For this assignment, I have chosen to focus on teaching as a musical profession, specifically concentrating on teaching folk music, as this is the career path I hope to pursue in the future.
Folk music has always been important to me because it connects people to history, culture, and each other. It’s a way to share traditions and bring communities together. I’ve always been drawn to how open folk music is. It brings musicians together regardless of their experience and background.
I also enjoy how the harp fits into folk music, adding a unique sound that gives emotion to music.
An ambition of mine is to spend a year in Japan, after I finish my course at Leeds, and teach music in the English language. So it would be good to understand what makes a good music teacher and how to be successful. I spent a month in Japan in my gap year and a moment that particularly inspired me was playing with my cousin’s wife (who is Japanese), even though we spoke languages we played music together for hours from both of our traditions.
For primary research I conducted an interview with someone who is in the music teaching profession. They asked to remain anonymous, therefore I shall refer to them as “my interviewee” and use their responses to answer the questions outlined in this portfolio.
What are the (academic and professional) qualifications and/or experience required to enter the profession?
Academic Qualifications:
- For private lessons or workshops, formal degrees are necessarily required but certifications or demonstrated expertise in folk music are useful to have.
- Primary and secondary schools often require a Bachelor’s degree in Music Education (qualifications such as folk degrees at Leeds conservatoire or Newcastle university), along with proven teaching experience or a Postgraduate Certificate in Education (PGCE)(Routes into teaching | Prospects.ac.uk, no date)
- Professional Experience:
- A strong background in performing folk music (e.g. festivals, bands, recordings).
- Teaching experience through private lessons, workshops, or classes demonstrates your ability to communicate and connect with students.
- Cultural and historical knowledge of the music is also a benefit.
Key Skills:
- Ability to play an instrument to a high level (e.g. harp) and techniques.
- Adaptability to teach students of different ages and skill levels.
Summary:
Teaching folk music requires a mix of academic qualifications, practical experience, and specialised skills.
What knowledge, skills and personal qualities/attributes are needed for success within the profession?
Knowledge
- Music Theory -> scales, chords, rhythm, and harmony.
- A good folk Repertoire-> a broad mix of tunes from different regions and a knowledge of their history and social context
- Teaching Methods-> be engaging, interact with all students and be inspiring.
Skills
- Strong technical skills on relevant instruments.
- Good Communication -> be clear and engaging.
- Good at lesson Planning tailored to suit students.
- Be creative -> interesting approaches keep lessons engaging.
- Become good at evaluating and provide constructive feedback.
Personal Qualities
- Be Passionate -> enthusiasm for music will inspire students.
- Have Patience -> be aware of the pace of students learning.
- Understand the needs of students and how to help.
- Be flexible -> ability to adapt to different student learning styles.
Along with the interview and a general google search, I used the National Careers Service to help compile the above list. (Music teacher | Explore careers | National Careers Service, no date)
“making everyone feel welcome, ensuring everyone’s voice is heard, being really open to ideas, and having the skill to coax ideas out of students and make them feel like the answers come from themselves, even if I’ve prompted them in some way. It’s about validating people’s thoughts or opinions because music can be so subjective—there’s no right or wrong answer to anything, unlike a subject like maths.”
-A quote from my interviewee
What are the duties and responsibilities of the profession – what does a typical day’s work involve?
Safeguarding and Student Welfare:
- Safeguarding is important. A thorough understanding of protocols for reporting safeguarding concerns. Ensuring the physical and mental well-being of students is the number one responsibility and teachers must address these needs effectively. As my interviewee said, “Safeguarding is probably the most important one, so is understanding the protocols for reporting safeguarding concerns.”
Teaching and Delivery:
- Be competent at demonstrating tunes or techniques to students.
- Providing constructive feedback and engaging in discussions.
- Be able to give clear verbal instructions as folk music is often taught by ear.
