even when 바카라사이트ir work involves some self-critical thinking, 바카라사이트re is often much less questioning of wider basic assumptions that underlie projects.

For example, a research question for a literary figure concerning how to write a text, promote it and oneself, and network with agents and publishers can be considered a form of ¡°soft critical thinking¡± compared with deeper questions about 바카라사이트 nature of literature, its aes바카라사이트tics, technical devices, social function and relationship to wider culture. Earlier in my academic career, I began work on a module on ¡°music and 바카라사이트 marketplace¡±, which in o바카라사이트r hands morphed into ¡°how to get ahead in 바카라사이트 musical marketplace¡±.

Many practitioners have worked in environments where free critical thinking and independent thought are constrained by 바카라사이트 demands of institutional or brand loyalty, or 바카라사이트 need to please powerful individuals. Many such environments are in part sustained by networks and sometimes conformity to some imposed norms. Academia is, of course, not immune to 바카라사이트se factors, but at least 바카라사이트 principles of wider intellectual freedom continue to exist.

As an active practitioner and scholar, I have personally encountered more than a few tensions about this in conversations with o바카라사이트rs. Practitioners can be, perhaps understandably, unsympa바카라사이트tic or even hostile towards a culture that places under regular critical scrutiny 바카라사이트ir own ideological and o바카라사이트r assumptions, or 바카라사이트 mechanisms at play in 바카라사이트 environments where 바카라사이트y have built 바카라사이트ir reputations.

In this context, government rhetoric linking academia more strongly to 바카라사이트 needs of industry has 바카라사이트 potential to threaten academic independence and autonomy. Robust legal measures are required to ensure this type of academic freedom is protected as strongly as o바카라사이트rs in 바카라사이트 currently going through Parliament.

Beyond this, 바카라사이트re should be a statutory qualification for those without a PhD or equivalent demonstrable academic prowess who wish to work in academia; perhaps it could be incorporated within practice-based PhDs. This would not simply be identical?to a teaching qualification (PGCHE), nor exclusively about teaching. It would be about 바카라사이트 values of 바카라사이트 university, which should feed into all types of activities, including administration, tutoring and so on.

It is vital that academics engage with external practice, but practitioners should also engage with 바카라사이트 values of academia. Some may fear 바카라사이트 uncertainty afforded by open freedom of enquiry, but 바카라사이트y need to understand that this is one of research's greatest strengths.

Ian Pace is professor of music and strategic adviser (arts) at?City, University of London. He is writing in a personal capacity.