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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/

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Where Is My Money Going?

Securing the Value of Music Lessons

MyMusicPB.com is an interactive resource for music teachers, music services and music students that offers a way for teachers to stay organised, up to date and compliant with European data laws while motivating pupils of all ages. Its intuitive interface is free for teachers to use. The Music Workshop Company speaks to MyMusicPB’s creator, Phillip Brunton, about how the site can add incremental value to instrumental lessons and help build a strong framework to support learning:

“In the present climate of financial justification it is often hard to pinpoint how value is reflected in the cost of vocal and instrumental music lessons. With unlimited activities vying for students’ attention, it can be challenging for teachers to account for the impact of their lessons and add more value to those lessons, yet ‘value’ or at least cost is a question that is likely to raise its head when money is discussed. In developing MyMusicPB.com we identified three key ‘links’ that every teacher can strengthen to ensure that the personal enrichment value of music making is truly appreciated alongside its financial value.

Music lessons are a unique exchange. Parents pay for something that they are not directly receiving, and often making this payment to a school or music service rather than to the person teaching the lesson.  As it is rare for a parent to sit in on the child’s lesson, and even when they do they won’t necessarily understand what they are watching, so the parent’s perception of value for money is observed through the experience of the child away from the lesson. The parent’s assessment is based on the following points:

Is the student making progress?

It can sometimes be difficult for parents to appreciate the progress being made, with some technical and musical skills requiring a longer period of time to develop. Reports and external graded exam results can give a measurable feedback of progress, although these are rarely produced more than once a year, and only a proportion of students will receive top marks.

How engaged is the student?

For many parents, value for money is observed through the child’s enthusiasm, motivation and enjoyment in their playing; how engaged they are with their practice and other musical activities such as playing in an ensemble? Students who are motivated to practise, and who understand how to get the most from their practice, will make enjoyable progress, but when the child doesn’t want to practice, the result is commonly that the parent will decide to stop lessons. Students who practise will want to learn more and will learn more quickly, making lessons much more ‘cost effective’. However, students attend lessons for a very small portion of the available 10080 minutes that make up a week. The true measure of their learning is determined by what happens betweenthe lessons.

Is the teaching effective?

Parents also observe value for money through the professionalism of the service and the effectiveness of the teaching being offered. Regardless of how one becomes an effective teacher, effective teaching aims ultimately to guide and inspire students to become self-learners. The value of effective teaching extends beyond the lesson itself, and this means teaching effective practice skills. 

How does the parent observe effective teaching outside of the lesson?  

Is the teacher organised and keeping both students and parents informed? This is reflected through the effectiveness of the communication ‘links’ between the teacher, student and parent. How informed are the parents? It is perfectly natural for a parent to want to support their child, especially in the early stages of learning. What is my child working towards? How and what should they be practising? When is their next lesson and how are they getting on? How can we help?

The Practice Book

The paper practice book has traditionally been used as a teacher’s method of communication, informing students what to practise and sending parents important messages. Many teachers are aware that practice books never make it out of the music bag and they are often just used by the teacher as a reminder of what was covered in the previous lesson. As a teacher, does your use of a practice book truly reflect the value of your teaching? Could an interactive practice book be more engaging to the student, more efficient for your teaching and more effective in communicating with the parent?

3 Key Links

MyMusicPB, the interactive music practice book, identifies the ‘links’ between the teacher, student and parent as key to ensure that music tuition is effective and ultimately valued.   

As an interactive resource, it successfully organises and connects the teacher’s planning, notes and assessments with the student’s practice, focus and progress. Parents can be more informed and appreciative of the process due to improved communication, and they can offer more support to the child through the built-in weekly progress indicators. Students become more engaged through the interactive features of the practice book, leading to more practice, progress and enjoyment.

Some more important answers…

How much does it cost?

MyMusicPB is free to use for all teachers. The linking interactive student practice books can be purchased separately by the parent or teacher. Alternatively, a school, music service or Hub may purchase a user licence, giving all their students and their parents access to a linking practice book. This offers better value for students.  

