Music Journal May/June 2020

May/June 2020 The COVID-19 Self-employment Income Support Scheme Taking your teaching online The Kanneh-Mason family in lockdown Internet platforms: the expanding world of virtual performances

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ISM MUSIC JOURNAL MAY/JUNE 2020

Welcome These are truly strange times to be living in. The ISM has survived two world wars so we have some experience, albeit a long time ago, of adapting to changing circumstances. And we know that even in the best of times while music can be a rewarding career, it can also be unpredictable.

Above: Deborah Annetts Photo: Mark Thompson

As the ISM moved to home working in response to the government lockdown, many of you found yourselves without work or pay, and no idea of when things are going to return to normal. I know that some of you have been very ill with COVID-19 and others have lost their lives.

It is at difficult times like these that community becomes so important – whether it is your family and friends, or the community of the ISM. Please do think about becoming part of the ISM’s online community at: facebook.com/ISMusicians Overnight we expanded our legal team, with more staff on the front line answering your phone calls, and have revamped our services team so we can collate and write relevant and timely content. By diverting resources and using the flexibility and willingness of my colleagues to take on new roles, we are making sure that we deliver what you need to support you during these very challenging times.

We have written repeatedly to the Chancellor and the Treasury Select Committee to ask for help for the self-employed and lobbied about the changes that need to be made to the employed and self-employed schemes. You can read our letters at ism.org/news. Our legal team has handled three times the level of requests for help in March in comparison to this time last year.

Front Cover The Kanneh-Mason family Photo: Stuart MacIntyre See feature on pages 22–25

We do not know when things will return to normal. This could continue for some time so it is vital that you let us know what you need so we can try and help with services, resources and lobbying – please do get in touch at membership@ism.org. And do remember the ISM’s counselling services (find out more at ism.org/membership/members_fund) which all members have access to and may be of comfort in these difficult times. Please be assured that the ISM will fight for you whatever your circumstances and background. We are here for you.

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News & Campaigns COVID-19 and you COVID-19 Self-employment Income Support Scheme Moving to online teaching Safeguarding for teaching online Professional development

16 18 22

Indian Takeaway Online performances The Kanneh-Masons in lockdown

26 30 31

News from our members Classified advertising News from our corporate members Local area event report Managing your energy whilst working from home Ask me a question

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Volume 87 / Number 1 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: ism.org Incorporated Society of Musicians is a limited company registered in England No. 36882. Registered Office as address above.

deborah@ism.org

Editor: Deborah Annetts Sub-editors: Vinota Karunasaagarar Francesca Treadaway Clare Stevens Proofreader: Christine Gwyther-Scott

Inset images: Pippa Reid-Foster Photo: Emile Holba

Design: cogdesign.com Typography: marcmarazzi.com Advertising: Cabbell Publishing Ltd, T. 020 3603 7940 E. thomas@cabbells.uk Editorial and advertising copy date: 1 June 2020 for July/August issue Price: £7 per copy Subscription: £35 per year Circulation: 10,000 named recipients Views expressed in MJ are not necessarily those of the ISM. The publication of any advertisement does not imply endorsement of the advertiser or the product advertised.

All ISM publications are copyright

See feature on pages 10–12

Printed by Optichrome, Woking GU21 5HX

Dan Baker See feature on pages 18–21

Contents

ISSN 0951 5135

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facebook.com/ISMusicians

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ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS & CAMPAIGNS

News & campaigns COVID-19: round-up

to cover the income gap, or make the Universal Credit application process more responsive.

ISM writes to the Chancellor about emergency financial measures Since the COVID-19 developments intensified, the ISM has written several letters to the Chancellor of the Exchequer seeking clarification and further amendments to the financial measures the government has set out to support workers in the UK.

Self-employed measures Focusing on the package for the self-employed, the ISM is asking the government to:

The ISM was delighted to see that the Treasury Select Committee, in a letter to the Chancellor, echoed some of these recommendations; in particular removing the £50,000 cap and allowing the self-employed who have been on maternity leave to choose a year in the last three years when their income was the highest.

Employed measures Focusing on the measures for the employed, the ISM is asking the government to:

• Review the furloughing of employed staff, who at present are unable to provide services or generate • lower the threshold of income from Selfrevenue for the organisation or business they are employment from 50% to 25% for the Selffurloughed from. Other countries, such as Canada employment Income Support Scheme (Emergency Wage Subsidy) and Australia ( Job • remove the £50,000 cap on the self-employment Keeper Payment), have put schemes in place Income Support Scheme, as no equivalent cap is in which allow furloughed employees to continue place for the employed scheme working – even if it is just on a volunteer basis – so that businesses can survive during and beyond • allow graduates, those who have been on sick the COVID-19 crisis. leave or maternity leave, or those who have returned to work in the past three years to • Remind employers that casual hourly paid discount years that do not reflect their current employees fall within the Coronavirus Job position Retention Scheme and there is no reason for them • clarify whether the taxable grant for the selfemployed will count towards the threshold for Class 4 National Insurance contributions • extend the Self-employment Income Support Scheme to those who have been self-employed for less than a year, or provide equivalent meaningful support to these workers

not to be furloughed if the criteria are met.

We are also asking for the government to provide urgent clarification as to how it intends to support those who operate under a Limited Company and take dividends as a source of income.

In addition to writing to the Chancellor, the ISM has written to Kate Forbes MSP (Cabinet Secretary • clarify that those who work on zero-hour contracts for Finance) in the Scottish Government, outlining and are on PAYE are covered by the Coronavirus Job the issues in relation to the financial measures set out by the government. The ISM also wrote to Retention Scheme Fiona Hyslop MSP (Cabinet Secretary for Culture, • provide an alternative to Universal Credit in order

ISM coronavirus (COVID-19) advice Visit our COVID-19 advice hub which contains guidance on all aspects of the crisis, from finances and work to staying healthy and succeeding online. The hub includes articles from leading experts such as chartered accountant

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Dr Jane MacArthur and nutritionist James Collins, as well as personal experience blogs from ISM members Craig Ogden and Pippa Reid-Foster. ism.org/covid-19

ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS & CAMPAIGNS

Tourism and External Affairs) asking for clarification as to support for the prosperous creative industries in Scotland.

Find out more about the ISM’s lobbying work and read the letters to the government at ism.org/news

The ISM wrote to Mark Drakeford AM (First Minister of Wales) and Dafydd Elis-Thomas AM (Deputy Minister for Culture, Sport and Tourism) asking for clarification as to how their £500m Economic Resilience fund to help businesses in Wales impacted by COVID-19 will apply to the very many types of workers engaged within the thriving Welsh music industry.

Arts Council England

The fund will support businesses and charities of all sizes, including arts organisations. £100m of the package is assigned to companies with immediate cash flow problems through loans of £5,000 to £250,000. The remaining £400m takes the form of an emergency pot for companies.

Smaller companies of up to nine staff are eligible for £10,000 grants, while companies of between 10 and 249 staff are eligible for up to £100,000.

UK’s points-based immigration system

Arts Council England has announced a £20m funding package for individual freelance creatives who make 50% or more of their income from creative freelance work and have delivered publicly funded work and lost income as a result of COVID-19.

Those who do not have funds to remain stable through COVID-19 can receive a grant of up to £2,500 or up to £3,000 if an individual has extra costs relating to a disability, in one of two rounds of funding applications which open on 9 April and 16 April respectively. £16m of the fund will be allocated to individuals and £4m will be available for benevolent funds targeted at other cultural workers, including Help Musicians UK. Find out more at ism.org/news

This means that EU musicians will encounter the UK’s immigration system for the first time, taking on a lot of paperwork and, in some cases, cost.

The ISM is concerned about UK musicians facing similar restrictions, bureaucracy and cost when they work in EU countries after the transition period, and is continuing to campaign for a two-year multi-entry visa for the EU. Find out more at ism.org/news

On 19 February the Home Office published a policy statement about the UK’s points-based immigration system that is expected to come into force in January 2021. The publication is important because it sets out how the UK Government intends to allow people from both the EU and the rest of the world to work in the UK, once freedom of movement ends. This will signal to EU countries how their citizens will be treated when they come to work in the UK, which in turn may have an impact on the UK-EU trade negotiations.

The policy statement says that EU and non-EU citizens will be treated the same (though EU citizens will be treated as non-visa nationals) and that ‘highly-skilled workers’ will be able to work in the UK when assessed by criteria such as salary threshold, job offer, English language proficiency and education qualifications.

In terms of temporary movement and working in the UK on a short term basis, the policy statement says that the existing routes for non-EEA citizens will be applied to EEA nationals (i.e. Tier 5 – Temporary Worker, Permitted Paid Engagement, Standard Visitor – Permit Free Festival).

ISM Trust launches brand new online Indian classical music resource for music teachers The ISM Trust is delighted to announce the release of Indian Takeaway: Rāg and Tāl basics, a practical online Indian classical music resource that music teachers can take away and use with their pupils.

The resource uncovers the basics of the melodic (rāg) and rhythmic (tāl) structures of North Indian classical music, through an innovative multimedia offering including 12 videos of a live workshop, alongside text, a graphic score and staff notations.

Teachers are also able to track their progress through online lessons on the ISM Trust website.

Find out more in our feature by Yogesh Dattani on page 16 of this magazine and at ismtrust.org/ resources/indian-takeaway

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ISM MUSIC JOURNAL MAY/JUNE 2020 | COVID-19 AND YOU

COVID-19 and you home, such as our articles on remote teaching, how to put on online concerts and gigs, and parenting under COVID-19 (advice for parents who are working from home).

If you are a music teacher, stay up to date with the latest government guidance to educational establishments and read the ISM’s actions and advice regarding school closure.

If you perform and are working without a contract, or require advice around your ability to withdraw from existing engagements, please contact our legal team who will be able to advise you on your individual situation. We can also advise you on your rights if your freelance engagements are cancelled or postponed.

The effects of COVID-19 have been felt by all those who work in the music sector, whether as a teacher, a performer, an administrator or running a business.

The way that we work and live has changed, and the repercussions will be felt by the sector for some time to come.

During this time the ISM has you, our members, in mind and we have focused our efforts on keeping you informed, campaigning for your rights, looking at ways we can assist you with producing income and improving your skills so that you are ready to go back to work.

Visit our website for our latest advice pages. We will continue to update our guidance to you in the light of new information from the UK Government, Public Health Wales, Health Protection Scotland, the Public Health Agency in Northern Ireland, the NHS and the World Health Organisation (WHO). We recommend that members check this advice frequently in order to stay informed about recommended courses of action.

In our advice pages we have covered topics that we think are most relevant to you, including guidance on housing measures, Universal Credit and Employment Support Allowance (ESA), and finance. Other topics look at how you can produce income by working from

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Our online resources and webinars will help you to learn new skills and stay up to date for when you do go back to work.

The next three features look at topics that affect many of you during this time: the Self-employment Income Support Scheme; one of our members’ experience of transitioning to working online, so you too can take this step; and guidance on safeguarding when working online.

If you require assistance on a topic that you think we are not covering, please drop us an email to: membership@ism.org and we can explore the issue for you.

ISM MUSIC JOURNAL MAY/JUNE 2020 | COVID-19 SELF-EMPLOYMENT INCOME SUPPORT SCHEME

COVID-19 Self-employment Income Support Scheme: Am I eligible?

