Music Journal September/October 2021 by ISM Musicians

September/October 2021 Back to school: update on pandemic procedures ISM honours Professor Keith Swanwick Meet the Nevis Ensemble, winners of the ISM Scottish New Music Award

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021

Welcome Some of you may remember that just before we went into the ﬁrst lockdown back in March 2020, the DfE (Department for Education) called for evidence in connection with a refreshed National Plan for Music Education. This applied just to England. The call for evidence looked at levels of awareness of the National Plan and Music Education Hubs, how effective the National Plan had been in delivering the government’s vision for music education and views on the current provision of music education, including the role of Music Education Hubs.

Above: Deborah Annetts Photo: Mark Thompson

The government has now published its report on the call for evidence following receiving 5,191 responses from young people, parents and carers, teachers, headteachers, music hubs and of course the ISM. We now wait to see what the next steps are. A panel has been set up to assist the government, but it is not clear how it has been chosen and it is notable that there is not a cross section of teachers on it, something we have raised with the DfE. Further, we understand from the DfE that it is not planning any further consultation on the Plan, something which concerns us greatly. We believe that when revising such a critical part of the music education offer it is only right that music teachers are consulted on what they are being expected to deliver. This is particularly the case given some of the ﬁndings in the report released on 6 August – see page 4 for more information. For instance, only 8.2% of respondents said that high quality music education was available to all children. 47% said it was not available to all children and the quality could be better. A large number said they felt that there were fewer opportunities available to young people from deprived backgrounds due to the costs attached to some music activities.

Front Cover The Concert Hall at Brighton Dome, one of the venues for the 5G Festival trials Photo: Jamie MacMillan See feature on page 26-28 Insert images: Professor Keith Swanwick Photo: Marc Gascoigne See feature on pages 8-10 Nevis Ensemble trumpeter Guro Skullerud on Berneray beach Photo: Tommy Ga-Ken Wan / Nevis Ensemble

One of the key findings reflects what we have been saying for some time about the detrimental effect of the EBacc on access to non-EBacc subjects. A number of the young people who wanted to study a music qualification but were not able to said that they felt under pressure to choose other subjects instead or that music was not available as a GCSE or A-level option at their school. We will of course engage with both the DfE and the DCMS (Department for Digital, Culture, Media and Sport) as they draft the revised National Plan and seek to ensure that a high-quality music education is available to all whatever their background or abilities. In other news, we are continuing to lobby the government in connection with touring in Europe and have been assured that they understand that solutions must be found. We will continue to put the case strongly across all relevant matters from visas and work permits to carnets etc. We are aware that many of you will be returning to teaching this September, and this issue has an education focus, from our feature on Professor Keith Swanwick on page 8, through to our Back-to-School COVID-19 guidance on page 12 and our feature on recent research to support musical development and learning for autistic children and their families on page 14.

Contents 4 8 11 12 13 14 16 18 22 26 29 33 34 35 48

News & campaigns Professor Keith Swanwick Professional development Back to School: Current COVID-19 guidance Teaching during a pandemic Building musical lives Becoming a music workshop leader Your ISM membership in 2021/22 The Nevis Ensemble Firing up 5G News from our members Classiﬁed advertising Local area events News from our corporate members Ask me a question

Volume 88 / Number 3 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. Editor: Deborah Annetts Sub-editors: Vinota Karunasaagarar Clare Stevens Proofreader: Christine Gwyther-Scott All ISM publications are copyright

Design: cogdesign.com Typography: marcmarazzi.com Advertising: Ruth McPherson, Senior Partnerships & Marketing Manager T. 020 7313 9316 E. Ruth.McPherson@ism.org Editorial and advertising copy date: 4 October 2021 for November/December 2021 issue Price: £7 per copy Subscription: £35 per year ISM membership: almost 11,000 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.

Printed by Optichrome, Woking GU21 5HX ISSN 0951 5135

See feature on page 22-25

deborah@ism.org

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS & CAMPAIGNS

News & campaigns In July, Ofsted published its research review on music as part of a series of subject-speciﬁc reviews. The review sets out the literature which informs the way Ofsted thinks about high-quality music education in the context of the education inspection framework (EIF). Subject reports based on evidence from ‘deep dives’ in the EIF will be published later in the year. We put together a blog which summarises the music subject review. The review examines a range of issues within curriculum music including progression, pedagogy, assessment and subject and school leadership. Read our blog: ism.org/news/ ofsted-music-research-review

Music Education

University arts funding cuts

The results of the Department for Education’s (DfE) Call to Evidence for Music Education on 6 August made sobering reading for everyone who has witnessed the decimation of music provision in our schools over the last decade.