What support is there for teachers?

Schools and music services have ‘Admin Access’ to key data, which allows them to further support their teachers, students and parents. This strengthens links between all parties, and adds value to both individual and group lessons.  

Is it mobile optimised?

As an online application, MyMusicPB can be accessed from, and is optimised for use on, any device.

What about my privacy?

MyMusicPB actually addresses and solves the problems faced by many schools and music services due to GDPR and is fully GDPR compliant. When parents register, they give direct consent as to what data is held, and data is kept on a secure server with encrypted access. 

Find out more

For further support and resources on efficient music learning, please follow MyMusicPB on twitter: mymusicpb@phillipbrunton 

And visit mymusicpb.com 


If you would like to know more about The Music Workshop Company’s range of bespoke creative experiences, would like to be featured on our blog or would like to ask us anything else, contact the team today!

Music Mark Conference 2018 – Youth Voice

On Thursday 22ndand Friday 23rdNovember 2018, Kenilworth welcomed music educators from across the country to Music Mark’s 2018 annual conference to discuss the theme of “Youth Voice.” MWC’s Maria Thomas was there…

With sessions on topics such as Whose Music Education is it?, Trust the music – connection with young audiences, Youth Governance, Ensembles and young people, and Reaching out to Young People – Shake up your marketing and communications strategy, one key message was engaging young people in the music education discussion.

But there were also discussions on the gender gap in music – currently across the UK only 14% of music creators (composers and songwriters)  registered with the Performing Rights Society (PRS) are women – increasing investment in and access to musicmaking for deaf children and young people, mental health and wellbeing support for teachers within music services and hubs, careers in the creative industry, music workshops designed to support the development of speech and language  and wellbeing for children and young people.

Of course, with so many interesting workshops and discussions taking place, it is difficult to choose which to attend! So here are thoughts from a couple of sessions.

One session, led by Philip Flood from Sound Connections explored routes into music education as a career, with a particular focus on instrumental teaching and workshop leading. Three music hubs described their work in supporting early career educators and CPD.

Adam Hickman from Services for Education, Birmingham and Luan Shaw from the Royal Birmingham Conservatoire discussed how they work together to offer Conservatoire students training and experience as instrumental teachers both at Undergraduate and Postgraduate level. They also reflected on how this has helped with wider CPD through the development of an online resource pack including videos.

Michael Davidson and Ije Amaechi talked about how Hertfordshire Music Service are focussing on diversifying their workforce of instrumental teachers and workshop leaders bringing together both teachers from a traditional teaching background and community musicians to share good practice. Ije talked about her journey from a participant on a songwriting course to being a workshop leader herself and highlighted how reflection sessions after workshops has helped her develop her skills.

Open Mic attracted me & then songwriting workshops were more appealing than grades. I’ve since performed at the Albert Hall & became a trainee tutor, shadowing across different projects & groups was useful to me, and reflecting after each session. 

Ije AmaechiTim Shephard from the University of Sheffield talked about his relationship as Chair of the Sheffield Music Hub, and shared his experience of working with Ian Naylor, Head of Music Education at Sheffield Music Hub to create opportunities for students to get involved in outreach through Music in the City and Music for Youth. It has also led to the development of a BA Music Education where Sheffield Music Hub offers training and opportunities to the University of Sheffield students.

An interesting question was raised in the whole room discussion:  

When are people good enough as tutors / workshop leaders?

This is particularly relevant to those who come to music education through non-traditional routes, and so the question was asked, “If a qualification is needed, how could it be completely accessible?”

One of the afternoon sessions, chaired by Youth Music’s CEO, Matt Griffiths explored inclusion in music education. As Matt stated at the beginning of the session, the debate has moved from, “Is inclusion needed?” to “How do we embed inclusion?” The first presentation was by Holly Radford of Midlands Arts Centre (MAC) who explained how music hubs around the Midlands had come together, facilitated by MAC and led by Phil Mullen, to explore how inclusion can be embedded in their work. The feedback from participants in the room demonstrated how useful the process had been for engaging with a range of local bodies such as local councils to develop support for music education.