WHAT IS YOUR STATUS? I am self-employed and have been trading since before 5 April 2019

I am a partner in an unincorporated partnership registered and trading since before 5 April 2019

Have you filed your personal tax return for the year ended 5 April 2019?

NO

YES

I am self-employed and started trading and registered after 6 April 2019

Will you be able to file this tax return by 23 April 2020 in order to be eligible?

YES

NO

My self-employed profit for the year ended 5 April 2019 is less than £50,000

YES

INELIGIBLE

NO

My self-employed profit for the year ended 5 April 2019 is more than half of my total taxable income for the year.

I am a director of a limited company

NO

The total of my self-employed profit for the three years 2016–17, 2017–18 and 2018–19 is less than £150,000

YES

NO

YES

You should be contacted as potentially eligible for the taxable grant by HMRC, and asked further questions to ensure you satisfy further conditions.

YES

The sum of my three years selfemployed profit, is more than 50% of the sum of my three years total taxable income

FURTHER CONDITIONS: – You traded in the tax year 2019-20.

– You are trading when you apply, or would be except for COVID-19.

– You intend to continue to trade in the tax year 2020–21.

– You have lost trading or partnership trading profits due to COVID-19.

NO

RECEIVE THREE MONTHS 80% AVERAGE MONTHLY SELF-EMPLOYED PROFIT PAYMENT IN JUNE © ISM 2020 Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2020 | COVID-19 SELF-EMPLOYMENT INCOME SUPPORT SCHEME

COVID-19 Selfemployment Income Support Scheme Dr Jane MacArthur FCA DipABRSM of chartered accountants Amati UK Ltd provides useful guidance and sample grant calculations for you to follow on the Self-employment Income Support Scheme introduced by the government under COVID-19, and for which payments will commence from June

You do not need to take any action to apply for assistance under the Self-employment Income Support Scheme, as Her Majesty’s Revenue and Customs (HMRC) will identify those who are eligible and will contact them for further information, before paying the taxable grant. Payments are to be made in early June 2020 and this will cover March, April and May earnings in one payment. This measure may be extended depending on what happens with COVID-19.

Above: Dr Jane MacArthur FCA DipABRSM

We are working hard to ensure this guidance is up to date – however you should bear in mind that things may change on a daily basis as the government responds to the ongoing situation regarding the effects of the COVID-19 pandemic.

This guidance was up to date at the time of going to print.

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As always, be vigilant against scammers: You will access this scheme only through gov.uk If someone texts, calls or emails claiming to be from HMRC, saying that you can claim financial help or are owed a tax refund, and asks you to click on a link or to give information such as your name, credit card or bank details, it is a scam.

The Chancellor has said that you ‘can claim and continue to do business’, for those of you able to re-arrange some of your work. However, you may need to prove that you have lost income to be eligible for the grant.

You can apply if you’re a self-employed individual or a member of a partnership subject to the following conditions: 1. You are currently registered as self-employed, and/or a partner in an unincorporated partnership and, have been trading since before 5 April 2019 2. Either: a. You have already filed a tax return for the year ended 5 April 2019; or b. You will file your tax return for the year ended 5 April 2019 by 23 April 2020 3. At least one of these statements must be true:

The taxable grant offers three months’ support, at 80% of your average monthly self-employed profit from your last three tax returns (2016-17, 2017-18, 201819). If you have filed fewer than three years’ tax returns since you started self-employment, the average will be taken over two years or one year (but not a fraction of a year), as it appears that inland revenue does not intend to calculate profit on a pro-rata basis for those who started self-employment mid-year.

So if you started self-employment halfway through a tax year, October 2017, and have filed six months’ profits on your 2017-18 tax return; then, on your 2018-19 tax return you filed 12 months’ profits, your 18-month total profit figure will be averaged over a full 24 month period (two tax returns).

a. Your self-employed profit for the year ended 5 April 2019 was below £50,000, and this was more than half of your total taxable income; b. Your average self-employed profit for the last three tax years was below £50,000, and these profits constitute more than half of your average taxable income in the same period. The following calculations will help you determine if these are both true: i. Add your self-employed profit for 201617, 2017-18 and 2018-19. This sum must be under £150,000.

ISM MUSIC JOURNAL MAY/JUNE 2020 | COVID-19 SELF-EMPLOYMENT INCOME SUPPORT SCHEME

ii. Add your total taxable income from 201617, 2017-18 and 2018-19. Take the profit sum from (i) above, divide it by the sum of the three years’ total taxable income, and it must be greater than 0.5.

If you only have two years of self-employment and do not satisfy condition 3a, but you do satisfy condition 3b calculated on a two year basis, we think that this situation should still be eligible but are seeking clarification on this point.

4. You have traded in the tax year 2019-20 5. You are trading when you apply, or would be except for COVID-19 6. You intend to continue to trade in the tax year 2020-21

Remember: • self-employed profit is (A) Self-employed profit(s) + (B) Partnership profit share(s) • if you have more than one self-employment, or are a partner in more than one partnership, you add all of the profit figures together, for the purposes of eligibility and your three-year monthly average • total taxable income is the total of all employment income, self-employed income, partnership income, rental income, pension income, savings income, dividend income, any other income

7. You have lost trading or partnership trading profits due to COVID-19 Currently there is no information about what questions may be asked or what proof and checks may be needed to satisfy points four to seven above. The Chancellor wanted to be ‘fair’ and noted that some people may be able to continue to trade as usual and he did not originally intend for this grant to go to them.

Hence, you may need to prove a loss of income.

We recommend that you keep all documentation and information relating to cancelled work.

Exclusions: If you have registered as self-employed or a partner in a partnership since 6 April 2019, you are not eligible for this scheme.

If you are a director of your own limited company, then you are not eligible for this scheme. You may be eligible for the Coronavirus Job Retention Scheme, which provides 80% of your PAYE salary costs if you cannot work at all and put yourself on furlough.

Unfortunately dividend income is ignored.

Remember the grants are taxable. If you claim tax credits you’ll need to include the grant in your claim as income, which may reduce your entitlement to tax credits.

Nothing has been said at any stage about the grant being repayable. If you are offered a grant (on the basis of having lost profits due to coronavirus), but end up recording a year with higher profits than previously on your next tax return, this would imply that COVID-19 did not impact upon your profit.

Sample grant calculations

Simple worked example Annually: self-employed average profit between £37,500 and £50,000 Monthly: qualify for the capped amount of £2,500 per month Total three-month payment in June: £7,500 Assuming 20% tax, this will add £1,500 to your 2020-21 tax bill If your total income in 2020-21 ends up below the annual tax-free allowance (£12,500) the 20% tax due may not be applicable. But if your total income exceeds the higher-rate tax threshold it may be taxed at 40%.

Complex worked example You teach at four different institutions earning a total of £17,852 from employment in 2018-19. Your self-employed profit from private teaching and gigs was £24,432, and you have rental profit of £9,701, making your total taxable income for the year £51,985. £24,432 ÷ £51,985 = 0.47 i.e. 47%, therefore, as less than half your income is from self-employment you do not satisfy condition 3a.

In 2017-18, your self-employed profit was £33,932 and total taxable income was £51,291.

In 2016-17, your self-employed profit was £12,807 and total taxable income was £44,437.

Your average annual self-employed profit over the three years: (£24,432 + £33,932 + £12,807) ÷ 3 = £23,724 Average annual total taxable income over the three years: (£51,985 + £51,291 + £44,437) ÷ 3 = £49,238 £23,724 ÷ £49,238 = 0.48 i.e. 48%, so you do not satisfy condition 3b either and are ineligible for the grant.

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ISM MUSIC JOURNAL MAY/JUNE 2020 | MOVING TO ONLINE TEACHING

Moving to online teaching: an ISM member’s story As part of the precautionary measures to prevent the spread of COVID-19, remote working and specifically home working have been encouraged. We chatted with ISM member and music teacher Pippa Reid-Foster about her transition to online teaching

Make sure you also read our next feature ‘Safeguarding for teaching online’ (page 13) before you start teaching online.

‘These are strange, unsettling times for us all at the moment,’ reflects ISM member Pippa ReidFoster, expressing a view that many of you will share. A professional harpist and composer based in Helensburgh, Scotland, Reid-Foster is passionate about passing on her skills to a new generation of musicians.

She teaches harp, piano and whistle.

‘Teaching remotely was never something I would have imagined doing; I didn’t think it would work well, especially with youngsters, and I do not like technology. But it has proven to be a huge success.

Even though I was a little apprehensive with my first online lesson, there was no need to be. It was engaging and fun for the student and for me.’

Equipment Many of you may be wondering what equipment you need to get started. Reid-Foster made the decision to not buy anything new: ‘I decided not to spend loads of money on expensive gear. Why? Well, for a start, unless the student had high-end gear at their end too, would it make any difference? The quality of the lesson and my teaching is not affected by slightly inferior audio. The sound quality through both my phone and laptop is absolutely fine. I have an elderly Apple MacBook Pro 2011 and it’s coping.’

There are many possible platforms for online teaching, but Reid-Foster found it useful to limit the options to those she already used, Skype and FaceTime:

‘I offered my students just two options so that I didn’t have to deal with lots of different platforms. Skype and FaceTime are widely used and most people are familiar How did Reid-Foster get started with online teaching? with one or the other. The harp, piano and whistle all sound absolutely fine through both platforms with ‘As soon as COVID-19 guidelines escalated I emailed no extra equipment expense. If you and your pupil all parents and students making them aware that I use Apple devices and can use FaceTime I personally might move online with lessons, and attached to this find this preferable. It has less of a time lag and is a Word document to help them prepare for the new way of working. Then a few days later, as the situation full duplex (both ends can speak and play at once).

Skype can only handle one person speaking or playing worsened, I sent another email saying these plans at a time. Another very popular platform for video would take effect immediately.’ calling is Zoom, and many teachers are now switching As the content and structure of the lessons hadn’t changed and students were still receiving a full lesson, to that.’

Reid-Foster kept her fees the same as usual. However, as focusing online can be more difficult, she found it easier to keep each session to 30 minutes.

Keep the student (and parent informed)

Left: Pippa Reid-Foster Photo: Emile Holba

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2020 | MOVING TO ONLINE TEACHING

Above: Pippa Reid-Foster’s workspace Photo: Pippa Reid-Foster

Below: Pippa Reid-Foster Photo: Emile Holba

Pippa Reid-Foster’s seven easy steps to setting up and teaching online •

make sure the student and instrument are well in view at the start of the lesson and that you can see their hands clearly

•

for minors ensure there’s a parent or guardian present during the lesson

•

carry out a test call with each pupil before their first lesson to check set-up, as this helps to ensure the lesson will run smoothly and all technical difficulties are resolved

•

offer shorter lessons, say 30-minute sessions, and if the student requires more time they can pop online for another one later in the week

•

in addition to the lesson, timetable an extra five to ten minutes to allow for other disruptions, such as a connection problem, toilet or coffee break, and you may need to focus more when you’re on camera

•

try fun warm-up exercises at the start, focus on pieces and then spend 10 minutes at the end on rhythm, flash cards, playing yourself and inspiring

•

working on theory is useful, so the student has something to work on at home – the student (or parent if the student is a minor) can send photos of their work to you for checking

So what are Reid-Foster’s conclusions on her move to online teaching?

‘While setting up for online teaching may look daunting, you may already have experience with this from your own personal life and most students are already very used to absorbing on-screen information.

‘My adult pupils have been more worried about the move, but have been really positive and are thoroughly enjoying lessons online in the comfort of their own homes and with a cup of tea in hand.