Following a government consultation on proposals to halve funding for arts subjects published in May 2021, we are extremely disappointed that the decision has been conﬁrmed by Secretary of State for Education Gavin Williamson. The decision comes despite major The report shows that the postcode lottery of provision opposition to these cuts from music and creative sector is still very much in evidence. Other subjects are being organisations and a petition from the Public Campaign prioritised over music, leading to a limited number of for the Arts which gathered over 166,000 signatures. opportunities and a lack of specialist teachers. We expressed to the government our strong Within schools we need to see: opposition to these funding cuts, raised concerns • classroom teachers able to teach within their area that the consultation lacked the breadth and scale of specialism necessary for proposals of this nature and called for an • high-quality continuing professional development urgent parliamentary debate on the issue. • enough properly qualiﬁed teachers to support the delivery of music education in our schools and Hubs

We believed, and still do, that it is essential that these funding cuts do not go ahead unless a thorough consultation and supplementary proposals from • high-quality, relevant and practical subject-specific government can effectively investigate and allay the concerns of our sector. training for primary teachers The report also shows the extremely detrimental impact of the EBacc: ‘For those young people who wanted to study a music qualification but were not able to, a number of them said that they felt under pressure to choose other subjects instead or that music was not available as a GCSE or A-level option at their school. Some young people said that they were deterred by the cost of instrument tuition or qualifications.’ If the DfE is serious about addressing access to music education in our schools, it cannot continue to ignore calls to revise the EBacc.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS & CAMPAIGNS

COVID-19 When the Prime Minister announced on 14 June that the current restrictions will remain for at least a further four weeks in England, he was prioritising public health concerns. However, there is an economic price to pay for COVID-19-related safety measures. The announcement represented another crippling blow to the music industry.

with a particular emphasis on how those rules should work for event venues that have reopened, or are welcoming back larger audiences, many for the ﬁrst time since the pandemic began. It is important that this return happens safely, so that musicians can return to live performance in a sustainable way. Therefore, it is vital that there is a clear understanding of the rules and regulations in relation to COVID-19 restrictions.

In response, the ISM wrote to a number of politicians in England to highlight how extending restrictions by a further four weeks affected musicians and set out our recommendations about what must be done to address the crisis.

Read the full letter: ism.org/news/ ism-self-isolation-dcms-letter

Almost immediately live events started to be cancelled amidst escalating COVID-19 cases and selfisolation notiﬁcations. On 20 July, Chief Executive Deborah Annetts wrote to the Secretary of State for Digital, Culture, Media and Sport, Oliver Dowden, to seek clariﬁcation on the rules around self-isolation,

government guidance to ensure that it covers all musicians getting back to work safely. Make sure to visit our COVID-19 hub for up-to-date advice across all four nations: ism.org/advice-centre/ coronavirus-listing

Event cancellations without the protection of government-backed reinsurance will cripple our industry as it is trying to reopen. We have been These included calling on the government to remove continually calling on the government to implement the obstacles to venues reopening, improve the a reinsurance scheme to give venues and productions viability of live performance and help ensure the sector confidence to reopen and protection against further continues to attract and retain talent. We hope that job and financial losses. the letters represent a positive opportunity to increase To coincide with the easing of restrictions we launched understanding amongst politicians in England. our COVID-19 Summer Survey. Our aim was to gain Read the ISM letters: ism.org/news/ a better understanding of the impact the pandemic impact-lockdown-extension-musicians continues to have on musicians’ way of life and ability A significant number of COVID-19 restrictions in to work, even as restrictions lift. ISM members came England were lifted on 19 July; and although we are forward to complete the survey in their hundreds and pleased that many musicians can perform and earn the responses will inform our campaigning work in the again, we still have some concerns for the music months ahead. industry’s return. Our staff have been constantly scrutinising the

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS & CAMPAIGNS

highlights the urgent need for action to simplify regulations, reduce costs and ‘open the door to an exciting and vibrant future for UK talent’. It draws on ISM research to show that 44% of UK musicians were earning up to half of their earnings in the EU before COVID-19, and nearly a third spent more than 30 days in the EU for work per year. Ultimately, it explains, this ‘logistical nightmare’ will only be resolved if the government adopts the proposals that the ISM had already sent to the Prime Minister, in a previous letter earlier this year signed by over 300 creative industry organisations. Lord Frost’s appearance in front of the Select Committee on 29 June was anything but reassuring to the music sector and creative industries. As the minister responsible for Brexit and our relationship with the EU, it was disappointing to find Lord Frost unable to offer any solutions for musicians and creatives. When asked about the red tape and costs that musicians who try to tour in Europe are now Brexit subject to, Lord Frost claimed it was an immigration The ISM continues to campaign on several issues issue, when in fact touring is an issue of trade. The ISM arising from the Trade and Cooperation Agreement continues to pursue a number of concerns that were that have an impact on musicians. We are lobbying raised at the select committee, including the need for the UK government to make progress on several areas a Visa Waiver Agreement (VWA). which are affecting the ability of musicians and others The DCMS (Department for Digital, Culture, Media and in the creative industries to tour in Europe. Sport) recently announced ‘short-term visa-free’ access On 16 July the ISM wrote to the Prime Minister, Boris Johnson, following his appearance at the Liaison Committee on 7 July, to lament the lack of progress on these matters. The letter references the Prime Minister’s previous appearance in front of the committee on 24 March 2021 where he made a commitment to address the challenges facing the creative industries. We were encouraged on that occasion to hear that the Prime Minister was working ‘flat out’ to address serious concerns such as mobility issues around visas, work permits and moving goods between the UK and EU. However, at the subsequent meeting, some 15 weeks later, he was unable to provide any concrete detail of what progress had been made. The ISM said this was ‘extremely disappointing’ and reiterated our warning that it is ‘now virtually impossible for many creative professionals to work in Europe on a short term or freelance basis.’ Read the letter to the Prime Minister: ism.org/news/ism-brexit-pm-letter In June, artists came together to campaign for the removal of administrative and financial barriers to touring in Europe, with the publication of a joint letter to the Prime Minister and the launch of a new initiative called #LetTheMusicMove. This new effort to raise awareness of the new restrictions, fees and delays on European touring came less than a week before Brexit Minister Lord Frost’s rescheduled visit to Parliament. Signed by influential artists as varied as Duran Duran, Mumford & Sons and Jessie Ware, the joint letter