The second presentation was by Michael Davidson of Hertfordshire Music Service discussing the work of MusicNet East, a collaboration between 4 music services (Hertfordshire, Essex, Cambridgeshire and Norfolk), supported by Youth Music who are all exploring inclusion in different ways. Michael talked about the work of Hertfordshire Music Service and how they are developing projects to fit the needs of educational bodies and participants, for example their work with Pupil Referral Units and their Songwriter programme. Delegates from Cambridge and Essex also shared their experiences of how these programmes are helping to get the value of music education as an aid to inclusion on the wider education agenda.

As Matt Griffiths, CEO of Youth Music tweeted at the end of the conference:

Main observation #MusicMark2018 was a collective will to innovate & change. Informed by & with young people, their lives in music, and acting on the school challenges we face. We can stand still, observe & moan or step up & transform. I’m totally for the latter #musicalinclusion


Survey Returns Bleak Picture of Music Education in Schools

A recent University of Sussex survey of 500 schools in England shows a worrying picture for music in schools. The findings, released at the beginning of October, show that staffing levels in music departments have fallen in nearly 36% of schools, with 70% of surviving music specialists required to teach outside their subject to fill gaps.

The report, by Senior Teaching Fellow in Education (Education), Duncan Mackrill, also highlighted a 10% fall in the number of students taking a GCSE music course since 2016, fewer schools providing GCSE music as an option, and only some schools offering the subject out of school hours. Of the schools surveyed, 18% do not offer GCSE music at all.

[Image: Tiffany Bailey via Wikimedia Commons]

The picture is worse for A-level music. The report reveals that the number of schools offering A-level music has fallen by more than 15% in the past two years, while the number of schools teaching music technology has dropped by 32%.

Younger students are also being impacted. Only 47.5% of schools say music is compulsory for 13 to 14-year-olds and many schools only teaching music as part of an “enrichment day” once a year.

[Image: Wordbuilder via Wikimedia Commons]

Nearly 60% of the schools that completed the survey say the promotion of the EBacc and focus on academic subjects by the government was having a negative impact on music provision in their establishment.

In an interview in The Guardian, the report’s author, Duncan Mackrill, says:

Music’s place in the secondary curriculum continues to be precariously balanced or disappearing in a significant number of schools. Without a change to require a balanced curriculum in all schools, we are in danger of music education becoming, in many cases, the preserve of those who can pay.

And music provision is potentially under further threat in the coming months as the Government announced earlier this year that it will not fund the pay rise for centrally employed teachers, the majority of whom are music specialists. This means that any pay rise offered to teachers employed directly by the council, such as instrumental teachers, will need to be funded by local authorities.

The (Local Government Association) LGA estimates that this would cost councils £5.5m, an extremely large amount for local authorities that are already struggling financially. In its report on the LGA website it states:

If councils, which face a £3.9 billion funding black hole in 2019/20, are left to pick up the cost then some would have little choice but to reduce CET services such as music tuition.

There are around 5,000 centrally employed teachers who provide a range of services including those who teach children and those who play key roles in supporting education professionals. It is believed that at least half of these are teaching music. It’s also pertinent that many of the local authority music teaching schemes often waive or lower fees so children of low-income families can take part.

In an interview in the Independent Anntoinette Bramble, chair of the LGA’s children and young people board, says:

The UK has a proud history of musical excellence and many of the most well-known artists in the world over time would have benefited from music lessons. For many young people, it is a vital part of their education and future life opportunities, but this could be at risk unless the government commits to fully funding the pay increase for all classroom teachers, including music teachers.

Ever since the introduction of the EBacc, high profile musicians have spoken out against the threat to music in schools. Also talking to the Independent, singer Ed Sheeran says,

If you keep cutting the funding for arts you’re going to be damaging one of Britain’s best and most lucrative exports.