‘Good luck everyone and let’s keep this journey of learning an instrument running full steam ahead!’

Check out our advice and what we are doing for members during COVID-19 at ism.org. We have further advice about working from home; legal advice, as to where you stand in relation to changes to your employment; and professional development so that you can use the time at home to expand on your skills and knowledge.

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ISM MUSIC JOURNAL MAY/JUNE 2020 | LEGAL & BUSINESS

Safeguarding for teaching online The ISM’s Head of Compliance & Legal John Robinson explains some of the safeguarding issues you need to consider before teaching online

Many music teachers have been successfully using Skype, FaceTime, Zoom and similar audio-visual applications to give instrumental lessons for several years. Safeguarding remains as important in this environment as anywhere else, and ISM members should familiarise themselves with our Safeguarding & Child Protection Policy, Code of Practice and Procedures and the ISM Members Code of Conduct.

You can find these on our website: ism.org/about/safeguarding

Above: John Robinson, ISM Head of Compliance & Legal Photo: Emile Holba

Working via Skype or equivalents does raise some other safeguarding issues you need to consider.

Before and during lessons • Ideally set up a separate Skype (or equivalent) account for your online teaching. Keep it separate from your personal online profiles. Make sure you use an appropriate image for your profile picture, and do not share any personal information about yourself e.g. personal telephone number, email accounts, Facebook or other social media links.

• Discuss the offer to teach online with the parents or guardians of pupils under the age of 18.

You should also discuss this with your adult clients as online lessons may represent a change to your current contractual provisions.

• Use the parent’s or guardian’s own account if possible, rather than a child’s, to deliver lessons.

Alternatively, ask them to set one up in their name and under their control.

• Set out a clear policy in writing: tell people that your Skype or equivalent account will be used exclusively for the purpose of lessons and only during music lessons.

• Get the agreement of a parent or guardian for teaching online in writing. Consider obtaining a DBS Enhanced Disclosure Certificate (formerly CRB check).

• Test your set-up before you go live: are the camera and microphone working properly? Is the camera in the correct position for optimum teaching? Make sure you are working against a neutral background.

• Be business-like when giving lessons.

Always present yourself as professionally as you would if you were giving a face-to-face lesson, in dress and in manner: remember that while social media applications can encourage informality, you need to observe your usual high professional standards when you are using social media for work.

• The pupil must take lessons in a room with an open door and a parent or guardian must ensure they, or another trusted adult, will be in the same premises as the pupil while the lesson takes place.

• Set standards for your pupils and their parents or guardians: pupils are expected to dress and behave appropriately. If a pupil is inappropriately attired when they sign in, you should explain that you are going to terminate the lesson and give the reason for doing so. The lesson can resume when the pupil is suitably dressed. You should explain that you will suspend a lesson if any of the provisions of your policy are not complied with.

You should also state that pupils should not send any material directly to you by whatever platform.

Only parents or guardians of the children you teach are permitted to send anything to you, and it must be strictly related or connected to the provision of music lessons.

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2020 | LEGAL & BUSINESS

Recording lessons Many members have asked us about the safeguarding implications of using Skype and Zoom and others to record lessons.

This is a sensitive area and we counsel caution.

Always discuss this with your pupils or their parents or guardians.

If in any doubt as to the intentions of your clients or the parents or guardians of your pupils, do not record lessons.

You must never record a lesson without the knowledge and written consent of your pupil, or the pupil’s parent or guardian.

• If you decide you do wish to record lessons: • ask for consent in writing before you make any recording.

• Have a written policy available to your clients which says: • what you will do with the recordings and that you will only ever use them for the purpose of tuition for the individual pupil

As an alternative to making recordings yourself: ask parents or guardians if they would like to make the recording themselves. This way they can control what happens to it. You should also seek their agreement that they will not share or post to social media any recordings, and that they will securely delete and dispose of any recordings of your teaching as soon as possible on your request.

If you have any safeguarding concerns about your pupil: ISM members should follow the instructions in the ISM’s Safeguarding and Child Protection document: ism.org/advice/ism-safeguarding-childprotection-policy-code-of-practice-andprocedures • If you are working within an organisation, contact their safeguarding lead in the first instance.

• If you are working outside an organisation, you can call the NSPCC helpline 0808 800 5000, your local authority children’s social care department, or email the ISM’s Designated Safeguarding Person at cp@ism.org

• how long you will keep them and why • that you guarantee you will only ever share the recording with the pupil (if an adult) or the parent or guardian • how you will dispose securely of the recordings at the end of your retention period • you will securely delete and dispose of recordings as quickly as possible if your pupils or their parents or guardians withdraw consent.

• Update your GDPR Data Protection Privacy Statement and record of processing to reflect this.

Play: A psychological toolkit for optimal music performance ISM members receive 20% off when they purchase pioneering toolkit Play from the ISM Trust website. The toolkit is available as an eBook priced at just £4 for members (usually £5) or a limited edition printed book priced at £8 (usually £10). Sample chapters are also available for free on the website.

Play: A psychological toolkit for optimal music performance is a groundbreaking guide by Gregory Daubney, CPsychol, MSc and Dr Alison Daubney. Play is packed with approachable practical strategies to help musicians of all ages manage performance anxiety and overcome common psychological obstacles. ismtrust.org/play

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Useful links: ISM’s COVID-19 advice: ism.org/advice/coronavirus-stay-informed GDPR advice for members: ism.org/features/vital-advice-on-gdpr-andhow-it-affects-musicians ism.org/advice-centre ism.org/advice/ ism-template-privacy-policy-and-advice

The ISM podcast series The ISM podcast explores the issues music professionals face in the world today with different guest speakers from across the music sector.

Previous interviewees include musicians Isata Kanneh-Mason and Miloš Karadaglić, as well as key players in the industry Vick Bain (PiPa), Steve Pycroft (Riot Jazz and Kaleidoscope Orchestra) and Wozzy Brewster (The Midi Music Company). bit.ly/TEMpodcast

ISM MUSIC JOURNAL MAY/JUNE 2020 | PROFESSIONAL DEVELOPMENT

Professional development We’ve been committed to supporting you through this pandemic with guidance on government announcements and practical advice for new ways of working, including teaching and performing online. Go to ism.org/covid19 to see our latest information.

Diversify your teaching

If you teach, take the chance to learn something new to take forward into lessons, or just choose to tackle a new challenge. In the ISM Trust’s innovative new online resource Indian Takeaway, classical Indian music specialist Yogesh Dattani takes you through a whole It’s been tough having to put plans and projects on lesson that’s adaptable to any instrument or to voice. hold for the last few weeks, particularly if that has There are 12 easily digestible videos, leading to a meant less opportunity to make music. However, if you can, use this time to plan, prepare and brush up on performance of an Indian classical piece, Sargam Gīt. skills you will need in the future. The ISM has a large If you regularly teach in a primary school setting, collection of professional development videos and return to our award-winning Primary Music Toolkit to resources available to members and the wider music see if there are any ideas you can use once you’re back sector through our sister charity, the ISM Trust. in the classroom.

Promote yourself Get thinking about your online presence, whether that’s creating new contacts on social media or building a simple professional website to demonstrate what you do to a wider audience.

Whether you have a small teaching practice you’d like to see gain more pupils or have a big gig that you’re putting on at the end of the year, take some time to consider all the different ways you could reach new people to let them hear about you and your music by writing a marketing plan.

How? Revisit our webinar Marketing essentials for musicians and get some new ideas for promoting yourself and your work. ismtrust.org/marketing-essentials-webinar Download How to…Connect with a digital audience, one of our downloadable resources on music industry topics, and learn about topics like distribution and royalties. Follow up with How to…Write a DIY marketing plan. These guides are made for ISM members, so you have exclusive access. ism.org/advice-packs g/ p

How? Indian Takeaway and the Primary Music Toolkit are free through the ISM Trust at ismtrust.org

Tackle performance anxiety Whether it’s affecting you, or a pupil you teach, anxiety when performing can take away from the joy of playing and knock a musician’s confidence.

But there are practical techniques that can help.

Dr Alison Daubney, PhD and Gregory Daubney, MSc, CPsychol combine methods from sports psychology, cognitive behavioural therapy and more in their two ISM Trust books: Play: A psychological toolkit for optimal music performance and Performance anxiety: A practical guide for music educators.

How? Get a taste of the topic by watching our webinar at ismtrust.org/play-webinar Both books are available to download from the ISM Trust website with 20% off for ISM members, and the opportunity to download sample chapters before you buy. ismtrust.org/play ismtrust.org/resources/ performance-anxiety

15

ISM MUSIC JOURNAL MAY/JUNE 2020 | INDIAN TAKEAWAY

Indian Takeaway: Rāg and Tāl basics Indian Takeaway: Rāg and Tāl basics is an innovative, new online resource from the ISM Trust and Indian music expert Yogesh Dattani. Here he explains what it can offer anyone interested in exploring a new musical genre

If you are working from home, use the opportunity to explore our free professional development webinars and resources to get ready for when you go back to work.

As Head of Ealing Music Service, I have taught WDEOă DV SDUW RI WKH JRYHUQPHQW·V ÁDJVKLS :LGHU Opportunities Key Stage 2 Music programme. :KLOH WHDFKLQJ P\ VWXGHQWV , QRWLFHG WKDW WKH\ were at a psychological disadvantage when I spoke the WDEOă ERO ² D PQHPRQLF V\OODEOH WKDW GHÀQHV the various WDEOă sounds. The ability to speak and understand WDEOă bol is one of the most important aspects of the teaching and learning of WDEOă.

However, I noticed that the pupils did not recognise it – they thought I was speaking Hindi or Sanskrit, and were not able to engage with it.

I was keen to resolve this problem, so when I attended the Royal Opera House’s week-long ¶:ULWH DQ 2SHUD· FRXUVH , GHFLGHG WR FRPSRVH word-rhythms using animal names, to make the teaching and learning of complex WDEOă repertoire easily accessible. My idea was to combine the very EHVW RI FXUUHQW PXVLF SHGDJRJ\ ZLWK D VSHFLÀF musical genre so that, just as with Indian cuisine that everyone enjoys, Indian classical music could also EH HPEUDFHG E\ SHRSOH IURP GLͿHUHQW FRPPXQLWLHV I was certain that with the correct resources this could be achieved and I could teach and show others how to make Indian music more accessible.

Left: Yogesh Dattani Photo: LensGo Visual Media

7KH ,60 7UXVW ÀOPHG PH GHOLYHULQJ WKLV workshop to teachers from Ealing Music Service.

The teachers were all professional musicians, but did not have prior experience in Indian music. I took them from a place where they had little or no knowledge of Indian classical music to performing the composition together by the end of the lesson.