to 19 EU member states for UK touring creatives. We know that many musicians are desperate to be able to tour again and were immediately concerned that this statement was misleading. Nothing new of substance has been agreed with these countries, and those wishing to tour may only have access for a few days or weeks, as well as facing costs and red tape. We still believe the Government should negotiate a bespoke VWA with the EU as this would allow for visafree touring and remove many of the costs currently in place. The ISM has presented the government with legal advice from a leading QC which counters many of the reasons the government have previously given for not pursuing a VWA. You can read our letter to Oliver Dowden about the legal advice and our concerns regarding the announcement here - ism.org/news/ dcms-misleading-musicians-touring Our wider Brexit campaigning included developing a joint response with the Musicians’ Union to a Department for Transport consultation on haulage, warning that government proposals risk bringing cost effective, accessible touring for small bands to a ‘full stop’. Our concerns focused on ‘splitter vans’, which are a low-cost and accessible way for small and medium scale and emerging artists to tour. ‘Splitter vans’ allow people and instruments or equipment to be transported in the same van and are essential for many touring artists, but their use in the future has been put in jeopardy due to Brexit.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS & CAMPAIGNS

These proposals will have a hurtful impact on the ability of small and medium-scale touring artists as well as emerging musicians to tour in Europe. As representatives of musicians, we have come together to call on the government to back proposals that will work for the creative industries. Read our joint response: ism.org/news/ government-haulage-proposals-response

Streaming Following the DCMS Select Committee inquiry on the ‘Economics of Streaming’ on 15 July the longawaited ﬁnal report was published. Many of the report’s recommendations aim to address the industry’s power imbalance which is weighted against musicians. The ISM is particularly pleased that the report calls for fair remuneration, an issue we have long campaigned on. The coronavirus pandemic has exposed the inadequacies of the current economic model for the musicians who create and perform the music we stream.

Although streaming has become mainstream in recent years, the amount of money reaching musicians is often pitifully low, leaving the vast majority of musicians reliant on generating the bulk of their income from live performance. While streaming has helped people listen to more music than ever before, the conﬁdentiality clauses contained in the commercial agreements between streaming services and rightsholders leaves artists, composers and songwriters in the dark as to the terms of the deal. This lack of transparency makes it virtually impossible for artists, composers and songwriters to know whether they are receiving the correct amount of royalties. As founder members of the Fair Terms for Creators Campaign, the ISM is committed to working with industry stakeholders to ﬁnd an equitable, sustainable and transparent model for the licensing and distribution of royalties that is suitable for the streaming era. Read our news page which highlights the report’s recommendations: ism.org/news/ dcms-committee-streaming-report

Recommend ISM membership to a friend With music professionals working in an increasingly uncertain world, ISM membership is more essential than ever. You can help to grow the ISM community by encouraging your friends and colleagues to join. We’ll also give you money off your next year’s membership fee every time someone you recommend joins us at the full or early career rate – £20 off if you are a full rate member, or £10 off if you are an early career rate member.

If they join at the full rate, we’ll give them £10 off their membership fee too. 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. Find out more at ism.org/recommend

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | KEITH SWANWICK

Professor Keith Swanwick Former ISM Council Member Kevin Rogers summarises the distinguished career of Professor Keith Swanwick, who has recently been honoured with the ISM Lifetime Achievement Award Imagine if you will a group of 15 music teachers sitting in a small teaching room at the University of Bath in the late 1980s, coming together for another session of their two-year, Diploma-level CPD programme. This one was to be led by Keith Swanwick, and it’s fair to say that anticipation levels were high. We were all committed to practical musical learning in the classroom, but devising a philosophy to support its progression and rigour was proving to be a challenge. We’d explored principles around the elements of music, practical skills, the new GCSE criteria, but we were still searching for a unifying ‘something’. Above: Kevin Rogers, past Board member, music educator, adviser and former inspector

