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.

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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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If you would like to hear more from Sound Connections, you can sign-up to their newsletter for the latest sector news, jobs and training or follow them on Twitter @sconnections

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

Harnessing Potential for London’s Young Talent

The Mayor’s Music Fund mmf (charity no. 1141216) was launched in 2011 in response to a London-wide survey carried out by City Hall, highlighting a number of gaps in provision for school-age musicians in the capital. We hear from Chief Executive, Chrissy Kinsella about the fantastic opportunities provided by the Fund. 

Our vision is that every young Londoner who demonstrates significant musical potential, enthusiasm and commitment to learning an instrument is given the opportunity to develop that potential.

We aim to nurture and encourage young people to progress their musical talent through our Scholarships and Partnership Programmes. The young people who take part in our Partnerships are from diverse social and financial backgrounds, whilst our Scholars are from low-income, often challenging backgrounds.

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Our objectives include collaborating with London’s 29 local authority Music Education Hubs to provide extensive musical opportunities across London’s 33 boroughs. We support high-quality, sustained instrumental tuition for Mayor’s Music Scholars, organise an annual series of playing days providing opportunities for Scholars to create music together, and support large-scale musical collaborations between Music Hubs and professional arts organisations, providing opportunities for aspiring young musicians (aged 8-21) to learn from, be mentored by and perform alongside professionals. We also enable professional musicians and artists to be motivational role models, empowering young people to explore and develop their musical capabilities, which in turn develops their social and emotional well-being and frequently uplifts academic performance. 

Our programmes…

Our four-year scholarships programme is specifically targeted at children who have received some first-access provision, but whose families are unable to pay for them to continue learning, even at this early stage.

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We work closely with local music services and primary schools in each borough to identify children with potential, enthusiasm and commitment to learning. Scholars must be in Key Stage 2 at the point of nomination, have been learning for at least a year and show potential on their chosen instrument. They receive a programme of around two hours per week via their music service, to include instrumental lessons, ensembles, and other supporting activities. They also have a named mentor to look after their programme, and an instrument to take home if needed. A Head Teacher in Bexley describes the positive effect the Fund has had on one of his students:

Michael was asked about being nominated for a scholarship: ‘Before, I was really naughty at school and now I’m really happy. I’m really good now and can do my work a lot better because of my trumpet.’ This scholarship opportunity won’t just give Michael the chance to become a better trumpet player, but it will give him a greater chance at life and breaking through the barriers of social deprivation.

Our Partnership Projects are large-scale collaborations, working with professional arts organisations to address a specific gap in provision. Previous projects have included an advanced string ensemble programme with the Philharmonia Orchestra in Hounslow and Sutton, a musical theatre orchestra led by the Tri-Borough and Youth Music Theatre UK, a world music ensemble based at the Lyric Hammersmith, run by Musiko Musika, and a jazz-meets-classical project in Hackney, working with the London Symphony Orchestra. One Young Musician’s Training Orchestra participant said:

Being in the Music Theatre Orchestra gave me an insight of how professional ensembles work and it is by far the best ensemble I’ve ever done! My confidence grew and I will continue to strive to improve and more determined than ever.

Success and Impact…

Since 2011, the Mayor’s Music Fund has awarded 375 scholarships across every London borough, representing over 330 schools. The second cohort (scholarships awarded in 2012) has just graduated, taking the total alumni to 140. The impact of our programmes is far reaching: In addition to evidence of higher self-confidence, self-esteem, and improved behavioural, social and academic skills, Music Fund scholars have gone on to win scholarships or places at independent schools such as Christ’s Hospital, & the Forest School, high profile state schools, Junior Conservatoires & London’s Centre for Young Musicians, and at specialist music schools such as the Purcell School and Menuhin School.

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Since 2011 the Fund has funded 28 projects across 29 boroughs, working with over 8,500 young musicians. Three additional projects have been approved for 2016/17, reaching a further 1,000 young musicians.

In total, the Mayor’s Music Fund has awarded over £1.5million directly to support music education in London!

The future…

A meeting of the Government’s Culture, Media and Sport Select Committee last week heard about the challenges facing regional arts organisations following local authority cuts. Arts Professional reported that Mark Pemberton, Director of the Association of British Orchestras said he was “disturbed” by the lack of diversity of young people entering employment as musicians.