In 5ăJ DQG 7ăO EDVLFV the ISM Trust provides you with this lesson in full, broken down into 12 easyWR IROORZ OHVVRQ SODQV ZLWK YLGHR FOLSV :RUNLQJ with me the Trust has created useful downloadable guidance, composition(s) and score(s) (including a graphic score) to go with the lessons. Now you can follow my teaching yourself at: ismtrust.org/ resources/indian-takeaway, you can track your progress online, repeat lessons as many times as you want and, on completion of the lesson, can SULQW RXW D FHUWLÀFDWH RI FRPSOHWLRQ

:LWK ,QGLDQ 7DNHDZD\ 5ăJ DQG 7ăO EDVLFV, the ISM Trust and I have created a resource that can be enjoyed by all; its uniqueness is that it is truly accessible, as the composition can be sung, FODSSHG RU SOD\HG RQ DQ\ LQVWUXPHQW :KDW FDQ you gain from this resource? I hope Indian Takeaway: 5ăJ DQG 7ăO %DVLFV ZLOO EH WKH ÀUVW RI VHYHUDO I approached the ISM Trust (the Incorporated resources that will help make Indian music truly Society of Musicians’ sister charity, which advances the nation’s favourite. education and promotes the arts by creating 5ăJ DQG 7ăO basics was successfully launched pioneering resources) with my idea. Together, we at the 2020 Music and Drama Education Expo, to created the resource ,QGLDQ 7DNHDZD\ 5ăJ DQG 7ăO positive reviews. One user commented, ‘I wish this basics. It explores the melodic (UăJ) and rhythmic had been available when I was a student’, while (WăO) structures of North Indian classical music, another said, ‘How easy it is to use!’ such as 6DUJDP *ĦW, a vocal composition that uses The resource is free and available to all on the the actual note names instead of words, with ISM Trust website and you can also contact the various degrees of ornamentation. The resource Trust for more information and booking details includes a lesson delivered by me, within which if you would like me to present this workshop to users gradually learn to play (or teach) a short your students or teachers. composition – 6DUJDP *ĦW. ismtrust.org/resources/indian-takeaway

17

Online performances: staying creative With live performance and face-to-face teaching suspended for the foreseeable future, musicians are sharing their skills online in increasingly inventive ways. Clare Stevens reports

Above: Clare Stevens Photo: Alex Ramsay

18

One of the most remarkable aspects of UK musicians’ responses to the COVID-19 crisis, which so quickly led to the cancellation of almost every performance, recording or teaching session in their diaries for the next few months, was the speed with which some people were able to get online alternatives up and UXQQLQJ :LWKLQ KRXUV RI WKH ÀUVW DQQRXQFHPHQWV of cancelled concerts and festivals, in the middle of March, musicians who had never before ventured to put performances on social media were working out how to get the number of subscribers to their YouTube channel up to 1,000 in order to qualify for enhanced broadcast quality, how to sync multiple tracks to create performances from individual vocal RU LQVWUXPHQWDO OLQHV UHFRUGHG LQ GLͿHUHQW SODFHV or how to deliver a music lesson using unfamiliar platforms such as Zoom.

Assisted by his record company Decca and publishers Hal Leonard, Malone runs YouTube rehearsals on weekdays at 5.30 from the studio at the bottom of his garden; they include physical and vocal warm-ups and Malone is teaching customised fourpart repertoire, with viewers recording their parts and uploading them to be stitched together into weekly broadcast performances. Starting with ‘You are my sunshine’ arranged overnight by -RQDWKDQ :LNHOH\ UHDG\ IRU WKH Ă€UVW VHVVLRQ YRFDO scores are emailed to participants each week along with a rehearsal schedule. By the second week the sessions were clocking up 27,000 views.

Similar choral projects include the #StayatHomeChoir organised by singing leaders 7RUL /RQJGRQ -DPLH :ULJKW DQG 5DFKHO 6WDXQWRQ in collaboration with ensembles such as the Royal Philharmonic Orchestra, which supported Online choirs have proliferated, catering for every level of singer. No sooner had the government the launch Vivaldi Gloria project, and the King’s Singers, some of whose arrangements PDGH LWV ÀUVW DQQRXQFHPHQWV DERXW VRFLDO have been made available by Hal Leonard and distancing than Esther Rantzen appealed on ITV’s sheetmusicplus.com for participants to download.

7KLV 0RUQLQJ for Gareth Malone to set something All they need is ‘a mobile phone, headphones and a up, and the result is one of the most far-reaching warmed-up voice’ to join in with singing songs that initiatives, his #GreatBritishHomeChorus. are announced in advance on Twitter.

Voces8 and their satellite ensemble Apollo KDYH EHHQ RÍżHULQJ RQOLQH YRFDO FRDFKLQJ DQG tuition in choral direction as well as sharing their performances, with the hashtag #livefromhome.

7KH HÍżHUYHVFHQW 7RP 'DJJHWW GLUHFWRU RI +DFNQH\ Children’s Choir, and his colleagues in the music department of of St Paul’s Cathedral kickstarted D K\PQĂ DVKPRE ZKLFK VDZ VFKRROV DOO URXQG the country sharing performances just before they closed, and this developed into a virtual ‘Choir of the Nation’ pledging to sing and upload three hymns for Palm Sunday and Easter.

Many cathedral and church organists started RͿ WKH ORFNGRZQ SHULRG E\ SOHGJLQJ WR VKDUH GDLO\ performances from their lofts in lieu of Choral Evensong, but within a few days this proved impossible to sustain when the government LQVLVWHG WKDW FKXUFKHV VKRXOG EH FORVHG WR VWDͿ as well as worshippers. Undaunted, some have continued to broadcast live from pianos and electronic keyboards in their homes; at the time RI ZULWLQJ WKH RUJDQLVWV RI :RUFHVWHU &DWKHGUDO for example, were taking it in turn to contribute WR D QHZ œ'DLO\ 0XVLF IURP :RUFHVWHU &DWKHGUDO¡ Facebook page, while Peter Dyke of Hereford was posting regular #VirtualVoluntaries played on the piano to his own social media feeds.

At the time of writing the Oxford Bach Soloists had raised more than £13,000 for Help Musicians UK through a YouTube performance of Bach’s St John Passion, introduced and performed from their homes by a distinguished team of singers and instrumentalists led by tenor Daniel Norman and LQFOXGLQJ EDULWRQH 5RGHULFN :LOOLDPV VRSUDQR Mary Beavan, members of the King’s Singers and broadcaster Andrew Armstrong. The project includes commissioned artwork and downloadable scores of the chorales so that viewers can join in. %HLQJ DW KRPH LV SDUWLFXODUO\ GL΀FXOW IRU SDUHQWV RI \RXQJ FKLOGUHQ $PRQJ WKH ÀUVW WRGGOHU

music groups to move their meetings online was 0LQL0XVLF0DNHUV RI (DUOVĂ€HOG /RQGRQ 0DWW and Lucia Vernon-Long and their two-year-old daughter present a session every morning at 10 am.

They draw on a large repertoire of favourite childrenâ&#x20AC;&#x2122;s songs and rhymes, using a spectacular array of costumes and props, accompanying some of the songs on keyboard or guitar. The National <RXWK &KRLU RI 6FRWODQG LV DOVR RÍżHULQJ GDLO\ DFWLYLWLHV DLPHG SULPDULO\ DW WHDFKLQJ D GLÍżHUHQW action song from their acclaimed repertoire to parents each day so that they can organise their own singing sessions at home.

From top-left: Oxford Bach Soloists Tom Poster and Elena Urioste

An enormous number of music teachers who work with older children, teenagers or adults have found that setting up one-to-one lessons for their students is easier and more rewarding than they expected. â&#x20AC;&#x2DC;Online teaching, well what can I say â&#x20AC;Ś I donâ&#x20AC;&#x2122;t think I want to go back to â&#x20AC;&#x153;normal teachingâ&#x20AC;? after two weeks of online lessons!â&#x20AC;&#x2122; commented Monia de Swart to an online forum on singing run

by Gillyanne Kayes and Jeremy Fisher of Vocal 3URFHVV Âś,Q JHQHUDO , Ă&#x20AC;QG WKDW WKHUH¡V VR PXFK PRUH focus, students are much more prepared, and as a teacher itâ&#x20AC;&#x2122;s easier to really get to the point. Also, the easy way to record bits and pieces really helps with their home study. So many new possibilities!â&#x20AC;&#x2122; Others, for whom managing the transition has been more challenging, have found a ready source of assistance and advice in social media support groups, as performers and teachers rally round to share technical as well as musical expertise.

Guitarist and electronics engineer Dan Baker has posted two videos on how to teach online on his YouTube channel, as well as gathering clips of inspirational performances. Meanwhile some musicians have been taking the opportunity to learn a new skill themselves, taking up an unfamiliar instrument from scratch, perhaps, or H[SORULQJ WKH UHSHUWRLUH RI D GLÍżHUHQW GLVFLSOLQH Continued overleaf Ă&#x2C6;

19

ISM MUSIC JOURNAL MAY/JUNE 2020 | ONLINE PERFORMANCES

Above: Lucia, Sephy and Matt Vernon-Long of EarlsďŹ eld MiniMusicMakers Right: Dan Baker

Percussionist Ollie Tunmer, founder and director of Beat Goes On, has found a new audience for his online body percussion and samba drumming workshops as a result of the crisis. A former cast member of the hit show STOMP and its sister show, â&#x20AC;&#x2DC;The Lost & Found Orchestraâ&#x20AC;&#x2122;, KH LV DOVR D TXDOLĂ&#x20AC;HG VHFRQGDU\ PXVLF WHDFKHU and combines these experiences to deliver fun, engaging and memorable workshops which draw on participantsâ&#x20AC;&#x2122; own ideas, as well as developing skills and knowledge. They transfer well to video and are ideal for raising the spirits of anyone who is feeling frustrated by the lockdown. :KLOH FRQFHUW YHQXHV DUH FORVHG IRU WKH duration, some are coming up with creative solutions to keeping in touch with their audiences.

Birminghamâ&#x20AC;&#x2122;s Symphony Hall and Town Hall KDYH VHW XS :DWFK 3DUWLHV RQ WKHLU )DFHERRN page, broadcasting pre-recorded performances to replace their free Friday Jazz, and they are also collaborating with other European concert halls to stream a variety of performances from venues ranging from Lisbon to Athens, Stockholm and

20

Hamburg to Barcelona. The City of Birmingham Symphony Orchestra is creating a playlist of sound DQG Ă&#x20AC;OP WR UHSOLFDWH HDFK RI LWV FDQFHOOHG FRQFHUWV LQFOXGLQJ SURJUDPPHV GHGLFDWHG WR Ă&#x20AC;OP VFRUHV DQG the music of Elton John. Soul club The Night Owl, also based in Birmingham, has teamed up with 7RWDOO\ :LUHG 5DGLR WR EURDGFDVW D ZHHNO\ UDGLR show tailored to the tastes of its regulars.

Lockdown Music Festival took place on Facebook on three Saturdays in March and April, with packed line-ups of mainly blues artists; it even featured compilation albums of the contributing acts. Singer-songwriter Tony Moore, a former member of Iron Maiden, has been streaming gigs from his home under the banner â&#x20AC;&#x2DC;Live from the /RFNGRZQ LQ 6 : /RQGRQ¡ North of the border, community music group G.D.Jam has successfully transferred its jam sessions normally held at the St Brideâ&#x20AC;&#x2122;s Centre in Edinburgh to Facebook, while Music from Scotland VHW XS D SDJH RÍżHULQJ OLYH VHVVLRQV WR KHOS VXSSRUW performers from the traditional music scene and emerging artists through the crisis.