Sheeran’s comments underline the fact that as well as being of significant value for individual children on a personal and educational level, music is a thriving industry in the UK. His remarks are backed up by a ukmusic.org report which shows continual growth in the UK music industry. Between 2016 and 2017 the industry generated £2.5bn in export revenue and saw a 6% increase in total gross value.

There are concerns about class privilege too, and the widening of the opportunities gap between rich and poor. Geoff Barton, general secretary of the Association of School and College Leaders, told the Independent:

The last thing that we need is any more pressure on the provision of music in schools … Local authorities clearly cannot afford additional costs on strained budgets and this will inevitably mean cuts. We are in danger of music becoming the preserve of only those families who can afford private tuition.

The Independent also spoke to the General Secretary of the Musicians’ Union, Horace Trubridge, who attributes his own career to the free music provision he enjoyed as a child.

It seems to me that we are now entering into an era in our profession when only a very narrow social stream of young people will make up the musicians of tomorrow. How will the tradition of fantastic bands and artists rising up from the housing estates and low-to-no income families continue?

Bands like Madness, Pulp, Manic Street Preachers and so many others with great stories and real, honest social messages to sing about. How will the UK’s wonderful orchestras fulfil the demands of the funding bodies to increase diversity within their ranks, when the very people that they want to attract are denied access to music education.

With the Government seemingly turning a blind eye to the destruction of music education in the UK, what is the future for aspiring young musicians and for the music industry? In a political climate where there is already a threatened skills gap forming, isn’t it time for those in power to face the music?


The Music Workshop Company would love to hear from you. If you’re interested in asking us about any aspect of music education, would like to feature in our guest blog or to book one of our interactive workshops, contact us today!

How Should we Sing these Songs?

While planning a recent singing workshop, MWC’s Artistic Director, Maria, had cause to reflect on the names and lyrics of songs, how the meaning of some words has changed, becoming sensitive, controversial or unacceptable, and how some aspects of music might impact workshop participants.

Looking into the topic more deeply, Maria discovered examples that have created debate in the past. One such incident happened when Garry Martin, a headteacher in Melbourne, Australia, decided it was necessary to alter a word in the song Kookabura. His concern was around the phrase, “Gay your life must be.”

Mr Martin mentioned his decision to change the word ‘gay’ to ‘fun’ on local radio, and found himself under fire. He had been conscious that the word would potentially lose him control of his class: “I knew if we sing ‘Gay your life must be’ the kids will roll around the floor in fits of laughter … I wasn’t trying to insult gay people.”

Although Mr Martin’s decision was based on behaviour management, it raised concerns from gay and lesbian advocates who said it sent a signal that the word ‘gay’ was unacceptable.

Mr Martin later acknowledged that instead of avoiding the issue, he should have explained the meaning of gay as another word for happy, and taken the opportunity to educate the children that the term should not be used disparagingly.

Songs that use gay to mean happy or joyful are common. Jamaica Farewell, released in 1957, made famous by Harry Belafonte and covered by various artists including Chuck Berry, Sam Cooke and Carly Simon. is another example.

Down the way

Where the nights are gay

And the sun shines daily on the mountaintop

I took a trip on a sailing ship

And when I reached Jamaica I made a stop

 

But I’m sad to say I’m on my way

Won’t be back for many a day

My heart is down

My head is turning around

I had to leave a little girl in Kingston town.

So how should we teach these songs in schools, youth groups, holiday clubs and other community groups?

The setting can be very important, but should not be prescriptive. While homosexuality can be a challenging issue in some religious settings, the original meaning and context of any lyrics still stand. Approach the subject sensitively. Decide whether it is really necessary to change any words, and think carefully about your reasons for doing so.

Other songs that can raise challenges include songs that may cause children to remember abuse or trauma.

What Shall We do with the Drunken Sailor is a sea shanty dating from as early as 1820 which became popular among non-sailors in the 20th century. As a song for musical activities, it has easy words with lots of repetition, makes use of drone and is a good way to introduce the concept of work songs – songs that helped workers carry out tasks.

