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Fresh Ideas for Music – Notes from ROH Bridge

Last month MWC’s Artistic Director Maria Thomas shared her thoughts from the meeting of the All-Party Parliamentary Group for Music Education. This month she takes inspiration from the ROH Bridge’s annual conference, The Thriving Child

Maria Thomas
Maria Thomas

On the 28thJune, the ROH Bridge held their annual conference, The Thriving Child. This year, back at the Royal Opera House following the renovation of the Linbury Theatre, the conference was streamed across the country with people joining from the Lowry in Salford, West Suffolk College in Bury St Edmunds, the Midlands Art Centre in Birmingham, the Curve Theatre in Leicester and Ocean Studios in Portsmouth. 

Many speakers linked the topic of The Thriving Child to the UN Convention on the Rights of the Child which was agreed 30 years ago. Key to the discussion was Article 31 which states:

1. States Parties recognize the right of the child to rest and leisure, to engage in play and recreational activities appropriate to the age of the child and to participate freely in cultural life and the arts.

2. States Parties shall respect and promote the right of the child to participate fully in cultural and artistic life and shall encourage the provision of appropriate and equal opportunities for cultural, artistic, recreational and leisure activity.”

The day began with delegates being welcomed by Alex Beard, CEO of the Royal Opera House before host for the day, Kirsty Wark took charge of proceedings. The day was split into four topics for discussion, the first being, “What affects the ability of children and young people to live, play and learn in 2019 in the UK?”.

Image: jrbelice

The first speaker, Dr Kitty Stewart, Associate Director of the Centre for Analysis of Social Exclusion at the London School of Economics and Political Science, gave a very clear view on what impacts young people’s ability to live, play and learn, with family income and investment in support services being key. Dr Stewart shared figures from the National Audit Office demonstrating the cuts to local authority services in England from 2010-11 to 2016-17 showing -50% cut to the Sure Start programme, -66% cut to services for young people, -41% to Arts development and support, -33% to library services and -49% to youth justice. She linked these figures to models that demonstrate the impact of these factors on children and families.

The second talk was entitled Beyond the Secret Garden and was given by Darren Chetty, a teacher, writer and researcher. Chetty raised another central issue for young people accessing the arts – the lack of diversity in children’s literature. He highlighted that 1% of children’s books have a Black, Asian and Minority Ethnic (BAME) main character and only 4% have any BAME characters at all. He told delegates of an experience he had as a teacher where a young BAME person in his primary class wrote about his family in a writing assignment and was told by a classmate, “Stories are about white people.” He raised the point that in education, there is often discussion of “pupil voice,” but he feels it is important to also highlight “teacher ear” to ensure educators are listening to young people. He recommended http://booksforkeeps.co.uk/ as a source for books for young people.

The final speaker in the first session was Sonia Livingstone, Professor of Social Psychology at London School of Economics and Political Science. Her discussion focussed on young people thriving online and suggested that offline, parents and teachers offer children and young people “scaffolded freedom,” giving them a chance to have freedom within a safe setting. However, she suggested that many parents and teachers feel they do not have the skills to do this online which may lead to them being restrictive in terms of access online for young people, or that young people are continually warned of the dangers online and so self-censor.

The theme for Session 2 was The lived experience of children and young people, and as is traditional at ROH Bridge conferences, we heard from young people. The first was a fabulous performance by the Palace Young Company from Watford Palace Theatre entitled, “We’re Waiting ….” which highlighted areas of concern for young people such as climate change, from advertising, social media, exams and Brexit.

The second part showcased the good practice of Gifted Young Generation based at The Grand Healthy Living Centre in Gravesend. We heard from four young people aged 16 – 18 who run a podcast called Thrive. The teenagers discussed how support from The Grand had given them a voice and helped them to grow in confidence.

The last session before lunch was a general discussion, hosted by Kirsty Wark, about how educators can support young people to thrive.

After lunch, Session 3 focussed on the question, “What role do the arts, creativity and cultural learning play in enabling children and young people to thrive?” The first talk was by Baroness Kidron, Commissioner of the Durham Commission on Creativity and Education, Filmmaker, member of the House of Lords and children’s rights campaigner. She shared some of the findings from the recent Durham Commission on Creativity and Education which will be published in September.