ISM MUSIC JOURNAL MAY/JUNE 2020 | ONLINE PERFORMANCES

London-based violinist Elena Urioste and pianist Tom Poster are not only missing out on much-anticipated performances in Europe and the US, they were also forced to cancel their honeymoon in California and go into lockdown with Urioste’s parents on the east coast of America. %XW WKH\ ZHUH DPRQJ WKH ÀUVW PXVLFLDQV WR FRPPLW themselves to daily online performances, often of music specially arranged by Poster. They have been taking requests for their #UriPosteJukebox and the result has been presentations of a very varied repertoire, ranging from the intensity of J S Bach and a movement from Messiaen’s ‘Quartet for the End of Time’ to the Franck violin sonata, the theme from &LQHPD 3DUDGLVR, ‘Moon River’ and a mash-up of ‘Come on Eileen’, Britney’s ‘Toxic’ and (requested by many friends with young children) ‘Baby Shark’, guaranteed to lift the spirits of anyone who watches it.

others have been stimulated by the situation.

Composer Paul Mealor, for example, posted on Facebook that ‘in amongst all of the concerns we are facing in connection with the pandemic and being busier than ever, I have found myself more and more turning to composing and to being creative, as if an antidote to the troubles.’

Of course for some musicians an enforced lockdown can be an opportunity to concentrate more fully than usual on long-term projects, while

beatgoeson.co.uk Dan Baker Music (YouTube) decca.com/greatbritishhomechorus Elena Urioste YouTube #UriPosteJukebox

@stbridesedinburgh stpauls.co.uk/worship-music/ worship/choir-of-the-nation-joinour-hymn-flash-mob @theCBSO

@lockdownmusicfestival

@thenightowlbham

@musicfromscotland

@tonymooremedia

nycos.co.uk/daily-activities

@totallywiredradio

oxfordbachsoloists.com

@townhallsymphonyhall

paulmealor.com

voces8.com

stayathomechoir.com

@minimusicmakers Clockwise from top-left: Lockdown Music Festival

Get £10 off your membership fee Take the hassle out of renewing your membership by setting up an annual Direct Debit.

Your membership will automatically renew every year and you won’t have to contact us unless you wish to cancel or change your payment method. If you are a full member, you will get £10 off your membership fee if you pay by annual Direct Debit.

Gareth Malone Photo: Gareth Malone

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21

ISM MUSIC JOURNAL MAY/JUNE 2020 | THE KANNEH-MASONS IN LOCKDOWN

The Kanneh-Masons in Lockdown For most musicians this period of enforced isolation has been a lonely one of solitary practice and virtual performances, but for Britainâ&#x20AC;&#x2122;s most famous musical family thereâ&#x20AC;&#x2122;s always someone to play with and someone else to listen to. Clare Stevens gave them a call to ďŹ nd out more

7KHUH LV QR IRUPDO VFKHGXOH IRU WKH GD\¡V DFWLYLWLHV ZKLFK LQFOXGH PXFNLQJ LQ ZLWK FRRNLQJ DQG KRXVHKROG FKRUHV DV ZHOO DV WLPH DURXQG WKH NLWFKHQ WDEOH SOD\LQJ ERDUG JDPHV ÂŤ DQ\RQH ZKR has joined one of their Facebook Live broadcasts ZLOO NQRZ WKDW 0RQRSRO\ IHDWXUHV SURPLQHQWO\ ([HUFLVH LV D ELW PRUH FKDOOHQJLQJ Âś:H KDYH D garden, so weâ&#x20AC;&#x2122;ve been able to get outside a bit in this nice weather, but I love playing football, and I really :LWK VXFK D ODUJH IDPLO\ DOO RI WKHP SHUIRUPHUV PLVV WKDW ¡ VD\V 6KHNX ,VDWD DGGV WKDW WKH JLUOV this enforced period of isolation is obviously not as VRPHWLPHV JR UXQQLQJ DQG WKH\ GR JR IRU IDPLO\ ORQHO\ RU XQSURGXFWLYH DV LW LV IRU VRPH PXVLFLDQV ZDONV XVXDOO\ LQ VPDOO JURXSV RQ RQH RFFDVLRQ they all went out together and were stopped by a 7KH .DQQHK 0DVRQV¡ KRXVH UHVRXQGV ZLWK PXVLF SROLFH RÎ&#x20AC;FHU DQG UHPLQGHG DERXW VRFLDO GLVWDQFLQJ IURP PRUQLQJ XQWLO QLJKW DV WKH JLIWHG VLEOLQJV work on technical exercises or solo repertoire, or get rules, although their explanation that they are all RQH IDPLO\ ZDV TXLFNO\ DFFHSWHG WRJHWKHU IRU HQVHPEOH SHUIRUPDQFHV On the last day of March this year, cellist Sheku and pianist Isata Kanneh-Mason should have EHHQ VHWWOLQJ LQ WR WKH Ă&#x20AC;UVW GD\ RI PDVWHUFODVVHV DQG FRDFKLQJ VHVVLRQV DW WKH IDPRXV ,QWHUQDWLRQDO 0XVLFLDQV 6HPLQDU HVWDEOLVKHG E\ +XQJDULDQ violinist SĂĄndor VĂŠgh and now run by cellist Steven Isserlis, at Prussia Cove in Cornwall. Instead they ZHUH VRFLDO GLVWDQFLQJ DW KRPH LQ 1RWWLQJKDP ZLWK WKHLU SDUHQWV DQG Ă&#x20AC;YH VLEOLQJV

Do they argue over who gets the best rehearsal VSDFH RU XVH RI WKH SLDQR" Âś7KUHH RI XV DUH SULPDULO\ SLDQLVWV EXW WKHUH DUH WKUHH SLDQRV LQ GLÍżHUHQW URRPV VR WKHUH LV RQH IRU HDFK RI XV ¡ H[SODLQV Isata. â&#x20AC;&#x2DC;Though youâ&#x20AC;&#x2122;re always next door to another pianist, so it can get a bit loud! Sheku needs a bit of space for his cello so he usually practises in his URRP EXW WKH YLROLQLVWV FDQ SOD\ DQ\ZKHUH HYHQ LQ WKH EDWKURRP ¡ ,V WKHUH D FXUIHZ IRU SUDFWLVLQJ ² QR PXVLF DIWHU PLGQLJKW SHUKDSV" Âś1R ZH¡UH DOZD\V UHDOO\ WLUHG after playing all day, so it just stops naturally!â&#x20AC;&#x2122; Top left: Isata Kanneh-Mason Photo: Robin Clewley Bottom left: Sheku Kanneh-Mason Photo: Jake Turney Right: The Kanneh-Mason family

7KH VLEOLQJV DGPLW WKDW LW LV VWUDQJH WR EH VSHQGLQJ VR PXFK WLPH DOO WRJHWKHU QRZ WKDW WKH eldest four are adults and for the past few years KDYH EHHQ VSHQGLQJ PRVW RI WKHLU WLPH OLYLQJ DZD\ IURP KRPH DW FROOHJH RU HPEDUNLQJ XSRQ WKHLU SHUIRUPLQJ FDUHHUV Âś,W IHHOV OLNH ZKHQ ZH ZHUH little,â&#x20AC;&#x2122; says Sheku, â&#x20AC;&#x2DC;but thatâ&#x20AC;&#x2122;s quite nice in a way.â&#x20AC;&#x2122;

Photo: kannehmasons.com/ media-2/

Continued overleaf Ă&#x2C6;

23

ISM MUSIC JOURNAL MAY/JUNE 2020 | THE KANNEH-MASONS IN LOCKDOWN

Sheku picks out a recital at the Wigmore Hall as one of the lost concerts he most regrets. However they are both young artists, at the beginning of their careers â&#x20AC;&#x201C; is it perhaps a positive thing to be able to take a little musical breathing space, to regroup, study new repertoire and practise hard without the constant rush of travel from one performing engagement to another? Both admit that it is XVHIXO WR KDYH D ELW RI GRZQ WLPH EXW WKH EHQHĂ&#x20AC;WV are outweighed by the losses. They miss the joy of performing in beautiful concert spaces, and in Isataâ&#x20AC;&#x2122;s case, on grand pianos, and they both miss performing to a live audience and hearing them applaud. â&#x20AC;&#x2DC;I need the stimulus of a performance date to inspire me to practise and prepare new repertoire,â&#x20AC;&#x2122; admits Sheku. â&#x20AC;&#x2DC;Without that, of course I can carry on working but itâ&#x20AC;&#x2122;s much harder. Iâ&#x20AC;&#x2122;m sad that [for the foreseeable future] I wonâ&#x20AC;&#x2122;t get to play repertoire that I wanted to be challenged to perform.â&#x20AC;&#x2122;

Top: Sheku Kanneh-Mason Photo: Jake Turney Above, left to right: Braimah, Isata, Konya and Jeneba Kanneh-Mason Photo: kannehmasons.com/ media-2/

24

In common with musicians around the world, they have had all their imminent concerts cancelled and more are dropping out of their diaries every day. â&#x20AC;&#x2DC;Weâ&#x20AC;&#x2122;re really disappointed not to be at Prussia Cove,â&#x20AC;&#x2122; says Isata, wistfully, â&#x20AC;&#x2DC;and I am really sorry not to have been able to perform Beethovenâ&#x20AC;&#x2122;s third piano concerto with the Royal Philharmonic Orchestra at the Royal Albert Hall as planned in April â&#x20AC;Ś though the orchestra is already talking about rescheduling.â&#x20AC;&#x2122;

To try to counter that sense of loss, the KannehMasonsâ&#x20AC;&#x2122; current routine includes a weekly concert where they play the solo pieces they have been working on to one another. Even their father Stuart, who does not usually perform with them, had been heard preparing a Chopin piano piece for the occasion in the week that we spoke. â&#x20AC;&#x2DC;It really helps to have something to work towards,â&#x20AC;&#x2122; says Sheku. â&#x20AC;&#x2DC;I think it makes us work harder and learn faster. Weâ&#x20AC;&#x2122;re used to playing for one another and commenting on one anotherâ&#x20AC;&#x2122;s performances â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s always helpful and supportive, but it puts us under a bit of pressure to play as well as we possibly can.â&#x20AC;&#x2122;

ISM MUSIC JOURNAL MAY/JUNE 2020 | THE KANNEH-MASONS IN LOCKDOWN

The Kanneh-Masons have been keeping in touch with their social media followers by posting glimpses of their performances online (with the hashtag #houseofmusic for the family concerts) and have also taken part in some more formal RQOLQH LQLWLDWLYHV ,VDWD FRQWULEXWHG WR :RUOG 3LDQR Day on 28 March and Sheku did a 15-minute live performance slot as part of an online festival organised from Germany.

‘There have been lots of other creative things going on, which is really good to see,’ says Sheku.

But it’s plain that much as they love their busy family home, the Kanneh-Masons are just the same as any other musicians in longing to get back out to the real concert stage as soon as possible.

Above: Isata Kanneh-Mason Photo: Robin Clewley

kannehmasons.com @ShekuKMOfficial @IsataKMOfficial @thekannehmasons

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25

ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR MEMBERS

NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and high res images. Please email mj@ism.org.

The next deadline for copy is 1 June for the July/August issue.

including the personality of the composer as well as the music itself.

Often her chat concentrated on stops and the colour of the registration.

Above: Dr Jennifer Bate OBE Photo: Nick Murdoch

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after this she married and continued to perform and teach as well as bringing up a family. In 1973 she was invited to join the staff of the Junior Department at Trinity College of Music, teaching I hold special memories of attending piano and creative musicianship.

Paris for Radio France in 1992 where Soon afterwards she was appointed she premiered Messiaen. Sadly Olivier a professor in the senior college, Messiaen was already in hospital, teaching piano and keyboard skills and however I hold memories of us chatting contextual studies and was later made with Mde Messiaen at the Diplomatic an Honorary Fellow of the college. reception afterwards, which I think She also held the posts of visiting was hosted by the German Embassy. lecturer at Goldsmiths College and at Christ Church College, Canterbury.