At the Mayor’s Music Fund we are passionate about empowering and enabling young people from all backgrounds to fulfil their potential. Over sixty percent of Mayor’s Music Scholars are from BAME (black, Asian, and minority ethnic) backgrounds, and 100% are from low-income families.

It is no surprise that just fifteen percent of state school children learn a musical instrument, as opposed to fifty percent of independent school children. We are committed and dedicated to ensuring that all children who show potential and commitment to learning are given the chance to continue.

We are delighted to welcome a new patron to the Fund in 2016, the recently elected Mayor of London, Sadiq Khan. We look forward to working with his administration to further develop our programmes to ensure all Londoners are given the opportunity to develop their full potential.”

This video gives an introduction to the work of the Fund from the perspective of the students.

For more information about the Mayor’s Music Fund, please contact Chrissy Kinsella, Chief Executive on 020 7983 4258

 

 

ROH Bridge: Planning for A Bright Future

The Royal Opera House Bridge project works to connect young people with great art and culture, breaking down the stereotypes of inaccessibility and nurturing networks and innovation. The issue of culture, music and learning is vital to the future of education. In previous blogs we’ve looked at the value of exposing children to classical music and explored the ways in which opera companies can avoid alienating young audiences. We’ve also covered organisations such as Future Talent which provide opportunities for young musicians to develop their careers.

This month, instead of publishing our usual guest blog, we decided to showcase the Royal Opera House Bridge Conference which took place on 17th June 2016.

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The conference, entitled A Place For Culture, which took place in the beautiful setting of Hatfield House in Hertfordshire, explored how we can secure the place of cultural learning in schools and communities.

Key discussion points included:

  • How does where children live affect their cultural opportunities?
  • How can schools make space for cultural learning in a crowded curriculum?
  • How does local culture contribute to placemaking?
  • How can schools and cultural organizations work together to stimulate learning around Heritage and British values?
  • Have you taken your place in the cultural life of your community?

oldpalacesunny-300x199Attendees included cultural organisations, schools, Arts Council England, Grant giving bodies, local authorities and cultural trusts, freelance arts practitioners and Music Hubs.

The day was divided into keynote speakers, workshops and performances. Speakers included Althea Efunshile CBE, Deputy Chief Executive of Arts Council England with provocations from Deborah Annetts, CEO of the Incorporated Society of Musicians, Jonathan Simons, Head of Education at Think Tank Policy Exchange and Andrea Stark, Director of Foundation for FutureLondon. The 3 provocations asked delegates to think about the current cultural, political and economic landscapes and where cultural education fits.

Key messages were to understand the environment you are working in, and a reminder that there is never a perfect time to launch projects.

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Gary Clarke, Independent Choreographer and Artistic Director and Tom Andrews, Founder of People United talked with Althea Efunshile about their experiences of arts and culture with many inspired by Gary’s story. Gary came from a working class background in a Yorkshire village and is now one of Britain’s leading dance experts. Read more about his work in this interview.

Workshops covered topics such as Our Place: Building pride, aspiration and attainment through heritage, Rules for Rural – developing a shared manifesto, Place-marking: A strategic approach to working with communities and their schools, British values? Exploring a creative approach to the mandate for schools, The Cultural Governor – championing arts and culture through effective leadership in schools and Leading Cultural Learning – nurturing teachers as cultural champions.

A team from Hull showcased the work they are doing as City of Culture…

There were performances throughout the day from students from the University of Hertfordshire, Hertfordshire Music Service and the Pénte Ensemble from Trinity Laban Conservatoire of Music and Dance.

Countess Anne choirThe afternoon kicked off with a performance by the choir from local school, Countess Anne Primary School to remind delegates of why access to arts and culture is so important. Many of the children had taken part in the Hertfordshire Music Service Gala concert at the Royal Albert Hall earlier in the year.

You can read more about what people said about the day here… https://storify.com/ROHBridge/royal-opera-house-bridge.

To find out more about the cultural learning across the Royal Opera House Bridge region visit http://www.roh.org.uk/learning/royal-opera-house-bridge/spotlight where leaders share what they have learned, explore the varied challenges in cultural learning and showcase innovation.