The second section was a discussion between Adam Annand, Associate Director and Speech Bubble lead at London Bubble and Dominic Wyse, Professor of Early Childhood and Primary Education at University College London. Adam discussed the work London Bubble do through their Speech Bubbles work, a national primary school drama intervention supporting children’s communication skills, confidence and wellbeing. For more on this watch the video below:

Adam raised the link between how feel and how we communicate. Professor Wyse suggested that it would be good to take the National Curriculum for Music and replace the word “Music” with “English” to move to a more playful approach to teaching language. The speakers discussed the importance of evaluating work to prove its worth and access funding, with Adam leaving delegates with the question: “How do we evaluate the twinkle in the eye of the child?”

The final speaker in Session 3 was Professor Pat Thomson, Professor of Education at University of Nottingham & Convenor of the Centre for Research in Arts, Creativity and Literacy. Her talk was entitled Tracking Arts Learning and Engagement: Arts education for cultural citizenship, and she shared her research in to how teachers use their experience of working with the Royal Shakespeare Company and Tate in developing classroom pedagogies.

The research worked with 30 schools and 1,442 students and highlighted that their findings found the importance of school support in introducing young people to the Arts. The project also showed that students who had worked with these organisations through schools were more likely to become audiences and more likely to become participants in the Arts than the national average. Professor Thomson also highlighted that all children and young people are active cultural citizens, and she likened this to children and young people coming to schools with individual cultural back-packs which hold all their previous cultural experiences. She suggested that educators need to help young people unpack these bags and share these experiences. She also highlighted the importance of “Arts Broker Teachers” who embody what it means to be culturally involved, who talk to their students about their cultural life outside school. She also stressed that her research showed a clear mutual respect between cultural organisations and teachers which enabled them to work together.

In the audience discussion, Janet Robertson, CEO of Action for Children’s Arts, introduced the Arts Back-pack which is currently in a feasibility stage. This is a project which, if implemented, will ensure that every primary school child in the UK has at least five cultural experiences in the school year. It has been proposed to government ministers, representatives from Arts Council England and key individuals within the sector as a way to combat the diminishing role that arts subjects play in schools across the UK. For more information see https://www.childrensarts.org.uk

Having started the day with depressing figures on the cuts to funding for young people, the formal part of day ended on a high with powerful Keynote speaker Akala, Hip hop artist, historian, writer and social entrepreneur sharing his experiences and lessons learnt through these life experiences. He particularly stressed the cost of expulsion to society. His advice to educators is:

  • Be brutally honest with young people
  • Be conscious of your own bias
  • Realise your brilliance … And impact

As is always key at these events, evaluation was needed at the end of day, but the ROH Bridge team gave delegates the chance to approach this slightly differently with young people hosting a number of areas for delegates to reflect on their experience including the “Washing line of Fresh Ideas.”

For more discussion from the conference see #ThrivingChild on Twitter


If you would like to know more about the Music Workshop Company or to book one of our bespoke creative experiences, contact Maria today.

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‘State of the Nation’ Music – the APPG Speaks Out

As part of MWC’s wider engagement in music education, Artistic Director Maria Thomas attended two key music education events this month, the meeting of the All-Party Parliamentary Group for Music Education and the 2019 ROH Bridge’s annual conference, The Thriving Child.

In this blog, Maria shares her thoughts about the All-Party Parliamentary Group (APPG) for Music Education. We’ll take a look at the findings of the ROH Bridge Conference at the end of July.


“The APPG for Music Education meeting took place on Wednesday 19th June at the Palace of Westminster. The event was Chaired by Diana Johnson, MP for Kingston upon Hull North and Chair and Registered Contact of the APPG. In attendance were a wide range of people engaged with music education, from MPs to Music Hub heads, Conservatoire heads, music organisations, and small charities that support young people.