Another sudden memory of Jennifer Dr Jennifer Bate OBE is when Nova and I won the Classic After retirement from these teaching FM weekly quiz and were awarded 11/11/1944 – 25/03/2020 posts she moved to Wiltshire with her champagne. I invited Jennifer and ISM member since 1972 husband, Alan Moorse, and continued a mutual friend for a salmon meal to work as a freelance musician, also A tribute by Dr Peter Randle CSci CEng and to share the champagne – happy redeploying her energies towards CMath CChem memories, so many happy memories. studying oboe and cor anglais as Jennifer Bate was a British concert well as playing organ and piano.

Peace dear Jennifer, peace. Adieu organist. She is especially regarded Her devotion to the oboe resulted in as an authority on the organ music the publication of several studies for Anne Cassal of Messiaen, having befriended him that instrument, in addition to some within the last 20 years of his life and 02/05/1930 – 26 /03/2020 ensemble pieces. She was a member become his organist of choice.

ISM member since 1951 of a number of chamber orchestras and played the organ in the SaintAny death, no matter if expected, A tribute by Catharine Whitnall Saëns Organ Symphony with the always reaches friends and loved ones (her daughter) Dorset County Orchestra in Sherborne as a shock and with incredulity. This Abbey. Her work as a church organist was the same for me when the sad in several churches in the area in news reached me in the early hours which she lived brought her many of Thursday 26 March, that my close additional friends and admirers. friend Jennifer had now passed away.

She will be greatly missed.

In her very last letter to me at the end of December 2019, Jennifer wrote Exhibition about the life and ‘My general approach is that, when it comes to a choice between “tea and work of Maurice Porter Anne Cassal, who was a member of sympathy” and “bubbles at the Ritz”, the ISM for many years, died in March The British Dental Association had the Ritz wins hands-down!’ Cheers, planned to stage an exhibition about at the age of 89. She was a pianist, dear Jennifer. the life and work of Maurice Porter organist, and composer who trained I met Jennifer during the 1980s when at the Royal College of Music. She was (1909–1986), who was a dental surgeon, she worked with Dr Dolmetsch and a keen amateur clarinettist an the first British woman organist to the Haselmere Music Festival; she was be awarded a Belgian Government Honorary Member of the Incorporated the featured organist at the weekSociety of Musicians and an Honorary Scholarship to study with the long festival. Around 1987, I wrote to celebrated organist and composer Flor Associate of the Royal Academy of Jennifer asking for masterclasses on Music, at its museum in Wimpole Peeters. She played at the Brussels the organ. Her approach was caring, Street, London W1, from 30 April to World Fair in 1958 and gave recitals precise and considerate in all aspects, abroad as well as in England. Shortly 30 September.

ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR MEMBERS

Porter spent much of his professional career carrying out research into the problems of wind and brass instrument musicians and was a leading authority on the subject, having written books and contributed to numerous music and dental publications. He treated many musicians with their dental problems and acted in an advisory capacity to music academies and to other music institutions, including the ISM.

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MAURICE PORT Thursday 30 April 2020 to wednesday 30 september 202 0

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This exh ibition pionee highlight rin to impro g work in the s dentist Ma urice latter hal instrumeve the “embo f of the Porter’s uchure 20th ” of wo and mo nt players, ie odwind century uths we the wa and bra y re app ss lied in in which the Each typ ir playing e their ins lips embouch of wind instru truments ure req ment has . uirement its own Porter, s. un ique himsel f an am how im ateur cla portant structure rin a player ’s dentiti ettist under are to and so stood was abl the sound cre on, lip and facial e ated by

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If the exhibition goes ahead once the COVID-19 restrictions are lifted, it will be open to the public and free.

Rosemary Wiseman launches Zoom88 Rosemary Wiseman has written a book on performance anxiety. If anxiety has ever blocked you or your students from learning or performing a piece of music, then this book could help you.

Over 50 years of teaching and performing on a range of musical instruments, Rosemary Wiseman has applied and developed methods which can reduce that anxiety, transforming musicmaking into the joy it should be.

In Zoom88, she explains how an open mind helped her to discover ways of improving her own musical performance and in turn those of others. One of the most powerful of these techniques is Thought Field Therapy (TFT) tapping.

Included in the book are selected cases which you can identify with and apply to your own musical journey.

The learning sequence is carefully graded to ensure steady progress.

The Triola combines the properties of a wind and keyboard instrument.

It’s very easy to transfer from Triola to any wind instrument and also to piano, guitar or violin. The earliest age it can be introduced is four, or as soon as children can speak and recognise colours they can begin their adventure with music. seydel1847.com

London Conducting Academy

London Conducting Academy is a comprehensive, part-time course in the art and technique of conducting.

It provides inspiring, practical training both for dedicated conductors and Zoom88 – How to be calmer and for those who conduct as part improve your music making is of their work as a musician. available from high street retailers and The course includes: online through Amazon.

• fortnightly day-long sessions for RosemaryWiseman.com the academic year: a consistent and personal course of study to fit alongside other work or study Eva Hurt Zoom88 is a ‘must’ if you want to make and enjoy music in the most positive way. Her well-proven A-Z is a recipe for success.

Music teachers can now start teaching Early Years children using an innovative instrument – the Triola – and a fun and approachable tutor book Triola Tutor Book For Children: Level 2 by Eva Hurt, published by Seydel.

The book enables beginners to learn to read music, to understand basic theory and to develop a sense of rhythm and pulse using the Kodály Method. There are 18 tunes which build the basic musicianship of the first book in the same direct way.

•

direction by Denise Ham, one of Europe’s foremost teachers of conducting, with other distinguished tutors and soloists such as Colin Metters, John Longstaff and Toby Purser.

•

study of technique both with and without baton, based on the Toscanini-Barzin method; in-depth score study, rehearsal technique and orchestral psychology

Continued overleaf È

27

ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR MEMBERS

Right: Greenwich Music School

Bassoon Inspired

(photo taken prior) to the COVID-19 lockdown

•

work with performers in each session – course accompanists, ensembles and soloists are present across the year

•

preparation for diploma exams up to Fellowship level (QCF Level 7).

Applications for the 20/21 year are being accepted – find out more at greenwichmusicschool.org.uk/lca

Rachel Fryer Pianist Rachel Fryer is curating an exciting project, Variations Down the Line. This project is commissioning five British composers: Michael Finnissy, Julian Broughton, Alison Kay, Samuel Becker and Nicola Lefanu, to compose a set of three variations responding to Bach’s Goldberg Variations. They will be interspersed in Bach’s original and performed in a tour of festivals and venues primarily in the South East. The project is being co-commissioned by JAM Festival where the project was scheduled for its premiere in Romney, Kent on 4 July 2020. For more information including further performance dates and how to donate to the project please visit variationsdowntheline.org

Right: Rachel Fryer

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Laurence Perkins has launched a new online series of bassoon-related projects and performances to provide interest and entertainment during this period of social distancing.

Bassoon Inspired consists of 61 mini-programmes, each of which will be around 5-10 minutes in length, mostly audio but including a few videos. They will be posted early each morning on a special webpage laurenceperkins.com/inspiration/ from 1 April to 31 May, with no login restrictions – anyone can enjoy these free of charge at any point during the day. The programmes will also remain Paul Ritchie on that page until mid-June, should anyone wish to listen again at Organist and composer Paul Ritchie a later date. The programmes are has received a commission from the intended to be inspiring and uplifting Association of Organists in Reformed for just a few moments each day Municipalities (VOGG) in Holland for a set of variations based on the Genevan during this difficult time. They also feature the wonderfully versatile and melody for Psalm 32. Every year the expressive sound of the bassoon, VOGG publishes a book containing helping to bring about a better several sets of variations for use knowledge, understanding and in worship, and Paul Ritchie is the appreciation of this still somewhat first English organist to be invited to contribute. The 2020 yearbook will be neglected instrument. The music includes original baroque works, published in September 2020. traditional folk melodies and dance Over the past three years Spiritoso tunes, gentle meditative music, Muziekuitgeverij has published five humour and jazz. British music books of Paul Ritchie’s variations, features prominently. There’s a Harry the most recent being based on Potter link, and some genuine music Psalm 75, and all of the variations

by Mozart may well be receiving have been recorded for YouTube its world première! There will be a by the distinguished Dutch organist 35-minute video ‘Bassoon Voyager’ Leo Terlouw. on Bank Holiday Monday – a musical journey to beautiful places.

For information regarding all of Paul Ritchie’s psalm variations visit Bassoon Inspired was featured on the spiritoso.nl BBC Radio 3 ‘In Tune’ programme on 31 March, when Laurence Perkins talked live to Katie Derham about the project. You can catch up on BBC Sounds at bbc.co.uk/sounds/play/ m000gw6t – the interview is 1 hour 20 minutes into the programme.

ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR MEMBERS

MEMBER COMMENTS Thank you once again for all your help.

A couple of months ago my daughter also had a problem with non-payment and Jeremy sorted it out for her within a couple of weeks. This service is really appreciated especially at this time.

ISM member

Thank you and Deborah and others for the work you are doing. It was so gratifying yesterday when he was announcing plans for self-employed/freelance people, to hear him actually mention Musicians first!

You must have felt very gratified yourselves.

After a lifetime in music I am now retired from gainful employment (though I direct and organise Liverpool Bach Collective) – and though I am no longer dependent on income other than by pension, I am deeply grateful to all of you at the ISM for your work on behalf of all its members active in music. I have been a member for over 50 years, and have never regretted my membership, but the current lead you are giving is wonderful.

Many, many thanks and best wishes Philip Duffy Member since 1966

Congratulations to the ISM – it was great to hear the Chancellor mention musicians first in his list of people he wanted to help.

I’m sure you will continue to advise the government on fulfilling their promises!!

Kenneth Ian Hytch Member since 1977 ISM President 2009

Thanks so much for all the updates and advice. It’s good to know that someone is looking after musicians’ needs at this weird time. Again, many thanks for all you do.

The advice about how to set up online lessons has been invaluable.

I’ve managed to get going with Zoom and will now be able to offer this to parents at the start of the next school term!

Helen Kucharek Member since 2016

It is so good that musicians have bodies such as ISM to stand up for them.

Margaret Stanton Member since 2006

Peter Higgins Member since 2018

Firstly, a big thank you to all concerned in the ISM office, for the work you do on our behalf. Very good to hear musicians up there at the front of those mentioned, as badly-affected self-employed.

Also very helpful to read guidance on online teaching.

Thank you so much for lobbying on our behalf for this much needed package of financial support.

Ruth Ayres Member since 2014

Penelope Cave Member since 1974

OBITUARIES We are sorry to announce the deaths of the following members: Anne Cassal, of Wiltshire

Dr Jennifer Bate OBE of London

Roy Carter of Scarborough

Celia A Joice of Dereham

John Huw Davies of Caernarfon

Sheila H Robson of Whitby

Dr Christopher H Scarf of Torquay

Kathleen Duncalf of Merseyside

Veronica L Smallwood of Birmingham

Colin Kingsley of Edinburgh

Martin J Ellis of Ipswich

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ISM MUSIC JOURNAL MAY/JUNE 2020

Classified advertising HOW TO BOOK: please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7221 3499 with credit card details) to the ISM, 4–5 Inverness Mews, London W2 3JQ or email mj@ism.org by 1 June for the July/August issue.