 

Learning at Handel & Hendrix in London

On February 10th, 2016, The Handel House Trust opened a new exhibit to the public – the London flat directly next door to Handel House, where singer, songwriter and guitarist Jimi Hendrix lived for a brief time during the late 60’s. Claire Davies, Head of Learning and Participation at Handel and Hendrix in London, shares her passion for the two great musicians…

“Separated by a wall and 200 years are the homes of George Frideric Handel and Jimi Hendrix, two artists who chose London and changed music. And now these special rooms are open to the public as Handel & Hendrix in London.

We are an organisation dedicated to promoting knowledge, awareness and enjoyment of Handel, Hendrix and their music to as wide an audience as possible through music performances, educational and outreach activities and collecting, exhibiting and interpreting objects from their lives. As the Head of Learning and Participation, I get the privilege of facilitating these activities and one of my favourite parts of this job is organising school workshops.

The rich history enveloped in the walls of these two great properties is at the epicentre of all our activities and the lives of our two famous residents whilst they lived here are fascinating.

Although Handel was born in Germany in 1685, by the time he died in 1759 he was a famous Londoner. He moved into 25 Brook Street in 1723 at the age of 38 and stayed here for the rest of his life. This was Handel’s first home of his own and he wrote over 600 pieces of music here. It was a great location for Handel’s work because it was close to the theatres in Covent Garden and Soho and to the Royal Family at St. James’s Palace. Brook Street was both residential and commercial with perfumers and apothecaries, gin shops and coffee houses near-by. Handel’s neighbours included a mixture of middle-class tradesmen and titled ‘people of quality’.

Hendrix was born in America in 1942. In 1966, at the age of 23, he was scouted and brought over to London by Chas Chandler, a member of the British band, The Animals. In London Hendrix, with Chandler as his manager, set up a band called the Experience and his career took off. In 1968 he moved into the top flop flat at 23 Brook Street and lived there until March 1969 with his then girlfriend, Kathy Etchingham. After a tumultuous childhood, a stint in the army and years of touring, this year in Hendrix’s life was his first and only period of real domesticity. He referred to 23 Brook Street as ‘the first real home of my own’.

6. The main room of 23 Brook Street

Hendrix used the flat as his base, giving interviews, writing new songs, and preparing for his February concerts at the Royal Albert Hall. On learning that Handel used to live next door he went with Etchingham to the HMV on Oxford Street and bought some classical albums including Handel’s Messiah and Water Music. Brook Street was the doorstep to the London music scene of the late 1960s. His flat was a short stroll from legendary venues like the Marquee, the Speakeasy and The Scotch of St James and he would spend many evenings wandering from club to club looking for a chance to play.

Today these great homes have been faithfully restored; it’s like stepping into the private and intimate worlds of two great geniuses. Handel House opened its doors in 2001 and it wasn’t until February 2016 that the Hendrix Flat was opened to join forces with its neighbour.

In conjunction with the opening we have created lots of new learning programmes including a new series of workshops for schools. We were concerned about how to create workshops that include both the music and lives of Handel and Hendrix in one sitting without them competing against one another. Our solution was to create a musical time machine that takes the students back in time as newspaper journalists who have to experience the London lives of both Handel and Hendrix in sequence looking at the differences a similarities of two time periods that are 200 years apart. The crucial part of this is that they end up back in the present with the prompt to think about the differences and similarities between the 18th century, the 1960s and the present day. This is skilfully aided by our in-house composers who, during the time travel journey, deconstruct the music of both men to show layers of composition technique that relate to the way that music is composed today.

The session is split into two halves: a trip around the historic rooms with our history buffs and a musical workshop with our composers where all of their investigations and observations of music from the past are brought together to create a brand new composition of their own. The trip around the buildings start with a look at objects and costumes and every child is encouraged to choose a piece of costume to wear as they walk around the rooms; it’s an eclectic sight of colour and texture! There is a focus on the differences and similarities between Handel’s bedroom with Hendrix’s bedroom and the children’s bedrooms at home to really hone in on our main objective of empathy.

The programme has been adapted to all learning key stages but we tailor make the content to make it as relevant as possible to what the students are learning at school. For older year groups, such as GCSE and A Level groups, we work with the students on specific set works, whether it be a 1960s pop song or a baroque chorus to aid them in their exam preparations.