Children often find the idea of drunkeness funny. However, for participants who have experienced abuse from a drunken relative, this song could trigger feelings of trauma.

Alcohol is a topic that requires care in religious settings. The tale of Sinbad the Sailor, which makes a great basis for a composition workshop, features drunkenness, even though it is set in Muslim countries. Again, sensitivity and awareness are key. Any elements of a story that might cause offence and risk children losing the opportunity to participate can be removed.

Music that links to war can also bring up bad memories or emotions in participants. The Second World War has inspired many composers, with works including Steve Reich’s Different Trains. MWC’s Maria says: “Having studied the Holocaust at school, I cannot listen to Different Trains. I find it chilling, it literally makes me feel cold.”

As a teacher or workshop leader, be aware that music can trigger strong emotions, and this can be a positive or negative experience. When choosing challenging music, try to predict possible issues, and once in the classroom make sure you are hyper-aware of the body language and reactions of your students.

Race is another subject that requires thought. Some pieces of music might be worth listening to for their cultural context or for their compositional value, but be laden with difficulty. For example, consider how you would introduce Debussy’s Golliwog’s Cakewalk. Is it best avoided, or is it better to teach the history behind the name? While it may be more comfortable to disassociate from this area of music history, this is a valuable opportunity to educate students and deepen their understanding. Instead of ignoring the piece, you can explain what it was about, and what ‘golliwog’ and ‘cakewalk’ meant. This excellent essay explains the racism behind the Golliwog Caricature.

Remember too that it is possible to be oversensitive. Teachers who changed the words to the nursery rhyme Baa Baa Black Sheep to Baa Baa Rainbow Sheep because they felt the word ‘black’ was racist caused a debate about political correctness ‘gone mad’. In the case of this song, the sheep is black simply for the purposes of alliteration. Removing the word could send the message that ‘black’ is a negative term. It also gives an example of trivial political correctness that racists can use to criticise and undermine the very real issue of racism.

With many cultural items, things move in and out of fashion or are interpreted differently over time. Only recently, removal by Manchester Art Gallery of John William Waterhouse’s painting Hylas and the Nymphs, triggered by the Time’s Up and #MeToo movements, sparked discussion about political correctness and the danger of censoring or editing art that does not conform to what is currently acceptable.

It’s important to constantly evaluate traditional attitudes and familiar phrases. It is also always possible, if you feel there will be a problem that might preclude some children’s inclusion, to chose an alternative song or piece of music that achieves the same result.

Every piece of art is a result of the society in which it was created. The challenge for music educators is to ensure the survival of great music while placing it in a context that shows sensitivity to the audience/participants and the works themselves.

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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Aiming High with the Opera North Orchestra Academy

Acclaimed for the high quality of its operatic performances, Opera North also boasts one of the country’s finest orchestras. The Orchestra of Opera North plays at each of the Company’s operas and regularly performs at concerts in the region. An important, and enjoyable, additional strand of its work however, is ensuring that the next generation of young musicians are given valuable support, guidance and inspiration as they build on their playing expertise.

This month, the team at Opera North share their vision with MWC…

Opera North Orchestra Academy is the latest in a series of Opera North Education initiatives. It is an orchestral training programme for outstanding instrumentalists aged 14-19 years and studying at Grade 7 or above. During a week-long residential course in Leeds, which will take place between Tuesday 28 August and Saturday 1 September 2018, participants will be encouraged to take their playing and performance skills to the next level, whilst also getting the chance to meet like-minded young people and forge some life-long friendships along the way.

Throughout the week, the Academy musicians will rehearse exciting orchestral repertoire alongside the full Orchestra of Opera North and benefit from sectional coaching with the orchestra’s players in a bid to develop excellence in ensemble skills and orchestral performance. Guided by the players from the Orchestra of Opera North, the Academy musicians will also be given the opportunity to rehearse and perform chamber music, enhancing their overall music-making experience.