PRIVATE AND TRADE 50p per word, minimum £5.

Advertisements from ISM members are half-price (i.e. 25p per word, minimum £2.50). Name, address and contact details must be paid for if included. Box numbers £2 extra. Prices include VAT. A series of six or more identical insertions qualifies for 10% discount.

FRENCH HORNS, Several from £150 01747 828552

BASSOONS several 07974 412269

SPINNETT WITTMAYER (German) 4 octaves, VARIOUS BRASS, WOODWIND & STRINGED C-D, light walnut. VGC needs tuning, hence instruments for sale and/or rental. Tel: £395 for a quick sale. Tel 07974 412269 07974 412269 FROM MICK J. CLARK, AVAILABLE ON YOU STUDENT CELLOS, mostly German, various TUBE AND SPOTIFY: ‘Empowering Song sizes, from £100 Tel. 07974412269 for Children’ against Self Harming and Bullying – ‘Me My Body And I’ By Mick J. DOUBLE BASS PAESOLD concert model 590. Clark Empowering song, with Empowering Excellent condition cost £3k plus in 1997, words, to Empower the child to ‘Ignore’ £895 ONO 01747828552 the Bully. Also: You Don’t Look Cool by Teenagers. (Kids Telling Kids Don’t Smoke).

MUSIC COPYING SERVICE. Quality printed This is my latest release. Radio Friendly music produced at reasonable prices.

‘Global Warming’ Song on You Tube as well.

For further details contact David Turner, We Know It’s True By Mick J. Clark. computer based music copyist, at www.youtube.com/watch?v=HICeAB0Zjho 23 Overbrook, Hythe, Southampton (‘Friends of the Earth’ Charity Song. IGIVE/ SO45 5BE, Tel: 02380 848146, email: YOUGIVE.com). dfturner@waitrose.com

Do you know someone who needs our help?

Visit our website to see how we help young instrumentalists like Iliana

Iliana©SCG Photography

Find out how you can support us in our work and make a donation to help us ‘Raise the Roof’ on our new home

Benslow Music Instrument Loan Scheme - lending instruments to young musicians since 1932

www.benslowmusic-ils.org 01462 420748 Registered Charity No 313755

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ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR CORPORATE MEMBERS

NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 150 words for platinum and gold members, max. 100 words for silver members) and good photographs. Please email mj@ism.org. The next deadline for copy is 1 June 2020 for our July/August issue.

Friends of the Musicians’ Chapel

•

It is with regret that the Committee of the Friends of the Musicians’ Chapel have been forced to postpone the Service of Thanksgiving on 19 May. We wish all of you, and the people who would normally attend the service, to keep well and safe.

We hope that the Choral Eucharist on Tuesday 3 November 2020 at 6.30pm will be able to go ahead as planned; the Choir of St Sepulchre will sing the Duruflé Requiem.

We shall post further information in the September/October issue of the ISM Journal.

Music Teachers’ Board The Music Teachers’ Board announces that its grade 1-8 exams will continue without disruption during the COVID19 outbreak and it has introduced a number of new measures to support affected teachers and learners: •

Exams Over Webcam: The exam can now be recorded and submitted to MTB by the student/ parent using the MTB app on their phone or tablet. The teacher/ centre conducts and verifies this exam over webcam.

•

Free Choice Pieces: candidates can now enter an exam with up to three free choice pieces.

They will still need to prepare the other components of an MTB exam including: scales, technical, reading & listening exercises.

All of these elements can be downloaded free of charge from the MTB website.

Service on Listening, and lectures

by Jeremy Summerly. gresham.ac.uk/schools/music

Optional Accompaniments: the accompaniments are now optional over this period.

Further information on MTB exams and this update can be found here: bit.ly/3ajhKOU

Gresham College: Free Online Music and History of Music Lectures During the COVID-19 lockdown we are continuing to live-stream some music lectures online, such as Jeremy Summerly’s lecture on Musical Endings (gresham.ac.uk/lectures-andevents/musical-endings) but we are also suggesting teachers may want to look at Gresham’s back catalogue of music lectures, which is especially strong in Christian music and guitar music (Christopher Page), Russian Music (Marina Frolova-Walker) and has an interesting series by Tom

Making Music When COVID-19 lockdown measures were put in place, it immediately became clear that leisure-time music groups were sorely missed, not only for their musical activities and events, but also the vital social connections their regular meet-ups bring.

As the UK’s biggest membership organisation for leisure-time music groups, we conducted a survey of our members to find out what was having the greatest impact on them during this crisis. In response we are offering practical guidance with questions on topics ranging from contracts and ticket refunds, to Charity Commission submissions and more; helping groups to stay connected, providing toolkits and inspiration for online social and musical activity; and working to ensure groups will return with strength and resilience when coronavirus measures are lifted.

Find out more about our survey: makingmusic.org.uk/news/ coronavirus-impact-survey and if you are involved in a leisure-time music group, contact us for advice and support: info@makingmusic.org.uk

Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR CORPORATE MEMBERS

It can yield significant benefits, including improved coordination, reduced tension and a feeling of greater strength in your playing.

Featuring more than 40 video demonstrations and numerous practical examples from the repertoire, this guide is designed to equip you with the basic theory to help you experience and incorporate the movements into your playing and teaching. It is available for purchase as a stand-alone product or is included within subscriptions to the Practising the Piano Online Academy.

Above: Feldenkrais Guild UK (photo taken prior to the COVID-19 lockdown)

To my fellow musicians, composers, and teachers — we do what we do because we love what we do. We The current health crisis has upended make a difference in the lives of many. our lives; if it would help you to come This is now a time for us to support back to a calmer sense of yourself, more grounded, with easier breathing, those in need of our love and care. then you might find it very useful to We will come out of this having try a Feldenkrais class. Many of our experienced a serious global threat. practitioners have moved to online Our predecessors, those who survived teaching at this time so now is a two world wars, continued to create perfect opportunity to give it a go from and inspire us with some incredible the comfort of your own living room. music: Vaughan Williams immediately Find listings at feldenkrais.co.uk comes to mind.

Feldenkrais Awareness Week will From a personal point of view, and be running from 6-13 May 2020. like many of you, I have had to cancel This year the theme is ‘One Method, workshops and gigs. For all of us, Many Ways’. We will be showcasing this does create additional stress. the many different areas that However, it can give us unexpected Feldenkrais can really assist people time to reflect, study, and create in their different activities and music alternative opportunities for our making is one of them. There will be students and colleagues. a new short lesson added each day.

Sandy and Len at Len Rhodes Music Keep up to date by signing up on the mailing lists at feldenkrais.co.uk and wish you all to be well and stay well. feldenkraisresourcesformusicians. lenrhodesmusic.com co.uk

Feldenkrais Guild UK

Len Rhodes Music Len Rhodes Music publishes downloadable sheet music and reference books.

At this unprecedented time in our lives, rather than promoting and attempting to flog a £3 sheet music download, it is more important that we look at ourselves and each other and remember the importance of who we are and what we do.

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Practising the Piano A Practical Guide to Forearm Rotation in Piano Playing The next instalment in Graham Fitch’s collection of online modules on piano technique provides a practical guide to the powerful, but often misunderstood concept of forearm rotation. Forearm rotation is a way of coordinating the arm with the fingers in very specific and controlled ways.

Find out more at practisingthepiano. com or visit our ISM member special page for more information on member discounts.

British Voice Association The British Voice Association (BVA) needs a new Company Secretary. This highly varied position is responsible for ensuring the effective governance of the organisation. It necessitates a good understanding of a charity’s responsibilities and knowledge of the statutory and regulatory policies and procedures that underpin it.

This voluntary position is ideally suited to someone with a relevant professional or educational background, or who has otherwise gained appropriate experience eg in another voluntary setting.

We hope to make this appointment as soon as possible. For further information or an informal discussion, please contact administrator@ britishvoiceassociation.org.uk in the first instance.

STOP PRESS: Choice for Voice, the BVA’s international three-day conference, due to take place at Leeds College of Music in September has been postponed until September 2021.

Healthy Voice, Healthy Mind (Institute of Contemporary Music Performance, London May 16-17) has also been postponed. New dates will be announced asap. Check our website for updates.

ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR CORPORATE MEMBERS

Association of Teachers Of Singing (AOTOS) COVID-19 INTERRUPTION AREA DAYS We had two inspiring days for the South East (at GSA, Guildford) and South West (at Taunton) regions in February and March before the current situation meant we had to alter our plans and cancel the upcoming North and Central days.

SAD LOSS OF PAUL DEEGAN

As COVID-19 started to have a bigger impact, we were greatly saddened to hear of the death or our colleague Paul Deegan due to the virus.

Chairman of AOTOS twice in 1989-1990 and 2006-2008 and a mentor on our teacher-training programmes, Paul was inspirational in connecting AOTOS with EVTA and was the instigator of us taking on Eurovox.

He will be greatly missed.

Hal Leonard Europe Many music teachers will have been thrown into uncharted territory over the past few weeks as they face the challenges of teaching music from home. Hal Leonard Europe (HLE) has been doing everything it can to support educators by providing music teachers with all the material they need to continue to deliver outstanding lessons, and by offering great deals on its leading methods.

The offer includes two catalogues for which HLE is proud to have recently become the exclusive distributor: Kevin Mayhew and Vamoosh.

Kevin Mayhew’s extensive range of instrumental sheet music and music education resources offer solutions that meet the needs of every music teacher, student and musician. Within this are some of the world’s most popular instrumental methods, including the Red Hot Recorder Tutor, Hot Keys Piano Tutor and the Razzamajazz series for various instruments. For advanced players, a growing range of Urtext editions is prepared by principal players of worldfamous orchestras, professors at the leading music conservatories, and by experienced music editors.

Music lessons can continue to be accessible and rewarding, especially with the Vamoosh catalogue of CANCELLATIONS instrumental tutor books. Available Like everybody, we have had to make for all bowed and a range of wind and heartbreaking decisions about brass instruments, the simple layout cancelling events and we are particularly and engaging backing-tracks of the devastated to lose Eurovox 2020 and Vamoosh range has ensured it has our Professional Development Course fast become the go-to material for from our schedule. instrumental teachers.

Go to musicroom.com to browse products and place an order, where you can also access free homeschooling music lessons for Key Stages 1,2 and 3 from Rhinegold Education, and a lifetime discount for educators.

Collins Music Free access to Music Express To support teachers, parents and pupils while schools are closed, Collins Music are offering free access to Music Express until 31 August.

Music Express is an online resource for teaching primary music that is easy to use and accessible to non-musicians as well as music specialists. You can set and deliver engaging music lessons from home with a wealth of songs, games and activities with simple, step-by-step instructions. There are flexible, dip-in resources too, including warm-ups, skill-builders and a Song Bank of over 400 songs, plus Ukulele Magic – the popular tutor for beginners.

If you are an independent music educator or a school teacher, visit collins.co.uk/TeacherSupport to set up your free access. Free access for parents can be obtained by visiting collins.co.uk/LearnatHome

AUTUMN CONFERENCE At the moment, we expect to run our Autumn Conference, which will take place on 1 November in London.

Meanwhile, please stay safe and do consider becoming a member!

The support for singing teachers from our membership is proving to be a real tonic as we plunge into the technical world of online teaching!