The first speaker was Ian C. Lucas, MP for Wrexham and member of the DCMS Select Committee. Mr Lucas talked about his experiences of music education in Wrexham and his concerns following the loss of the council run music service. He demonstrated how music is being used to bring people into the town centre through festivals such as Singing Streets. With reference to the work of his wife, who is a music teacher and very engaged with the local music community, he lamented that although it benefits schools, students and the community to put on school shows, Ofsted gives no credit for this work.

Lucas went on to discuss recent reports on Live Music including research from Arts Council England and Youth Music, and Participation in Culture and Sport, published by the DCMS Select Committee. He said that while it is clear all these reports give the same message concerning the value of music education, that message is not getting through to Government. 

When the discussion was opened up to the floor, Kevin Brennan, MP for Cardiff West, said that schools should not be awarded ‘outstanding’ by Ofsted unless they have a strong music offer.  Tracy Brabin, MP for Batley and Spen stressed that music should not be just about Head Teachers and Heads of Music.

Discussion about Music Hubs flagged up the fact that funding will be ending in 2020 and at present Hubs have no information about future funding. This naturally makes planning impossible and results in a workforce who have an uncertain future.

Wera Hobhouse, MP for Bath, explained that the focus on linking sports to health benefits has enhanced the delivery of sport. She suggested that stronger links should be made when it comes to the positive effect of music on mental health. She stressed her concern that music and the Arts are becoming only available to the elite. A suggestion was made that funding for music be ringing-fenced, as funding for sport has been, with a focus on schools working with their local music hubs. MPs agreed to explore this as an option.

Deborah Annetts, Chief Executive of the ISM, admitted that there is pressure on finances, but said that music in schools is also being squeezed by time pressures with the focus on SATs and other exams.

One Music Hub raised the point that Music Hubs are tasked with working with every school in their area, but schools are not pressured to work with their local Music Hub. It was also highlighted that some schools that join an Academy chain are told they cannot use their local music hub and must instead use suppliers identified by the Academy chain.

The second panel member, Zena Creed, Director of Communications and External Relations for The Russell Group, updated the attendees on recent developments at the Russell Group Universities, including the changes to their subject choice guidance and the decision to scrap facilitating subjects. She highlighted that the previous approach by Russel Group Universities of highlighting ‘facilitating subjects’ at A-Level had led to confusion and potentially impacted negatively on the number of young people taking Arts A-Levels. Their new website has more specific guidance and is now actively promoting Music and other Arts A-Levels.

The third speaker was Dr Alison Daubney, Senior Teaching Fellow at the University of Sussex and author of the recent Music Education: State of the Nation report. She underlined the lack of KS2 and Year 9 music in some schools, and the decline in the number of young people taking GCSE and A-Level music – leading to Music becoming the fastest disappearing A-Level subject. She mentioned that some geographical areas have no A-Level music applications and that the strongest number of applications come from private schools: In essence, there is no equitable access to A-Level music across the country. 

Dr Daubney also discussed the lack of Ofsted reports exploring music, pointing out that where music is discussed, it is sometimes only mentioned in one sentence in the report! She emphasised her concerns that Music Hubs are being expected to be ‘all-things-to-all-people’, delivering early years through to A-Level.

It was mentioned that the system of bell curve marking severely impacted the number of students getting high grades due to the small number of applicants which may encourage high achieving students to select other subjects at A-Level.

Two key concerns for many in the room were the fact that Academies do not have to follow the National Curriculum and the impact of the EBacc, something the ISM have been actively campaigning against. The worry is that with no requirement to teach music in Academies and no focus on the Arts in the EBacc, many schools will choose to omit music from the classroom altogether.”

Are you a teacher or music educator? We’d love to hear your response to these points and your ideas for the future of music education. Let us know in the comments or find us on Facebook.

Talent Drains and Unequal Opportunity: The State of Music Education in the UK

On the 19th March 2019, the House of Commons Digital, Culture, Media and Sport Committee (DCMSC) published their Live Music Report. Drawn together following interviews and reviews of material from the media and other sources, the report covers four key areas:

  • The Live Music success story
  • Problems in the ticketing market
  • Challenges facing music venues
  • Threats to the talent pipeline

This research comes hot on the heels of Music Education: State of the Nation, a report by the All-Party Parliamentary Group for Music Education, the Incorporated Society of Musicians and the University of Sussex, which was published in February 2019. 