This video gives some idea of the community-centric focus held by Opera North. Here, the musicians of the orchestra create a surprise performance for shoppers in Leeds…

The Academy residential will culminate in a public concert under the baton of an internationally-renowned conductor, giving the Academy players a glimpse into what it takes to stage a professional orchestral performance and the excitement of the event itself. Subsequently, the participants will be invited to take part in ‘keeping in touch’ weekends during the October and February half terms and to join collaborative projects as part of the Opera North Youth Company.

Opera North’s Education Director, Jacqui Cameron, explains the idea behind the project:

The Orchestra Academy Summer Residency week aims to give everyone who takes part a valuable insight into working and rehearsing with a professional orchestra in an exciting and supportive environment. We decided to make entry by audition only to ensure that all participants are at the best stage in their playing to take advantage of this opportunity and for us to tailor the learning precisely to their needs.

It’s perfect for those who are already members of their local youth orchestra, as well as for students looking for an immersive musical experience during the summer. We hope that, having been given this glimpse of what it could be like, it will encourage many talented young players to consider pursuing a career in music with all the rewards that can bring.

The Company is well aware that some young people can be deterred by the idea of an audition so the process will be made as fun and friendly as possible to try and keep nerves to a minimum. The audition day will be split into two parts with an informal workshop in the morning where the young musicians will play some orchestral excerpts and learn about ensemble playing, followed by an opportunity to impress in the afternoon. The latter will be with the same players from the Orchestra of Opera North who have worked with the young people in the morning, so the auditionees will be playing their prepared solos in front of a friendly face. Whether successful or not, everyone will benefit from feedback on their playing and will hopefully leave the audition day having found it a positive learning experience.

The Orchestra Academy joins Opera North’s acclaimed portfolio of youth ensembles for both young instrumentalists and singers of all ages and abilities, including Opera North Junior Strings, Opera North Children’s Chorus, Opera North Young Voices and Opera North Youth Chorus. The Company also runs an open-access Orchestra Camp in the summer for which there is no need to audition.

More information and applications (by Monday 9 April) for the Opera North Orchestra Academy can be made at https://www.operanorth.co.uk/opera-north-orchestra-academy. Auditions will be held in Leeds on Saturday 21 April.”

 

 

 


If you would like to speak to the Music Workshop Company about booking a tailor-made workshop, or would like to contribute your project to our guest blog, contact us to find out more:

A New Beginning for Musicland

Musicland Publications has been a leading publisher of sheet music, tuition books, teaching materials, teacher training programs, and learning resources for the Music Education sector, for over 30 years. String teachers in particular will be familiar with its tuition books, classical and contemporary music for solo instruments and ensembles.

Earlier this year, the firm announced an exciting re-launch, and a change of management, as Simon Hewitt Jones takes the reins.

The back-story

Caroline and Alan Lumsden with their four children in 1986.

The Musicland catalogue was established in 1984 to distribute the music of Anita Hewitt Jones and her daughter Caroline Lumsden, both music education specialists. Over the course of 30 years, it has grown into a wide range of high-quality musical and educational resources that help children become immersed in practical and theoretical music. The library of compositions leads children from their very first experiences of music right through to Grade 8 standard and beyond.

Founder Caroline trained as a violinist and singer at the Guildhall School of Music and Drama before qualifying as a primary school teacher. Passionate about the social side of music, she believes that every child, whatever their background, should be given the opportunity to learn a musical instrument and partake in group playing and singing, giving them a head start in life.

Caroline’s Musicland characters and rhythm training are used worldwide to help the very young learn to read music subconsciously. The method, developed at the Gloucester Academy, was subsequently adopted by StringTime at Junior Trinity.

What’s new?

In January 2017, Caroline announced the re-launch of Musicland Publications with Simon taking over the day-to-day management. Her decision to step back is largely due to taking time out to care for her husband, Musicland co-founder Alan, who is coping with Alzheimer’s. Simon, who is a virtuoso violinist and Director of the pioneering online teaching resource, ViolinSchool, is Caroline’s nephew, and as the business passes to a third generations, Caroline will remain closely involved with updating the catalogue and planning new publications, as well as delivering a limited number of workshops each year.

