[MereKatMoves]

That's interesting from a personal perspective. I was taught music in the UK where that is specifically not used (or at least wasn't when I learnt).

I took a year out of my Music degree to attend the Sorbonne. French music education places a heavy emphasis on solfege. When I started going to their undergraduate classes it was immediately apparent that the level was several years behind that of the UK (in classes for composition and orchestration most noticeably). To attend classes dealing with similar material to what I was used to as a UK undergraduate, I was attending Post-grad courses. Having just completed my first year on a UK BMus course it was quite an eye opener to see 19yr olds learning material I had been taught at 16.

[robert_tweed]

I wonder if the UK system is better at sieving natural talent whereas the French system is better at teaching? Personally I hated music (in the UK) because we never seemed to get taught anything, we we largely expected to just know things or magically learn through awkward repetition.

Knowing what I know now, I think there are a lot of ways we could have practised music early on that would have helped those of us not born with perfect absolute pitch. Most people have perfect relative pitch (afaik I fall into this group). Perfect absolute pitch and tone-deafness are both quite rare.

It sounds like the French system is optimised for the majority, forcing everyone to practise interval differentiation, including those who don't need it (and the small minority who will never be able to do it).

[MereKatMoves]

Without trying to cite what currently happens in the UK, I think it is fair to say that kids are handed instruments like the recorder at a fairly early age, and those that do well are encouraged to progress. That's a sieving process for sure.

When they get to secondary school, music as a subject is most often just a minor inconvenience in the curriculum to most pupils, and those who have ability are pushed into learning flute/violin etc (at additional cost to themselves and outside of the timetable). In the course of going through the grades of music (performance exams), kids are taught aural skills and theory (grade 5 theory is required to take higher performance grades). This results in a select group of instrumentalists that have learned intervals, harmony and scales practically. Whether any of those skills are useful to a non musician is debatable, so one could say that it is the most efficient way of getting a rounded skill set into the brain of a musical 15-16 yr old.

The French system would, I agree, produce a broader spectrum of musically able people, but in practice it results in a lower level of specific and important knowledge. The UK system produces more complete performers whereas I would say the French system has large gaps which then get filled in at degree level.

Perhaps things are greatly different these days. I know for example that studio production is an option for A level music, and there is absolutely no musical theory knowledge required to produce a studio track. I wonder if A level students are even taught basic 4 part harmony any more.

Music, to an individual, has always been a matter of ability, discipline and perseverance to practice. In education, the solution to nourishing those qualities is never going to be perfect. I do recall the French students I was with were quite annoyed that my education was years ahead of theirs, but with perspective, I'm sure it didn't really matter then, and it surely doesn't now.

[robert_tweed]

It's also interesting to compare and contrast the apparent results. The UK has a fairly long history of producing a far above average number of world-class musicians. France on the other hand seems to have a broader musical culture, or at least, so it seems in Paris during the Fête de la Musique.

[MereKatMoves]

I'm hesitant to afford any particular value to educational practices in this case. Let's take the specific musical skill of composition, which I believe is at the root of musical traditions in any country...

The French have a much richer and deeper musical tradition. For example the 'blood lines' of Renaissance Troubadours and Trouveres, or the French Operatic Style, to name a couple. English 'classical' music tradition had a golden age which had Tallis, Byrd and Dowland but kinda stopped with Purcell and didn't really flourish again until Elgar. Elgar himself was writing in an identifiably English way, but his language was very much based on the Germanic tradition (which been imprinted on the English style by the likes of Handel,Haydn,Schumann and Mendelssohn).

All that time, let's say broadly 1700-1900 the French were much closer to their own 'cutting edge' of musical development, although the Germanic style was still very much dominant throughout Europe. What the French had, was a progressive heritage that had somehow been preserved - Ravel and Debussy (the impressionist style) could only have come from France, which I think would relate to your reference to a broader musical culture.

Of course by the mid 20th Century, in Classical music at least, the French started leaping ahead of the UK again, with Stravinsky, Les Six, Satie and numerous others building a significant new tradition that still exists today through the legacies of Messiaen and Boulez. England had Britten, Vaughn Williams and few others of note.

I think the reason you see a broader base in French 'national' music (for example at la fete) is as much down to the fact that England produced and still does produce exemplary pop/rock with a worldwide market. The French pop culture is insular and that's a good thing IMHO because it maintains integrity and does not to attempt to compete in a global market that is pretty much a cultural vacuum these days.

As for the standard of professional performers, I think there isn't too much difference in numbers produced or quality. Being a pro musician is very hard and the attrition rates are not down to which country you make your career in.