Abandoned music classroom, image Tiffany Bailey

Image: Tiffany Bailey 

The fourth area of the new DCMSC report explores some of the challenges facing the music talent pipeline and makes some recommendations. It draws on a wide range of sources of information, from interviews with the Royal Albert Hall’s Artistic and Commercial Director and input from the Musicians’ Union to an interview with Noel Gallagher taken from the Daily Record.

It covers a number of key areas that are adversely affecting the talent pipeline, including music education in school, the music curriculum, the impact of the EBacc, the work of Music Hubs, sustainable income streams, and access to employment opportunities after Britain leaves the EU.

The discussion around music education highlights that not all professional musicians have studied music in a formal setting but agrees that for some disciplines, formal music education is necessary. The report states:

Music is compulsory in the national curriculum up to the age of 14; however, we have heard concerns about a ‘policy clash’ in music education, with the consequences of the English Baccalaureate, the rights of Academies to diverge from the national curriculum and local authority funding cuts leading to a ‘postcode lottery’ in the quality of music education.

Abandoned music classroom, image by Clay Gilliland

Image:Clay Gilliland

The fact that music lessons are not a compulsory part of the curriculum in all schools is contentious and has been debated for some time. This issue was highlighted in Music Education: State of the Nation:

The entitlement to school music education was recently reaffirmed by the Schools Minister, Nick Gibb:  

‘… high-quality arts education should not be the preserve of the elite, but the entitlement of every child. Music, art and design, drama and dance are included in the national curriculum and compulsory in all maintained schools from the age of 5 to 14.’

Here Nick Gibb specifically states that the national curriculum is only compulsory in maintained schools. In 2017, 77% of primary schools were local authority schools while only 31% of secondary schools counted as ‘maintained’ (Fullfact.org). These statistics do not include private schools. The reality is, 69% of local authority secondary schools do not have to teach music as part of the curriculum.

The DCMSC report raises a number of problems with this. For example, there is the real concern that students are not being made aware of the wide range of opportunities in music (e.g. sound engineer and tech careers), leading to a potential future ‘talent drain’ in all areas of the industry.

Discussion of the EBacc links to the findings of Music Education: State of the Nation highlighting that 59% of nearly 500 schools surveyed think that the EBacc has had a negative impact on the provision and uptake of music.

The State of the Nation report compares GCSE music entries from years since 2014/15, showing the drop in applicants:

Change in music uptake and exam entries between 2014 and 2018

This image clearly shows the change in cohort size and change in music entries. Compiled from Department for Education data. Taken from “Music Education: State of the Nation” report.

The DCMSC report also raises the challenge of Music Hub provision stating that although 700,000 children were taught to play a musical instrument through a Hub and 89% of schools benefited from Hub support, quality of Hub provision is not of a consistently high quality.

To address this, Darren Henley, CEO of Arts Council, England confirmed that investment will be made to “build quality measures” into the Hub system. The DSMSC recommends that, “as part of its review into the effectiveness of the existing National Plan for Music Education, the Government should conduct a thorough study of where provision by Hubs is good and where it could be improved.” It also highlights the importance of Hubs receiving sufficient financial resources and workplace expertise for evaluation of their work and impact.

In the final recommendations, the DCMSC report focuses on a few key suggestions for music education.

One recommendation states that it welcomes Government’s intention to review the music curriculum, recommending,

The Government’s independent expert panel should engage musicians from different genres, stakeholders from across the music industry, and young people to ensure the new model music curriculum reflects how people make and consume music in the modern age, as well as the industry’s skills-needs now and into the future.