See our next feature for Back to School COVID-19 guidance

It was exciting, therefore, to be introduced to a relatively recent piece of research, which apparently built on earlier work, but which provided new ideas around composing, the creative process, and even about the very nature of what is to be musical – and how the development of that musicality progressed over time. This was, of course, the famous article in the British Journal of Music Education (BJME) of 1986: ‘The Sequence of Musical Development: A Study of Children’s Composition’, researched and written by Keith Swanwick and June Tillman. Most of us already knew of Swanwick’s work – his book A Basis for Music Education had already prompted much debate at previous sessions on our course. And then here he was, leading a workshop for us: friendly, discursive, questioning, prompting – and with so much humour along the way, too. But it was also firmly rooted in the music classroom: much of the session was a reflection on teaching he himself had led with children. As the recordings of their work showed, the activities he described were intensely creative and challenging (they were based on musical features found in Siegfried’s Funeral March from the Ring cycle!), yet they were rooted demonstrably in a clear philosophy and rationale for music education. What an impact it made on all of us … with hindsight, I can see that Swanwick’s thinking and influence was cemented into my career from that moment onwards.

Left: Professor Swanwick

generations, both here in the UK and across the world. His own research and publications built powerfully on the ground-breaking work of John Paynter, and others, who had established in the 1960s and 70s a new rationale and pedagogy for curriculum music teaching. Fully embracing this creative, sonic-based approach to class music lessons, Swanwick was able to develop the new philosophy further, in particular by showing that it was critically rooted in child development and psychology. This clarified the learning requirements and the teaching implications, with significant consequences for the ways that music lessons are designed and taught. He also showed how classroom music education is critical to a child’s emotional, physical and psychological development, both as an individual and in relation to the wider world. Professor Swanwick published many books on music education throughout his career, with several of them becoming seminal texts for music education. In truth, these were hugely challenging reads at the time: I well remember tackling Music, Mind and Education in the early 1990s as part of a ‘pre-breakfast reading’ routine – and only being able to read about three pages an hour! So I felt that it was a huge mark of my own progression in music education when I re-read it some 15 years later, and not only actually understood most of it, but managed to finish the whole book in a single day of intense reading.

For me, though, the most influential work has always been the so-called ‘Swanwick-Tillman Spiral’, such a vivid description of how children engage with creative activities and learning. It first appeared in that BJME article 35 years ago, but every time I go back to the principles described, it just makes so much sense of how I see children learning in the classroom; and while some may question certain aspects, the fundamental thinking feels (and so often sounds) ‘right’. It has been like a constant friend over so many years of professional work – constantly offering wise and relevant counsel whenever challenging projects Of course, I am not the only one – he has influenced or new developments needed us all to be reminded of essential truths in music education. so many music teachers and leaders over the

Photo: Marc Gascoigne

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ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | KEITH SWANWICK

Below: Professor Keith Swanwick receives the ISM Lifetime Achievement Award from Creative Leadership consultant Ros Asher Photo: Marc Gascoigne

While his books and research articles have been critically important, Professor Swanwick’s influence of course went much further. He was always willing to use his position as Britain’s first Professor of Music Education to steer national policy and provision. He chaired important organisations and committees (he was, for instance, chair of the Music Education Council in the early 1990s), and he intervened memorably and positively during the fierce national debate that surrounded the first National Curriculum for Music. His thinking therefore permeated across the country, and can be seen to have influenced many later national developments – including the National Curriculum Levels when they were created, the National Strategy’s KS3 music programme, and QCDA’s ‘Exemplification of standards’ materials. All of these were directly affected by Professor Swanwick’s thoughts about music education – indeed, it has almost been a requirement for any national development over the past 40 years to reference at least some aspect of his work.

curriculum music developments, but also the teaching of instrumental and vocal learning. His work with the authorities in Brazil is of particular note in this regard, and shows the breadth and inﬂuence of his work.

Despite the detailed and erudite nature of his thinking, he always wore his academic credentials lightly. One of his great strengths was the capacity to communicate his ideas lucidly, and often with great humour. His presentations and workshops were always a joy to be part of (and so obviously musical), and his books – though dealing with complex and challenging ideas – were immensely readable. It is no surprise, therefore, that Professor Swanwick has been much in demand across the world, inﬂuencing not only

Kevin Rogers has now retired from a career in music education that included teaching, advisory and inspectorial roles, for both local authorities and national projects.

So it is a huge delight to know that this legacy of work has been recognised by the ISM, which has awarded Professor Keith Swanwick its Lifetime Achievement Award. This is a very rare accolade, only given once before, but Professor Swanwick is an entirely worthy recipient. Across his whole career, he has been right at the forefront of music education research and practice – and not just engaging with it, but leading it, developing it, and using it to challenge us all to reﬂect on what it means for our own practice. As Ros Asher said when presenting the award, ‘You have been a beacon to us all … policy and practice has really been underpinned by your work … you are certainly one of the greatest thinkers and writers on music and music education in our time, a wonderful teacher and an outstanding musician as well’.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | PROFESSIONAL DEVELOPMENT

Professional development The ISM provides you with opportunities to build up your skills in the digital arena with our advice pages and webinars. We also have a collection of professional development videos and resources available to members and the wider music sector through our sister charity, the ISM Trust.