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With the money kindly donated to us from the Heritage Lottery Fund to open the Hendrix Flat, we were able to build a new learning space with an interactive screen and sound proofing so we can make as much noise as possible! Students also get the benefit of opening up a harpsichord to see how it works, to have a go on an electric guitar, see copies of Handel’s manuscripts and see a 1960s record player in action. With all of these fun and engaging resources both school groups and the learning team end up having lots of fun.”

To find out more about the work at Handel and Hendrix, and to see a selection of learning resources on offer, visit the website at www.handelhendrix.org/learn

 

Bridging the Musical Gap

Across the UK there are outstanding young musicians whose financial circumstances are a real barrier to achieving their full musical potential. According to the Institute of Fiscal Studies, more than 2.5 million UK children currently live in poverty, and of these, 350,000 are not able to pursue a leisure activity or hobby such as learning a musical instrument due to a lack of available finances. It is estimated that, as a result of deprivation, between 600 and 1000 children with exceptional musical abilities are lost to our society every year.

Future Talent was founded in 2004, co-created with The Duchess of Kent. The Duchess spent 13 years teaching music in an East Hull primary school and has first-hand experience of the challenges young people face in learning an instrument. Over the past 10 years the organisation has worked with and supported many talented young musicians from across the UK, helping them realise their dreams.

The Music Workshop Company team talk to Future Talent’s Craig Titley about musical excellence without boundaries…

What is Future Talent?

“We support exceptionally talented young instrumentalists and singers up to the age of 18, who, due to financial hardship, low aspirations and lack of opportunity would otherwise struggle to realise their musical potential. We provide a bridge for young musicians from low-income backgrounds to enable them to study at junior conservatoires and ultimately give them the option of a career in music.

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Our ambition is to make it possible for young people to make a career in music of all genres, whatever their start in life. There’s still a lot of work to do, but with the right level of support at the right time in the development of a young person’s musical journey, a career in music doesn’t have to be an unachievable pipe dream.”

Why is this important?

“The Making Music report, published by Associated Board of the Royal Schools of Music in autumn 2014, makes it clear that sustained, progressive music education sadly still tends to be the preserve of children born to wealthier parents. The cost of lessons and instruments is cited as a major barrier.

There is a particular need for our work in the current climate. Some low-income families face a stark choice between supporting the musical talent of their child and feeding their family. This level of financial hardship creates a culture of low aspiration, which in itself adds significant barriers to success in the music industry.”

How does it work?

“Through an annual application and audition process, we identify young people who most need our support.

We estimate that many parents of talented musicians spend in the region of £11,500 a year on singing or instrumental lessons, junior conservatoire, youth orchestra or choir and other training course fees.

The families of the young musicians we support are means-tested to determine financial need. It is a real challenge for them to find the money to give their child the same opportunities that children from wealthier backgrounds can take for granted.

We also offer advice and mentoring, which are vital to help the young musicians progress towards their goals. We don’t just provide funding, we offer performance opportunities, involve the musicians in events and masterclasses, and tailor the support to nurture each individual towards a career in music.”

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Without the funding and opportunities that Future Talent has provided over the last four years, it would not have been possible for Alex to have achieved all that he has in music. Your support has opened many doors, which would otherwise be unimaginable.

In September 2014, Alex was offered the Andrew Lloyd Webber music scholarship to study his A-levels at Eton College.

What do you provide?

“We provide a Bursary Programme through which we respond to each individual young person’s needs; for example, a bursary might help a young musician and their family to buy a new instrument, take lessons, and attend workshops, specialist music training courses and summer schools. Young musicians who are able to demonstrate financial hardship are able to apply for up to £3000, which can be used in a lump sum, perhaps paying for an instrument, or over a period of 3 years where it could fund instrumental lessons. ”

FT_10-29Without the financial bursary of Future Talent it would have been very difficult, if not impossible, for me to finish my last and incredibly important year in Junior RNCM. I would not have been able to take my Grade 6 Musical Theory Exam, and I would have had to do without the guidance of my JRNCM tutors in the run-up to my training in conservatoire. The bursary has allowed me to conclude this very important phase in my musical education in a positive manner.