She says,

I know that my mother Anita (Hewitt Jones – whose popular chamber music compositions make up the bulk of the early Musicland catalogue) would be delighted that Simon is at the helm.

Musicland’s brand new e-commerce website at www.musiclandpublications.com features some of their best-loved string sheet music and educational resources.

The online shop features favourites such as Bread and Butter Pudding, Lollipop Man, the ever-popular Ragtime Serenade and Rumba, and many more, with new covers rolled out across the catalogue, and some of the ‘classic’ Musicland pieces now available again for next day despatch.

The new site means that the entire Musicland Publications catalogue will soon be available through most major sheet music retailers, including in Europe and Australia, with direct worldwide shipping.

Simon’s son Rubin… the fourth generation!

What does the future hold?

Musicland will be creating a plethora of books, video programs and apps for learners of all ages, and developing plans for the firm to become a state-of-the-art digital publisher for string music and educational resources. As Caroline says,

Anita was a deeply passionate advocate of music education, and we’ll be holding close to her values and legacy as we move Musicland forward into the digital age!

 

 

 

 

www.MusiclandPublications.com

sales@musiclandpublications.com

+44 (0) 20 3468 4744


The Music Workshop Company would love to hear your music education stories. If you would like to feature on our blog, contact us today

We Do Have a Voice

Sound Connections is a London based charity working to strengthen the music sector, bridge gaps in provision and deliver landmark music programmes. The charity’s Wired4Music council, made up of young people from a diverse cross-section of the community, all passionate about music, was set-up in 2009 to voice opinions on music education and raise awareness of musical opportunities. Since then they have established themselves as the only pan-London youth council with a music focus.

Wired4Music member Tyler Edwards, an emerging artist and producer spoke at the Music Education Expo about his vision for music education. 

“As a creative young person, I’ve found it ever more important to have the courage to express my ideas, thoughts and goals. But not everything can be done on our own.

Being given a platform and an opportunity to take responsibility for the things I want to achieve has been vital for my first steps towards being an adult and a professional.

The trust and belief that Wired4Music has had in me to take charge of roles that I would otherwise not have seen myself suitable for because I’m ‘young’ or ‘might not be ready’ has had a profound effect on the way I approach the challenges I’m faced with. The meetings and drop-ins that they hold have helped to foster a great working culture that inspires open collaboration and a way for us to manage projects ourselves, with a helping hand whenever we might need it.

I’ve had the chance to contribute ideas and facilitate events like the Wired4Music Rising Futures symposium at the Roundhouse, which is focused on empowering young people in their own music making. I’ve taken part in the Leadership Programme where we pitch our own music projects to be funded and brought to life and through the rest of my time at Wired4Music, I’ve been given the opportunity to guide workshop discussions and share my opinions with people who have the power to make change in their own organisations. 

We’re not asking to be isolated and completely separate from any form of guidance, we just want to know that we can openly discuss and suggest how we are involved with our progress and that we’ll be included in all aspects of our journey.

To me, youth voice is about having  a chance to prove to others and most importantly to ourselves that we do have a voice that can make a difference, breaking down the impractical barriers between educators and learners that stop the best work being made.

With these small steps we can work towards the trust and active participation of both teachers and students for true diversity, accessibility and collaboration to flourish in music education.”

Tyler’s opinion piece was written for a speech that he co-presented with Sound Connections Programme Manager Jennifer Raven at Music Education Expo 2017. It was part of a panel called “Hear me now: diversity, inclusion and youth voice in national music education policy and practice”, which was chaired by Pete Moser (More Music Morecambe) and also featured Carol Reid (National Foundation for Youth Music), John Kelly and Douglas Noble (Drake Music), Samantha Spence (Ealing Music Service).