ISMxDelic Sessions This summer, the ISM Trust has partnered with collaboration and release management platform Delic network to produce free webinars which examine four current issues around music business and how technology can play a part in providing solutions. Watch back our ﬁrst two sessions: • Session 1: How technology can aid creativity • Session 2: Using merchandise to diversify your revenue Sign up for our upcoming sessions: • Session 3: An interdependent future: Why collaboration is key, 9 September 6-7pm

Music in the classroom: Developing a cultural understanding Now available to watch on demand Researcher and lecturer Jayne Price presented the ﬁndings of her doctoral research, which investigates how young people from ethnically diverse groups are currently being served by music provision in the UK. The study interrogates the issues around inclusive music education from the perspectives of those pupils it seeks to serve, and considers implications for the curriculum, music education hub provision, and music teachers’ training and professional development. ism.org/webinars

Following our digital conference for music professionals, Building for the future, you can watch all the sessions back at a time that is convenient to you: ism.org/future

• Session 4: How to make money from your music, 23 September 6-7pm To book an upcoming session or watch an on demand previous session visit ism.org/ismxdelic

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | BACK TO SCHOOL

Back to School: current COVID-19 guidance Here is a brief overview of current guidance as at the start of August 2021, for schools over the four UK nations. England and Wales have not published speciﬁc guidance relating to music teaching in schools, so the information is more general. Please note the information below is subject to change and will be updated accordingly on our website.

England For more detailed information, please refer to government guidance. 1. Risk assessments: These remain essential – schools should review them and update them regularly. 2. ‘Bubbles’: No longer universally required, but where necessary they may be re-introduced under school outbreak management plans. 3. Tracing close contacts and isolation: Note that self-isolation rules change from 16 August 2021. Please refer to NHS guidance.

Wales

Scotland

The following is taken from guidance for September 2021. Important points include:

Assuming Scotland will be under Level 1 or 0 restrictions in September 2021:

1. Risk assessments: Legal requirement for these to be updated regularly.

Level 1

2. System of controls: A system of controls must be carried out, including ‘prevention’ and ‘response to any infection’ measures. 3. Face coverings: No longer be recommended in classrooms for staff or students. They may be encouraged in communal areas by some schools. 4. Asymptomatic testing: Voluntary but available for all staff. 5. Attendance: Members of staff must not attend if: a) they have tested positive, or b) they feel unwell including having COVID19 symptoms, or c) a member of their household has symptoms or tests positive.

4. Face coverings: No longer advised in classrooms or communal areas but recommended for students when travelling to school by public or specialist school transport. Schools may be advised to reintroduce them under certain circumstances.

Northern Ireland

5. Outbreak management plans: Essential in case of an outbreak in the school or local area.

• One-to-one lessons are permitted indoors for singing, woodwind, brass, strings, percussion and keyboard instruments with appropriate mitigations depending on the instrument. Small group lessons are allowed too, except not for singers.

6. Control measures: Schools are expected to implement the following control measures: a) good hygiene for everyone b) appropriate cleaning regimes c) keep occupied spaces well ventilated d) follow public health advice on testing, self-isolation and managing conﬁrmed cases of COVID-19

Activities below should have appropriate mitigations in place before proceeding. Music Unlocked: Guidance for Schools published by EA Music Service contains important information all music teachers should read.

• Indoor ensemble rehearsals (including singing in groups) are permitted without an audience.

All activities below should have appropriate mitigations in place, including effective ventilation. Low risk music (percussion, keyboards, strings and guitars) permitted indoors and outdoors. Higher risk music singing, wind (including pipes) and brass permitted: • Outdoors and indoors for ELC and primary aged children • Outdoors for secondary aged pupils • Indoors for secondary aged pupils subject to a risk assessment and appropriate mitigations One-to-one lessons permitted for all instruments (including singing) for all ages with appropriate mitigations.

Level 0 All music activities are permitted but appropriate mitigations are recommended.

See: ism.org/advice-centre/ coronavirus-listing for the most up-todate guidance

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | TEACHING DURING A PANDEMIC

Teaching during a pandemic Sara Clethero, director of Opera Mint, reﬂects on the past year of teaching during the pandemic and the importance of continuing to work with students and support their learning as much as possible in these difﬁcult circumstances

Above: Sara Clethero, director of Opera Mint

See our next feature to learn about recent research into supporting musical development and learning for autistic children