Another focusses on the EBacc and states: “

We repeat the call for arts subjects to be added to the EBacc to ensure all students benefit from a creative education at GCSE

Sources

https://publications.parliament.uk/pa/cm201719/cmselect/cmcumeds/733/73302.htm

https://www.ism.org/images/images/FINAL-State-of-the-Nation-Music-Education-for-email-or-web-2.pdf

https://fullfact.org/education/academies-and-maintained-schools-what-do-we-know/

Movers and Shakers: Sir Charles Hallé and Sir Henry Wood

March 2019 is the 150th ‘birthday’ of Henry Wood, and April 2019 marks the 200th anniversary of the birth of Charles Hallé. Both men left a lasting musical legacy integral to the orchestral world in the UK. But where did they come from and what inspired their achievements?  In this ‘double bill’ we celebrate the lives of two great musicians…

Sir Henry Wood

Sir Henry Wood, described in an interview in the Guardian from October 1938 as the ‘busiest and most versatile of Britain’s musicians,’ began his career conducting at a church choral society in 1888 where he earned ‘the enormous sum’ of two guineas.

Born within a stone’s throw of Oxford Street, Wood’s interest in music was encouraged by an intensely musical engineer father. Trained in the UK (he studied composition and voice at the Royal Academy of Music from 1886) he travelled widely to see and learn from great international musicians.

Often credited with founding the Proms, Henry Wood was instrumental in bringing the summer music series to London. He did so in partnership with the entrepreneur, Robert Newman who became manager and lessee of the newly opened Queen’s Hall in 1894, and Harley Street throat specialist, Dr. George Cathcart, who funded the first season. The vision was a series of classical concerts that anyone could attend, regardless of income. In 1895, Promming tickets cost one shilling, the equivalent of around 60p today.

It was Newman who devised the idea of Promenade concerts on the French model and who took on Wood as the sole conductor. However, while Newman and Cathcart’s input was essential, it was short lived. Newman went bust in 1902, and the main backer withdrew in 1926 leaving the Proms without support until the BBC took over in 1927, yet Henry Wood continued.

Drawing of the inside of Queens Hall

The first ever ‘First Night of the Proms’ was on August 10th 1895. 2,500 people gathered for the concert, which opened with the National Anthem. The programme featured popular works by Saint-Saëns, Haydn and Liszt, as well as London premieres of works by Chopin and Bizet. By the time of the 1938 interview, Wood was in his 44th season at Queen’s Hall, and had conducted nearly 3,000 Promenade Concerts, nearly 1,000 Sunday concerts and 600 symphony concerts.

The 1939 Proms season was abandoned after only 3 weeks following the declaration of war: The season, which had opened during the Battle of Britain, was forced to close early due to the Blitz. The concert on September 7th 1939 was the last Prom concert to take place at the Queen’s Hall, as the building was destroyed when a bomb hit the roof on 10th May 1941. In its 50th season, now at the Royal Albert Hall (RAH), the Proms again finished early because of the war, but concerts scheduled for broadcasting continued from the BBC’s Bedford wartime studios.

Wood was a charismatic presence on stage, embracing a new German style of conducting where the conductor’s role was much more expressive, not confined to keeping time. And he had a voracious appetite for music of all kinds. He and Newman had been determined to introduce a broad range of music to a wider audience, working to democratise the genre. The concert atmosphere was informal, with eating and drinking allowed during the performance, and the music had to be popular.

As the seasons progressed, Wood developed an enterprising, challenging and entertaining selection of music, always programming new works. He conducted an astonishing list of premieres during his career: 716 works by 356 composers, including Debussy’s L’Apres-midi d’un Faun. In fact, he was responsible for introducing many of the leading composers of the day to the Proms audiences, including Richard Strauss, Debussy, Rachmaninov, Ravel and Vaughan Williams. He was also passionate about promoting young and talented performers, and worked to raise the standard of orchestral playing.

[Image by: Ed g2s/wikicommons images]

Wood passed away on 19 August 1944 aged 75. He had conducted at the Proms for nearly 50 years. After his death, the concerts were renamed the “Henry Wood Promenade Concerts”, and the Proms continues as the longest running series of orchestral concerts in the world. Henry Wood is remembered every year, by the placing of a bronze bust (borrowed from the Royal Academy of Music) at the back of the RAH stage. His legacy is celebrated at the Last Night concert when a member of the audience drapes a wreath around the neck of the bust and the conductor leads ‘three cheers’ for Henry Wood.