“We also offer career advice. The musical world can be daunting for the young musicians we support. Future Talent staff work closely with children, families and teachers to negotiate instrument prices and recommend courses. We set goals and maintain regular contact with each young person and their family, selecting appropriate performance and audition opportunities to increase their confidence and help them discover and plan their individual music journey and potential career path.

This may seem basic, but it is actually vital work and can make a real difference. Unlike children from wealthier and better-connected backgrounds, most of the young people and their parents with whom Future Talent works do not know about opportunities that exist to develop their careers, nor do they know how to access them. Through our practical and ongoing support we give these young people the best possible chance for their talent to develop.”

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 Adam O’Shea, a tenor, received a Future Talent bursary in 2008 enabling him to accept a place at Chetham’s School of Music where he studied with mezzo-soprano Helen Francis, an important step in his music development. Thanks to that opportunity, he went on to study with the renowned tenor Adrian Thompson at the Guildhall School of Music and Drama and is now beginning to make a name for himself as a young singer:

Adam O’Shea gives a courageous and skillful performance – Bachtrack review of Workshopera’s new opera: Boys of Paradise

My aspirations for the future have only been made stronger by Future Talent, who have encouraged and supported me in my ambitions. I think Future Talent has been the best thing to happen to me all year and I truly owe so much to this wonderful organisation – Adam O’Shea

“We also offer mentoring and performance opportunities. We have strong partnerships in the musical profession; mentors and partners who have worked with Future Talent young musicians to date include Danielle de Niese, Natalie Clein, Vasily Petrenko, Chloë Hanslip, Lesley Garrett, Guy Johnston, Laurence Cummings, Tine Thing Helseth, the Rambert Orchestra and Sir Mark Elder. The musicians with whom we work would simply never have the opportunity to meet, work and perform alongside such inspirational musicians without our help. Many of these young people lack confidence. Contact with professional musicians of this calibre sends them a powerful message and gives them a strong sense of self-worth. As well as masterclasses and training, we also provide opportunities for young musicians to shadow professional players, rehearsing with organisations including the Hallé and Rambert Orchestras.”

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How do you measure the impact of your work?

“Future Talent has a great track record in finding these young people and transforming their chances of succeeding in the music industry. Where appropriate, we will work with each child for up to three years, providing long-term support for greater impact. Our programme represents quality, rather than quantity. We focus on significant outcomes to transform the lives of a select number of exceptionally talented young musicians. A number of organisations exist to provide opportunities at a basic standard to enable large numbers of children to engage with music, and this approach can be a wonderful introduction to the music, but it rarely provides meaningful long-term transformative life changes. At the other end of the spectrum, there is support in place for young professional musicians who have already reached a high level of playing. Future Talent occupies a niche position to bridge the gap between these two approaches. We aim to make a real difference by providing holistic support to young people with exceptional musical talent; people who would otherwise not have the opportunity to shine.

We continuously evaluate our work and measure its impact. Our young musicians write reports of their progress every six months, and we receive annual reports from mentors, monitoring progress against the goals we set with the young people.

We measure long-term demonstrable musical achievements and career progression. Of last year’s award recipients, five were offered places at a conservatoire. Others hold positions in national ensembles including National Youth Orchestra, National Youth Choirs of Great Britain, National Youth Brass Ensemble and National Wind Orchestra. Ninety seven percent of our young people have passed their grade 8 exam with distinction and our musicians have won prestigious competitions and awards including Royal Overseas League, Young Drummer of the Year, British Flute Society Young Artist, and the ABRSM Sheila Mossman Prize for highest graded exam mark in the UK.”

Joy Becker came to Future Talent seven years ago, as a 14-year-old violinist, struggling with confidence. With our help she went on to become leader of both Junior RNCM Orchestra and Hallé Youth Orchestra and a member of National Youth Orchestra. Joy has just graduated from conservatoire and is now working on the BBC Philharmonic Orchestra’s professional experience scheme.

“As our work continues over a longer period, we are increasingly able to see the long-term impact of our intervention in the early stages of these musicians’ careers.”

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Future Talent will be accepting applications for a 2016 bursary from Monday 28 September. Visit the website, futuretalent.org, for an application form and further details.

 

 

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