‘The self (which is found in singing) is the self which … functioning which would be much more difficult with has its life in groundedness … the question of the self’s someone who is physically in the room. identity becomes a question of the self’s location in This also applies, surprisingly, to people with (the) world.’ autism in residential care. They benefit hugely This passage by Janet Varner Gunn from her from the lack of distraction of other people moving autobiography Toward a Poetics of Experience is around and talking. Indeed, this very direct mode of quoted in the most recent edition of the journal of communication suits them very well. It does depend, the Royal Musical Association. It may be that this however, on an internet-literate management, who discussion of human, as well as musical importance is have the necessary networks and equipment in place. an indication of a fundamental shift towards a wider Perhaps we will acknowledge (and even reward understanding of the profound significance of musicfinancially!), as time goes on, the incremental increase making. It hardly needs saying that, at a time when in demands placed on care staff by the pandemic. many musicians have seen their extraordinary skills People on something very close to the minimum side-lined and their incomes erased over a period of wage are expected to administer COVID-19 tests, take 18 months, it is crucially important to acknowledge temperatures, make life-and-death decisions about this fundamental aspect of what we do. personal contact and manage all the mental and personal health and practical issues resulting from it. Singing is, of course, a particularly relevant example of this, since the living body of the singer is the instrument, as well as the player of the instrument. The importance of this far overrides issues of stylistic differences. Indeed, since singing online has an inbuilt time delay, many singers who would normally work with live piano accompaniment or equivalent have had to suddenly become accustomed to using soundtracks and negotiate associated issues like key changes and different speeds. It is interesting that singers in non-classical modes of singing may be better at managing this, and benefit accordingly. The blurring of boundaries between different styles of music-making has been one of the characteristics of the whole process.

People with autism who have family involved in their day-to-day care have sometimes fared better. One of my students, Roy Knowles, doesn’t speak, but his mother has stuck doggedly to his singing lessons throughout the pandemic and he has progressed steadily in the tonal and verbal aspects of his singing. At the time of writing we are looking forward to an in-person summer school, courtesy of a wonderful local church with huge spaces. We will be able to share music together for the ﬁrst time for many months. There will be many additional challenges in making sure that everyone understands the need for social distancing. But the students are all mega-excited to be singing to each other in the ﬂesh!

Another factor is that some students who struggle with conventional language-based material (those who are dyslexic, for example) embrace online work with a high level of skill and commitment – often with better internet connections and skilled use of devices.

Sara Clethero is the director of Opera Mint, a charity founded to celebrate and nurture diversity and excellence in singing – both in opera and other genres. She was Head of Voice at the London College of Music (University of West London) 2005-2014. Her PhD The huge advantage of online working is the (Brunel 2019) deals with a critical examination of the detail and speciﬁcity which it is possible to bring to the philosophical concepts underlying this approach. music. There are no distractions of physical presence, and it is possible to concentrate exclusively on issues of, for example, pitch and tonality. The physical aspects of singing can also be isolated in a way which would be more difﬁcult to achieve in person. We can talk about breathing in detail as an introduction to the work, and I can focus on aspects of physical

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | BUILDING MUSICAL LIVES

Building musical lives Caitlin Shaughnessy shares the results of research into supporting musical development and learning for autistic children and their families Background

Above: Caitlin Shaughnessy

See our next feature to learn about our new resource on becoming a workshop leader

Over the past two years the Building Musical Lives project has been exploring the role of music for autistic children and developing strategies to help support their musical learning and development. The research is based on the evidence that musical play can be an important space for autistic children to express themselves and the project has worked with more than 30 families to look more closely at its role in everyday life. It is often observed that autistic children’s musical skills are far more advanced than their verbal and intellectual abilities: while some cannot speak, they have no difficulty singing or even playing an instrument. Several studies have indicated that music can also improve social skills, help regulate mood and support wellbeing for those with autism; but accessing music education is often difficult because of their behavioural and communication difficulties. The project looked at ways to address these issues by using playful musical games to engage autistic children and their caregivers. The programme aimed to use music within daily routines such as in the classroom or in everyday play which could support more structured learning and encourage development. During the project, autistic children and their families trialled a set of activity cards that describe simple activities that can be undertaken by parents, caregivers, and teachers to support musical play and use music more widely in everyday life.

Below: IMAGINE activity cards

Reactive

Level 3

Listening and Responding

Reactive

Level 3

Listening and Responding

IMAGINE: Ideas for music and games in everyday life The set of 24 activity cards that were provided to the parents detailed different musical activities that gradually became more complex. These activities were designed to act as a springboard to creative play, such as making up songs themselves and learning by heart. They included a mix of activities to structure routine, encourage joint play or to share a space of relaxation and interaction, such as ‘Tap into my Love of Pattern’ and ‘Sing short everyday phrases such as ‘Hello’, ‘Goodbye’ and ‘What do you want?’. The cards were designed around the Sounds of Intent in the Early Years Framework, which consists of four levels of musical development, with six separate cards at each level (more can be found about the Sounds of Intent project here: soundsofintent.org). The increasing difficulties of the cards allowed the families to progress independently, moving from the level of ‘Sounds Interesting’ (Level 2) to ‘Copy me-Copy you’ (Level 3), ‘Bits of Pieces’ (Level 4) and ‘Whole songs in time and in tune’ (Level 5). At each level, cards gave ideas for three different types of play – Reactive (Listening and Responding), Proactive (Making Sounds and Music Myself), and Interactive (Making Sounds and Music with Others) – with a mix of both child and parent-led activities. These activities were supported by the researchers working with the families during home visits, where it was observed that the children improved in their musical abilities and showed more engagement with m musical play. Using the cards and the instruments, the p parents were able to integrate music as part of their e everyday play and introduce it to daily routines. One d described how the cards increased their confidence i using music during play and in everyday life: ‘It in g generated ideas for me that I might not have initially t thought of … They gave me ideas. They gave me the i inspiration. And it was something that we were able to j carry on throughout the day. With the cards it was just j like little, little things but it was like, oh yeah I can just d that.’ do