Pianist and conductor Charles Hallé was born Karl Hallé on April 11th 1819 in Hagen, Westphalia. His father, a choirmaster and organist, first introduced him to music, and he quickly excelled. He was a child prodigy, first performing a sonatina in public at the age of 4, and in 1828 he played in a concert where he attracted the attention of the virtuoso violinist (and inventor of the violin chin rest) Louis Spohr.

Aged 16, he studied at Darmstadt with the organist and composer Rinck, and at 17 he went to Paris, where he stayed for 12 years. Whilst in Paris, he knew everybody worth knowing, counting musical greats including Cherubini, Chopin, Lisz and Wagner among his friends.

His time in the French capital ended with the February Revolution of 1848. Hallé had begun a series of chamber concerts in a small room at the Conservatoire, but the third series was cut short by the revolution and finding musical life in Paris had suffered after the revolution, he left for England.

His first appearance in his new home country was as soloist in an orchestral concert at Covent Garden, May 12th, 1848, where he performed Beethoven’s Concerto in E flat. In fact, the familiarity of the Beethoven piano sonatas in England is largely due to Hallé, who was the first pianist to play the complete series here.

He was also the inventor of a mechanical page-turning device for pianists. The pages were set into the mechanism, which was operated by means of a foot pedal. According to Harold C Schonberg’s 1963 book, The Great Pianists: “People would go to his concerts just to see the spectacle of leaf after leaf turning over, ghostlike, without the intervention of human hands.” 

But Hallé didn’t much like London, and in 1853 he accepted an offer to run Manchester’s Gentleman’s Concerts, which had its own orchestra. This orchestra was apparently so bad that Hallé considered returning to Paris, but he was industrious and meticulous. Being the type of person who would not open a letter until he had answered all previous correspondence, he taught himself English every morning on the way to work, and he stuck with the orchestra.

In May 1857, Hallé was asked to put together a small orchestra to play for Prince Albert at the opening ceremony of the Art Treasures of Great Britain. This was the biggest single exhibition Manchester had ever hosted. Hallé accepted the challenge and was so happy with the results that he kept the group together until October. This was the beginning of the Hallé Orchestra, now one of the oldest professional orchestras in England.

Hallé went on to start his own concert series, raising the orchestra to a standard far higher than normal for English music at that time. He decided to keep working with the musicians on a more formal basis, and on January 30th, 1858, the Hallé gave its first concert.

He conducted almost every concert and performed as piano soloist at many, until his death in 1895. He excited the public about music, raising standards and expectations, and introducing new concepts and works including premieres of Berlioz’s Symphonie Fantastique and The Damnation of Faust.

A passage in the 1890 publication Manchester Faces and Places describes the change in attitude to music during Hallé’s time in Manchester:

… he declares his conviction that the progress of music in England has been greater during that time than in any other country.

This remark is illustrated by several anecdotes including this:

At that period [Hallé] discovered that if he asked a gentleman in society, ‘Do you play an instrument?’ this appeared to be considered an insult. Did not Lord Chesterfield indeed warn his son not ‘to fiddle,’ on pain of forfeiting his claim to rank as a gentleman? But since then how great is the change! A love of music is now becoming the common passion uniting all classes. A few years ago Sir Charles Hallé was waiting for the train at Derby, when a railway porter who recognised him said, ‘Can you tell me, Mr. Halle, when the ‘Elijah’ will be next performed in Manchester, because I can have leave to take my missus there?’ Only the other day a music-seller in Sheffield, who is in a position to know, assured Sir Charles that there are in that town alone between five hundred and six hundred artisans who play the violin.

Hallé’s death on October 25th, 1895, shook Manchester and the wider musical world, and his funeral procession brought the city to a standstill. Three of his closest friends, Henry Simon, Gustav Behrens and James Forsyth, immediately set about securing the future of the Orchestra, guaranteeing the 1895-96 season against loss. This commitment was renewed for a further three years whilst the Hallé Concerts Society was formed. Under the guidance of such distinguished conductors as Hans Richter, Sir Hamilton Harty and Sir John Barbirolli the Orchestra continued to thrive and develop.