Please do visit our website where you will find lots more information. aotos.org.uk Continued overleaf È

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ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR CORPORATE MEMBERS

Steinberg Steinberg recently announced a new #StayHome Elements Collection, to support its customers during these unprecedented times which are challenging for everyone. Inviting all music lovers worldwide to take advantage of their music production, editing notation and VST instrument software, Steinberg has put together a special licence collection free to use for 60 days, consisting of Cubase Elements, Dorico Elements, WaveLab Elements and the Absolute Collection.

The offer is available from 2 April until 15 May 2020, during which period you can download the #StayHome Elements Collection.

•

•

Below: Steinberg in use

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Cubase is one of the most powerful music creation software packages in the world. With its unrivalled range of flexible tools, you can create any kind of music quickly and intuitively.

WaveLab Elements is an audio editing and mastering software, perfectly tailored to hobby musicians, radio freelancers and home studio owners.

•

Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism.

•

The Absolute Collection: Get tons of creative instruments with over 100 GB of sound content for every kind of music production.

To download #StayHome Elements Collection visit new.steinberg.net/ stayhome

Impulse Music Consultants What an extraordinary position we all find ourselves in. Our priorities now are very clear. The most important thing in life is simply the health and welfare of our family and friends.

We send you our very best wishes at this difficult time.

For those of us who are well but are struggling with concerns about work and income, it is important that something positive comes out of this episode. This could be a chance for you to look at aspects of your career which you normally do not have time to consider. Review your website: is it delivering the information that

you need it to? What is your process for marketing your concerts or publications: do you have a system that ensures maximum exposure?

What are your medium and long-term aims: map out some targets and plan how to achieve them.

Now is a good time to ask yourself the question: are there aspects of my work that could or should be changed?

In the business of musical life we don’t always have time to revisit the decisions that underpin everything we do. Change can be good and bring about positive outcomes. Let us know if we can help – contact@impulsemusic.co.uk.

Stay safe and well with warmest wishes from all at Impulse Music Consultants.

The Piano Teachers’ Course UK PTC Online is a brand-new initiative bringing you easy-to-follow video tutorials and exclusive downloadable content from expert tutors Lucinda Mackworth-Young, Graham Fitch, Sally Cathcart and Ilga Pitkevica.

ISM MUSIC JOURNAL MAY/JUNE 2020 | NEWS FROM OUR CORPORATE MEMBERS

Above: An award winner in a masterclass with a BBC NOW musician (photo taken prior to the COVID-19 lockdown) Photo: Edward Webb

This series of in-depth online learning modules has been developed in partnership with the Practising the Piano Online Academy and is based on content from The Piano Teachers’ Course UK. The tutorials bring you world-class guidance and handy teaching tips to view, download and use at your convenience! There are six modules available, covering teaching beginners, practising, piano technique, improvisation and playing by ear, and psychology for teaching and learning.

If you have wondered how to instil a genuine and long-lasting love of music in your beginner pupils, or you’ve been baffled about how to teach good technique even at advanced level, help is now available all in one place! The videos with accompanying downloads allow you to progress through each module at your own pace, return to the materials as often as you like, and start using the information straight away in your teaching. ptconline.org

Richard Hallam. The addition of the five new hubs means that, with Awards for Young Musicians (AYM) has significant support from Youth announced five new partnerships with Music, the programme will help over 500 young people across England Music Education Hubs in Liverpool, Lewisham, Sunderland, Worcestershire by 2021. and Bournemouth/Poole/Christchurch.

AYM is a founding member of the These Hubs will begin delivering Alliance for a Musically Inclusive England.

AYM’s Furthering Talent programme in Furthering Talent is supported by Youth the next 12 months.

Music with funding from the National Furthering Talent supports the musical Lottery via Arts Council England. learning of young people living in a-y-m.org.uk challenging circumstances.

Participants who would otherwise The National Children’s Choir have to stop their instrumental learning (when their school wholeof Great Britain class lessons end) receive funding and The National Children’s Choir of a range of other support, including Great Britain commissioned the weekly instrumental tuition for a cantata Everyday Wonders: The Girl minimum of two years. Their parents/ from Aleppo on its 20th Anniversary. carers and teachers are also supported Kevin Crossley-Holland based his in a variety of ways. libretto on the story of Nujeen The Music Hubs’ role is to identify Mustafa, written by Christina Lamb. local young musicians who could Set to music by Cecilia McDowall, it benefit the most from joining the was first performed by the choirs in programme. Hubs in Bradford, Birmingham Town Hall on 10 August Brighton, Greater Manchester, 2018. Harriet Mackenzie played Hull, Leicestershire, Manchester, violin, Claire Dunham the piano and Nottinghamshire, The Music Dan Ludford-Thomas conducted.

Partnership (North-West Midlands) The NCCGB recording of The Girl and Wiltshire already deliver from Aleppo will be released by Furthering Talent, which has been Convivium Records on 1 May 2020. described as ‘overwhelmingly successful’ by music education expert nccgb.com

Awards for Young Musicians

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ISM MUSIC JOURNAL MAY/JUNE 2020 | LIST OF CORPORATE MEMBERS

We are very grateful to all our corporate members for their support.

PLATINUM CORPORATE MEMBERS

GOLD CORPORATE MEMBERS

ABRSM

Music Mind Hub

Allianz Musical Insurance

Musicians Insurance Services

Duet Group

NMC Recordings

Benslow Music Instrument Loan Scheme Black Dress Code Classic FM Collins Music Henri Selmer Paris Impulse Music Consultants Len Rhodes Music

ESTA Education

Park Lane Group

London College of Music Examinations

Hal Leonard Europe Ltd

Portsmouth Music Hub

Music Mark

Insure4Music

Rocksteady Music School

Kawai

The Royal Central School Of Speech & Drama

Lark Music

The Royal Philharmonic Society

Leeds College of Music

Trinity College London

London College of Music

Victoria College Exams

Mark Allen Group

Yamaha Music Europe GmbH (UK)

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ISM MUSIC JOURNAL MAY/JUNE 2020 | LOCAL AREA EVENT REPORT

LOCAL AREA EVENT REPORT Full listings can be found on our website, ism.org

Sunday 15 March 2020 ISM Brighton Centre Workshop and Pupils’ Concert On 15 March, ISM members from the Brighton Centre group with their pupils and families gathered at Hurstpierpoint College for the popular annual showcase of talent from the area. The afternoon started with a mini-workshop on the ‘not so

popular’ topic of Sight Reading! This was presented by Caroline Evans who delivered tried and tested tips on how to prepare and enjoy exploring unfamiliar music not just for exams but for everyday musical enjoyment.

Two brave pupils were guinea pigs including Arthur Morgan on violin and 5-and-a-half-year-old pianist Hong Qi

Zhang (watched over by Teddy!) who both put the ideas into practice. There followed a splendid concert given by 14 students including performances on piano, violin, guitar and harp.

As always, to complete the afternoon, an interval tea was provided by the Centre committee.

Right: Photos taken prior to the COVID-19 lockdown

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Send the name and email address of the friend(s) you are recommending to membership@ism.org.

Ask your friend to quote the code FULLREC if they are joining us at the full rate or EARLYREC if they are joining at the early career rate.

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ISM MUSIC JOURNAL MAY/JUNE 2020

ISM gift membership from just £15 Be instrumental in supporting your pupils’ or colleagues’ careers by giving the gift of ISM membership.

ISM membership makes the perfect gift for any studying musician or professional at the start of their career. Student membership is just £15 or for recent graduates and those with 10 or fewer years’ experience, ISM early career membership is just £50.

Alternatively, for established music professionals with more than 10 years’ experience, you can help protect and enhance your colleagues’ careers with ISM full membership for just £181.

To order a gift membership, simply call 020 7221 3499, Monday – Friday, 9:30am – 5:30pm.

Find out more at ism.org/gift-membership

ISM early career membership – just £50 In response to the increased financial difficulties faced by those at the start of their careers and the changing ways in which musicians are arriving at a career in the sector, any musician with fewer than 10 years’ professional experience can now join the ISM for just £50 a year.

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If you know someone at the start of their career who would benefit from the expert advice, representation and support of the ISM, why not recommend us to them? You could even save up to £20 on your membership fee. Find out more at ism.org/recommend

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wn the COVID-19 lockdo

Jane Whittle Musical Theatre Teacher; Founder of The Film Orchestra

Technology (now Salford University) on its fabulous new sound recording course within the Band Musicianship programme. This enabled me to study a very broad curriculum focussed on the musician working in the community and all the skills required. Subsequently if a job came up with any link to music – from composing to retail to teaching – I took it. I developed skills across the board which have enabled me to drive The Film Orchestra project to where I want it to be, as well as the determination to succeed.

Tell us a little about yourself?

I have been a peripatetic teacher of musical theatre at The Elms School, in the Malvern Hills, Herefordshire since 2013 and I absolutely love it! I teach acting and singing as an integrated art form, not just singing musical theatre songs. Previously I have taught class music in primary and secondary schools, and lectured on Music Education to music students at Gloucestershire University.

Outside music education, I have worked in the theatre as a Musical Director. In 1995 I set up a community orchestra in Ross-onWye, Herefordshire, which quickly grew to three community orchestras and one choir by the time I handed them over to the County Music Service to run in 1999.

In 2012, I came up with the idea of an orchestra in Worcester (where I now live) which only played original music for film, TV and video games: The Film Orchestra (TfO).

Who (or what) has most influenced you and your career?

I was sent to a first wave comprehensive school in 1976; the focus was on raising standards by introducing new academic subjects to the curriculum to replace the arts, so I was unable to study music in school. This made it very difficult to get taken seriously when I wanted to study music at college. However, I persevered and was taken on by Salford College of

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What would you say is your greatest achievement to date?

The Film Orchestra (TfO) – it is my passion!

As far as we are aware, we are the only amateur orchestra in the world to perform only original music for film, TV & video games. We are completely self-funded – we are all volunteers who run the project but we pay our conductors. It is a lot of hard work but we all believe in what we are doing to enable musicians of all ages to come together and enjoy playing this great music.

Due to the popularity of the orchestra, we have set up three other TfO Community Orchestras, two TfO Wind Bands and a TfO Jazz Band across the region. In September 2019, we launched TfO Children’s Orchestra for under 19 musicians around grades 1-5.

We welcome ‘rusty’ adult players to these ensembles to grow their confidence as well as young people who have been disaffected by more traditional orchestral or band repertoire.

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We have also run workshops to enable our musicians to develop their skills in conducting, choral directing, improvisation and even vegetableinstrument making!

Who is your all-time favourite artist and why?

I have always admired those musicians who don’t limit themselves to one genre. Dudley Moore has always been a great favourite with his breadth of piano recordings from jazz standards to Grieg’s Piano Concerto plus his comedy songs, sketches and parodies. André Previn is a must too. These musicians open up the mystical world of music as performers and composers and make it accessible for all.

What was the last CD/music download that you purchased?

Amelie – A New Musical. I adore Yann Tiersen’s music from the film Amelie so now I am getting to know the musical to introduce to my musical theatre pupils.

What are your plans for the future?

I will keep on plugging away with The Film Orchestra when not teaching.

My aim is to make it the best amateur orchestra it can be. Since we started employing professional conductors in 2017, the standard of playing has rocketed.

The orchestra gives me goosebumps when it plays and it is so exciting to know there is more to come.

I am also hoping to make a return to the theatre in 2021.

Finally, what is your ISM membership to you?

It’s my link to the rest of the musical world! thefilmorchestra.com

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