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | BUILDING MUSICAL LIVES

Strategies for learning: Patterns, Imitation and Learning by Ear During the project it was possible to explore the different styles of learning and engagement that the children demonstrated with the instruments and during musical play. It was observed that many of the children learned complex musical material entirely by ear, with some demonstrating exceptional musical memories. An important part of how they learned was through imitation, with the patterns of the piano keyboard particularly appealing. During musical play the children were drawn to games that involved repetition, which parents were able to use to teach simple melodies on the piano. Parents described how the visual patterns of the keyboard were particularly engaging for the children, and easily remembered. In one mother’s account of teaching her son, she noted that ‘he picks up stuff very quickly, he’s very visual so that type of thing, when I tell him to look and see the patterns, he won’t forget them’. Musical sequences and melodies had to be built up slowly using imitation, but once they were learned, they were rarely forgotten. As one recounted: ‘He’s just very interested in the piano. He remembers the sequences from the videos, and he can take them to the piano… It’s a lot of showing him and imitation. But he’s good with learning like sequences.’ Repetition was an important part of this, with turn-taking and ‘passing the tune’ games a particular favourite within the group. Autistic children are often described as having ‘spiky’ patterns of development, and this was also observed in the programme as progress was often sudden and unexpected. The ways that children engaged with music were not always obvious, as parents described how their children would learn melodies and songs without appearing to be paying attention. One described how ‘he was pretending like I thought he didn’t even understand, I thought he wasn’t getting it and then one day he was just playing it!’. Others noted that they were not always aware of how much their children were taking in when in musical spaces: ‘He didn’t always join in the singing in the choir, but then in the car afterwards he would sing the song, so he’s listening and learning the songs, he’s just not singing in there.’ It was clear during both group activities and in individual play that musical understanding was far more advanced than originally assumed. By recognising these abilities and ways of learning, parents were able to be more patient with their children’s apparent lack of focus and support their children more effectively.

Implications The project highlighted the importance of understanding the ways in which autistic children learn music and its role in everyday life. As one of the mothers described, music was something ‘that engages and connects, it connects both worlds his world, your world and he gets that attention… by piercing through that, it has allowed him to be more sociable.’ By involving family members as part of the process, musical play was able to be built into everyday life, empowering the children to develop creatively. It also revealed that while autistic children may have different patterns of learning, such as learning music by ear, the strength of their musical memories means that many are able to learn more advanced material that surpasses their communication and interaction in everyday life. The next phase of the research is to look at the role of technology, and designing animations to accompany the resources to further support musical play. As this issue of MJ was in preparation the cards were being uploaded to soundsoﬁntent.org and the site was being updated. The original iteration of the cards for children with wider disabilities can be found at amberplus.ambertrust.org Caitlin Shaughnessy is a researcher at the Royal College of Music and the University of Roehampton, where her PhD explores the role of musical play for autistic children and their families. Her research has also focused on the role of music for supporting wellbeing, the dynamics of shared musical spaces, and the impact of the COVID-19 pandemic on the performing arts.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEW ISM RESOURCE

Becoming a music workshop leader Maria Thomas, author of the latest instalment of the ISM’s How to … series, due to be published in the autumn, takes you through the steps you should consider if you want to become a music workshop leader

Above: Maria Thomas

Across the UK there are multiple contexts presenting opportunities for music workshop leading and facilitation, offering many possibilities for you to enter the profession as a workshop leader, facilitator or animateur. The ISM’s new guide will take you through some of the different types of music workshop settings that you may be asked to work in, which can range from in schools (including nurseries and preschool settings to secondary schools and after school clubs) to museums, art galleries, local councils, team building events, care homes, prisons and community settings, before moving on to how you would get started as a workshop leader. Here, we brieﬂy take you through some of the topics covered by the guide; but check out ism.org/advice-centre/temhtdaquick this autumn for how you can access the full publication.

Legal considerations

Another important legal consideration is your contract – when you begin work as a music workshop leader, be aware of the contract that you are entering into and who it is actually with. For example, if you are delivering your workshop in a school, will you be paid by the school, the local authority or a multi-academy trust? Make sure that your contract includes items such as expenses, what happens if you are ill on the day of the workshop, and who will provide any instruments that are required.