Workshops:
- Factoring in time for participants to work in smaller groups, allowing tailored guidance and individual attention. As my interviewee says, “Where I run workshops, I like to factor in time where people can break off into groups. This way I can move around the room and tailor the workshop to individual needs. A form of micromanaging.”
- Managing the diverse learning speeds of participants, ensuring they have time to process and practice what they are being taught. “People learn at different rates and speeds, and the skill is to give people time to process what they are learning and being taught. This space afforded to them can be reassuring,” adds my interviewee.
A typical days work could involve:
- Private Lessons:
- Emails and organising schedules, such as coordinating Zoom sessions for private music lessons.
- Delivering personalised instruction to the specific needs of individual students.
- Teaching in Formal Institutions:
- Work within the structured environment where the course delivery is predefined and course materials has to be delivered.
- Over time the planning workload may decrease as experience and familiarity with the curriculum increase.
- Attending meetings to discuss goals, evaluate progress, and plan for the future.
Key Skills for Success:
To have the ability to manage the physical and mental well being of learners effectively. Recognising and catering to the different rates at which individuals learn, and provide them with the space and time they need. To be flexible in adapting plans and teaching methods to ensure students’ needs are met.
What are the main financial and legal issues that impact on this profession?
- “If you’re teaching someone else’s technique that they’ve been researching then it’s the same with like plagiarising someone’s arrangement, and you’ve got to give them the proper credit and don’t pass off someone else’s work as your own” – My interviewee
The main financial issues of a folk music teacher is having a regular income. In a place like Leeds Conservatoire it is different as you get paid weekly but to be a self employed folk teacher it is less certain. You have to have many different ways to earn money and a large group of students and workshops to
keep income regular. There is support and advice for an independent music teacher given by the MU such as:
- Musicians union website offers this advice in detail:
- Teaching rates -> £42.50 p/h (1 to 1), £275 p/d (workshops)
- Employment Status Guide -> helps instrumental and vocal teachers in understanding their employment status and associated rights.
- Finding Teaching Work -> advice on securing positions as a private teacher or through agencies.
- VAT Guidance -> information on Value Added Tax for musicians involved in teaching and educational workshops.
Using the Musicians Union as an example. It is important to consider that the advice they offer may sometimes be in their self interest, as they want musicians to join them and pay a fee. It may not necessarily be a bad thing but it is something to be considered. For example, as the anonymous interviewee said “the teaching rates of the MU may be too high and as a teacher starting out, you probably shouldn’t charge that much”
What would the potential marketing and promotional aspects of this profession look like?
Word of Mouth and Networking:
- Word of Mouth -> in the relatively small community of folk music and tuition, word of mouth is one of the most effective forms of promotion, recommendations from students, colleagues, and collaborators are important in building a good reputation.
- Teaching and Courses -> running and teaching on courses/residentials for groups, such as those held at places like Halsway Manor, can result in important networking opportunities. These can result in Invitations to collaborate with other professionals and opportunities to provide 1 on 1 lessons to people who attended the course.
Build an Online Teaching Profile:
Creating a strong online presence is a good way to attract new students and create a reputation as a folk music teacher, it may include:
- Personal Statement -> an introduction that shows your passion for teaching and your commitment to creating musical growth.
- Achievements and Experience -> a detailed “musical CV” that includes:
- Institutions you’ve worked with.
- Performers and educators you’ve collaborated with.
- Groups and ensembles you’ve performed with.
- Solo material you’ve released or projects you’ve led.
- Promotional Photos -> high quality, professional photographs to visually represent your image.
This profile would be similar to a performing musician’s portfolio but should emphasise teaching expertise and accomplishments.
Social Media Considerations:
Social media can be a good promotional tool, however it is important to consider safeguarding and privacy concerns, such as:
- Student Privacy -> avoid using images, videos, or identifiable information about students without explicit consent. Students, particularly minors, may not wish to be featured. Guidance for this can be found on the NSPCC website (Photographing and filming children | Images guidance, no date)
- Safeguarding Practices -> teachers should refrain from following students on social media to maintain appropriate boundaries.