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Sol-Fa – Singing Through the Ages

November 14th 2016 marks the 200th anniversary of the birth of John Curwen, an English Congregational Minister and music educator who was responsible for refining and popularising the tonic sol-fa system of musical notation. Although he did not invent tonic sol-fa, Curwen developed a distinct method of applying it in music education which included important aspects of both rhythm and pitch that have been formative in much of the singing and early-years music teaching ever since.

The sol-fa, or solfège, system is designed for singing. If you have ever heard the song Do Re Mi from Rogers and Hammerstein’s musical The Sound of Music, you will be familiar with the idea. This concept transfers over to instrumental learning with the understanding that children can learn a great deal about pitch, rhythm and tone by learning to sing which can then be applied on any instrument.

Initially developed in the form we recognise today by Sarah Glover (1785-1867) a music teacher from Norwich, to aid Sunday School teachers with a cappella singing, Glover’s teaching method used movable solmisation syllables (a system of attributing a distinct syllable to each note in a musical scale) as an aid to sight-reading, alongside a sol-fa notation, which she had devised as a stepping stone to reading music from the staff.

There is evidence to suggest that a similar system of solmisation existed many centuries earlier. In her research paper Non-Lexical Vocables in Scottish Music, Christine Knox Chambers of Edinburgh University traces the use of solmisation back to China, Korea and even the Native American tribes. In Indian Classical Music the notes of the basic seven-note scale have the names sa, re, ma, ga, pa, dha and ni. And in Scottish Gaelic, the word canntaireachd (chanting) refers to an ancient Scottish Highland method of solemnisation which ‘notated’ music played on the Great Highland Bagpipes. This made it possible for music to be passed on in the aural tradition even without instruments.

Sol-fa or solfège as we know it was first seen in Europe in the 11th century, developed by Guido d’Arezzo, a music theorist and a monk of the Benedictine order who is credited with inventing modern staff notation. Staff notation replaced a system called neumatic notation, an ancient system of inflective marks which indicated the general shape of the musical line but not necessarily the exact notes or rhythms to be sung.

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Arezzo’s original solfège note names derive from an 11th-century hymn in which the solfège syllable is the word accompanying the first note of each phrase. The starting notes of each phrase are C, D, E, F, G, A:

In the sol-fa method, the seven tones of the scale are named do, ray, me, fah, soh, lah and te and are arranged into ascending and descending scales where do is the note C.

There is also a method called moveable do, which Curwen and Glover both employed, where the note do can be the tonic in any key.

Having experienced considerable difficulty himself with music reading and traditional music notation, Curwen became interested in the sol-fa method and its potential for teaching and developing music reading. He felt the need for a simple way of teaching how to sing. He believed that music should be easily accessible to all classes and ages of people.

In order to facilitate this, he devised a step-by step approach to teaching: Firstly reading from sol-fa notation, secondly reading from staff notation in conjunction with sol-fa notation below, and thirdly reading from staff notation alone. As his ideas developed he devised the pitch hand signs that are familiar to most music teachers as part of the Kodály Method and incorporated the French time names which are familiar from childhood music lessons (taa taa, titi). The use of sol-fa served as a memory aid as well as a learning aid.

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Many of his pedagogical ideas are fundamental not only to other music teaching methods such as Kodály and Dalcroze, but also to general educational practice.

Curwen’s principles of education:

  • Let the easy come before the difficult
  • Introduce the real and concrete before the ideal or abstract
  • Do one thing at a time
  • Let each step, as far as possible, rise out of that which goes before, and lead up to that which comes after
  • Call in the understanding to assist the skill at every stage

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Further reading:

A full description of sol-fa:https://blog.key-notes.com/solfege.html

More information about John Curwen: https://en.wikipedia.org/wiki/John_Curwen

A full description of Curwen’s method: http://music-ed.net/Curwen/Ped&TchngTechs.html

Information about the Kodály Method: http://www.britishkodalyacademy.org/kodaly_approach.htm

Indian Ragas: http://raag-hindustani.com/Notes.html

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