Qualifications, examinations and assessment: views and perspectives of students in the 14–19 phase on policy and practice

This paper brings to the forefront students’ views on one of the most significant aspects of education in the 14-19 phase, specifically the qualifications, examinations and assessment they experience. In this respect the paper foregrounds students as ‘policy actors’, they are significant players in the mediation of national qualification systems rather than just subjects in their implementation. Data from a national dataset of focus groups with 243 students from the 14-19 phase is presented. Key themes are highlighted relating to young people’s experiences of qualifications, examinations and assessment at this stage of education in a context of continuous initiatives and change as well as the impact of students being on the receiving end of qualification reform in situ which can be confusing, unsettling and ultimately detrimental to future success.

Becoming a national composer: critical reception to c.1925

The centrality of Vaughan Williams to British music in the first half of the twentieth century is now a commonplace in musicology, but this has not always been so. Prior to 1914 Vaughan Williams was regarded by a number of British critics as a figure of considerable potential, but of less interest than composers like Granville Bantock, Cyril Scott, and Joseph Holbrooke: a reflection, in part, of the many different strands that existed in musical modernism in pre-war Britain, as well as scepticism that Vaughan Williams's engagement with English folksong offered anything original. In this chapter, I consider this inauspicious early period of Vaughan Williams reception, when even works considered seminal today like the Fantasia on a Theme by Thomas Tallis were received by some critics with bewilderment, and the changes that took place in the years after World War One after which Vaughan Williams became the leader of British musical modernism. I argue that Vaughan Williams's emergence reflects a change in attitude by British critics to modernism in general, to their approach to musical criticism, and to Vaughan Williams's musical language; in particular I note the distinction increasingly drawn by critics between folksong arrangements and a musical language derived from folksong.

Justice as Fairness in Planning Policy-Making

This paper considers a moral basis for planning theory and endeavours to establish principles of justice which might be relevant to the regulation of development. Whilst the investigation recognises that there is a need for a deeper understanding of the dynamics of governance, it suggests that many of the inefficiencies, inequities and public disquiet concerns relating to planning centre on a drift from a perception that the system is both fair and just, and that practice needs to be anchored on founding values concerned with redistribution and equality. In this context, John Rawls’ theory of justice is employed as a vehicle to capture moral ideas of equality and liberty within a constitutional democracy and as a basis for scrutinising emerging justice based issues which impact upon planning. Using National Policy Statements as a case study, the paper concludes that, whilst there are serious concerns over current policymaking practices, the principles of justice offer a foundation for practical critique which can help overcome problems of mistrust.

Re-Configuring Governance: Politics, Process and Policy - Editorial

(with G Anthony and E Meehan)