In an interview for the Telegraph, Mark Elder, current music director of the Hallé since 2000 (seen in the image above with the orchestra in 2011), explains the driving force in the success of the orchestra both then and now:

One way in which Hallé was ahead of his time was his understanding that education is absolutely key to an orchestra’s success. When you understand something, you enjoy it. That’s why he was so keen to bring the latest music to England, and why he was the first person to play a complete cycle of Beethoven piano sonatas.

He also understood that to reach a public you have to make the effort to go out to them. Part of the secret, I feel, is to link the orchestra to its community in a way that goes beyond concert-going.



Both Hallé and Wood were passionate, not only about their own musical careers, but about sharing their love and excitement for music with the wider community. The legacy of these two historic artists centres around what is now a formal body of classical music but one which, in the case of both the Hallé and the Proms, still works to engage the wider community in as many ways as possible, staying true to its original intent. It is almost impossible to quantify the value of those musicians who work so hard to share their gifts, except in the enjoyment of the opportunities and organisations they leave behind, whatever the challenges they faced. In a time when the future of music in education is unclear, it is encouraging to understand how much difference one person with talent and vision can make.

Creative Subjects Need Your Support

The Music Workshop Company has been following changes to the secondary curriculum in the UK with concern, as the implementation of the EBacc (English Baccalaureate) results in a worrying decline in take-up of arts subjects.

We’ve been supporting Bacc for the Future – the brainchild of the Incorporated Society of Musicians (ISM). We spoke to the ISM’s Jessica Salter to find out how the campaign is progressing:

“Bacc for the Future calls for creative subjects to be included in EBacc and ABacc league tables, or for these qualifications to be replaced by a more rounded option. The campaign began in 2011 when the EBacc was first imposed. It’s now supported by more than 30,000 individuals and 200 creative organisations.

[Image: Tiffany Bailey]

The EBacc is a league table measuring schools by pupil performance in five subject areas. The intention is for ‘at least 90% of students’ (nationally) to be entered into the EBacc subjects, with only certain types of schools exempt. This essentially makes it a compulsory qualification for most school-age children in England.

For a pupil’s performance to count towards this new measure, he or she needs to have studied a minimum of seven GCSE subjects which must include English Literature, English Language, Maths, two or three sciences, an ancient or modern language, and history or geography.

If students are encouraged to study triple science and history and geography, this minimum of seven GCSEs becomes a minimum of 9.

It becomes clear looking at this list that the EBacc pushes creative subjects, like music, out of the curriculum and out of school options at Key Stage 4 (GCSE level).

The fact that the EBacc undermines creative subjects in secondary schools is a big problem. Statistics released by the Department of Education (DoE) in January showed an 8% drop in the uptake of creative GCSEs in 2017.

Add that to the 8% drop in 2016, and the figures are significant.

A recent survey from the BBC, which looked at 1,200 schools nationwide, found that 90% of these schools had cut back on lesson time, staff or facilities in at least one creative arts subject.

The ISM continues to meet with parliamentarians to fight the EBacc. We still need your support and encourage musicians and music educators to actively participate to help us. You can do this by writing to your local MP and the Prime Minister about why creative subjects matter in our schools.

To find out more and to support our Bacc for the Future campaign visit baccforthefuture.org and follow us on Twitter @bacc4thefuture.”

Read MWC’s previous blogs about the campaign:

The EBacc and the Importance of the Arts in Schools

The EBacc and the Arts – An Educational Paradox

Government Bulldozes on with EBacc Despite Evidence

The ISM was set up in 1882. Today the organisation supports a growing membership of nearly 8,500 professional musicians from across the music sector. Its members include performers, composers, music teachers, music administrators, music technology professionals and portfolio musicians. The ISM provides a range of services including specialist legal and tax advice, template contracts, comprehensive insurances, professional development materials and select discounts – as well as fearlessly protecting musicians, the music profession as a whole and the wider industry through rigorous campaigning.


If you would like to contact the Music Workshop Company to book one of our bespoke workshops, or if you have an issue, an event or anything music-education related you’d like to see covered in our blog, get in touch today, we’d love to hear from you: info@music-workshop.co.uk


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