Alternative Social Media Strategies:
- Workshop Promotion -> use workshops and courses for your social media presence;
- Include a clause in the course agreement that allows promotional use of materials (photos, videos, testimonials) created during the course.
- Focus on showcasing the teaching environment, your expertise, and anonymised highlights from workshops.
By creating a good online profile and using social media carefully, you can effectively promote your skills and grow your reputation as a folk music teacher.
What are the intellectual and personal challenges presented by the profession and how might these be dealt with?
Encountering Difficult Students in Educational Institutions
While my interviewee said it is unusual to encounter challenging students, it does happen. They outlined the following situations and how to cope with them:
Challenges:
- Students who do not enjoy the material or teaching approach.
- Potential resistance or lack of enthusiasm from learners.
Strategies to Address:
- Open Communication -> strive to connect with the student to understand their perspective, finding out why they are disinterested can help with creating a solution.
- Adaptability -> experiment with different teaching methods to find the student’s needs and preferences for teaching methods.
- Acceptance -> recognise that not every student will resonate with your teaching style. Avoid taking it personally and focus on delivering quality tuition to the broader group.
Managing Individuality in Workshop Settings
As a workshop leader, recognising and accommodating all participants is very important, especially when teaching instruments.
Challenges:
- Interpreting facial expressions and body language, which can sometimes be misleading. For example, a participant’s expression may appear disengaged but might simply reflect deep concentration.
- Addressing participant fatigue, which can diminish focus and learning effectiveness.
Strategies to Address:
- Awareness and Empathy -> be mindful of participants’ unique expressions and behaviors, such as “playing faces” that may seem neutral or serious but indicate focus.
- Breaks and Adjustments -> if fatigue becomes evident, it’s acceptable to pause the session or end early to allow participants to recharge. This ensures they return refreshed and ready for the next session.
- Flexibility -> tailor sessions to the energy levels and engagement of the group, fostering a positive and productive learning environment.
Teaching folk music requires not only technical expertise but also sensitivity to students’ diverse needs and experiences. By maintaining open communication, staying adaptable, and offering a supportive environment, the challenges can be navigated successfully.
What career-progression/development opportunities are available within the profession?
- Professional development is a vital part of equipping current and future educators with the skills and confidence to deliver high quality folk music, dance, drama and other arts in formal education and informal learning contexts(Professional Development, 2019).
- Career progression as a private tutor or workshop leader can significantly depend on your reputation and fame, as this often determines how much you can charge. For example, a weekend course with The Unthanks at Healy Hall costs £860(Healey Hall – Tuesday 28th-Thursday 30th January 2025 • The Unthanks, no date), while a five-day course with Lady Maisery at Halsway Manor is £460(Lady Maisery Creative Song Week – Halsway Manor, no date). Both groups are equally talented and professional musicians, and the courses are held in similarly prestigious manor houses. However, The Unthanks can charge more because they are far better known.
- In the folk music community, being a recognised performer within the genre can greatly enhance your teaching career. Since folk is a relatively small and tight-knit community, achieving significant success often requires that most people in the community know who you are. However, even the most prominent folk musicians tend to have a smaller profile compared to well-known artists in genres like pop.
Bibliography
Musicians’ Union, n.d. Qualifications for teaching music. [online] Available at: https://musiciansunion.org.uk/working-performing/education-and-teaching/career-development-in-teaching/qualifications [Accessed 03 January 2025].
Leeds Conservatoire, n.d. BA (Hons) Music (Folk, Roots & Blues). [online] Available at: https://www.leedsconservatoire.ac.uk/courses/undergraduate-courses/ba-hons-music-folk-roots-blues/ [Accessed 10 December 2025].
Newcastle University, n.d. BA (Hons) Folk and Traditional Music. [online] Available at: https://www.ncl.ac.uk/undergraduate/degrees/w344/ [Accessed 11 December 2025].