Practical considerations In the planning stage, be aware of practical considerations such as: • ensuring your fee includes any preparation and post-workshop work you might carry out

• ask where the workshop will take place and When starting out as a workshop leader, there are ensure the room(s) you are using are suitable many things to bear in mind, from whether you in terms of space, access and noise levels should obtain training before you begin, to legal • ask questions such as: who will be your main considerations such as making sure that you hold the contact on the day, will a car parking space correct insurances and, if teaching children, vulnerable be provided, is help available for unloading adults or groups, a ‘disclosure and barring service’ musical equipment (DBS) certiﬁcate. Having a safeguarding policy and being aware of your client’s policy is also important.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEW ISM RESOURCE

Planning, outcomes and delivery When planning the workshop with the client, be clear whether the workshop will be structured with compulsory engagement, or a drop-in or voluntary scenario. Typically, schools will have structured sessions, however if the workshop is part of a festival or fete, it may be drop-in sessions. In prisons, hospitals, care homes and other similar settings, workshops may need to adapt to how potential participants are feeling on the day and you might have low involvement. Discussing this upfront will help ensure that both you and the client have the same expectations for the project. Be clear on whether speciﬁc outcomes are required or if the project is a fun activity, for example during an arts week where participation is the main focus. Estimate how long each workshop activity will take but build in some ﬂexibility around the activities. Consider if the activities can be developed to have different layers, so that less experienced participants can join in at a level they are comfortable with, while allowing more experienced participants to be challenged.

The workshop On arrival at the venue, search out your contact before starting to unload, just in case arrangements have changed. If working at a school, make a good impression by offering your DBS certiﬁcate and photographic ID on arrival. This can avoid interruptions in the workshops later, when staff realise your details have not been checked. Some settings, such as prisons and Child and Adolescent Mental Health Services settings, will be speciﬁc about what to wear and not wear. As you will be a new face to participants, set expectations and boundaries clearly at the start: • what do you want participants to call you • state how long the workshop will last • state what will be achieved in the workshop • you may wish to include a short performance to inspire the participants

At the end of the workshop, conclude with a summary of what has been accomplished in the session, allowing the participants to celebrate their achievements. For full guidance on each of the above topics, watch out for the release of the new guide this autumn; check out ism.org/advice-centre/temhtdaquick for more information. Maria Thomas is Founder and Artistic Director of The Music Workshop Company. She has been creating and leading workshops since 2002

Join the ISM Members’ Community on Facebook Stay connected to your fellow ISM members by joining over discuss hot topics, the group offers you a chance to network 1,500 other music professionals in our exclusive Facebook and feel supported by your peers. group. A space to share stories and ideas, ask questions and Access the group at facebook.com/groups/myismis

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | ISM MEMBERSHIP

Your ISM membership in 2021/22 Sam Flower, ISM Membership & Marketing Ofﬁcer, highlights a few of the key ways we’ll be supporting ISM members over the next 12 months

Though most legal COVID-19 restrictions have now eased across the UK, we know the pandemic’s impact will be felt around the music sector for some time to come. So that we can best support you over the year ahead, it’s important to be aware of these exclusive services that you can access as an ISM member.

Fighting for your rights

Expert legal representation

Above: Sam Flower, ISM Membership & Marketing Ofﬁcer Photo: Emile Holba

Read our next feature to learn about Nevis Ensemble, winners of the new ISM award at the Scottish Awards for New Music

Throughout the pandemic, we have seen more members than ever before beneﬁting from the expertise of our in-house legal team. To meet this demand, we have expanded our team to ensure we can continue to support your ever-changing and complex needs. This November sees the culmination of eight years of support from our legal team to ISM member Lesley Brazel, as her case surrounding holiday pay for visiting music teachers is heard by the Supreme Court. This landmark case has the potential to beneﬁt thousands of workers and demonstrates our commitment to all ISM members that there are no limits placed on the amount of time our team will spend representing you. From employment and self-employment rights issues, through to copyright questions, contracts, and COVID-19, it’s imperative that no matter what you are facing, you can call upon our team for support. Simply email legal@ism.org and we will get back to you. ‘Responses were always prompt and extremely helpful. Very kind and professional. I had a very stressful issue to deal with, and [the legal team] solved it in the best possible way.’ – ISM member

We have been pleased to see so many of our members contributing to our vital campaigning work this year, which has helped to put pressure on all four governments of the UK to improve policies affecting musicians’ livelihoods. There is still much more to be done, and with your help we will continue to call for change on important issues including protecting music education in our schools, enabling musicians to perform and tour in the European Union, ensuring musicians can work in environments free from harassment and discrimination, and calling for our sector to be properly supported ﬁnancially in the wake of the pandemic. Our campaigning work simply would not be possible without your on-the-ground insight and important contributions, such as contacting your MPs and elected representatives, and we are extremely grateful for your assistance. You can ﬁnd out how to get involved in our campaigns at ism.org/campaigns ‘I have been very impressed by the way that the ISM has risen to the challenge of the current situation and in particular the way in which Deborah Annetts has spoken up for the rights of professional musicians.’ – ISM member

Above right: Deborah Annetts, ISM Chief Executive Photo: Emile Holba

Continued overleaf È

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | ISM MEMBERSHIP

Empowering your return to face-to-face work

You can also access up to 20% off musical instrument and equipment insurance through industry-leading providers. ‘Thank you for the support and information that you have supplied me with since March 2020. It was very reassuring to get the regular updates about what the government guidelines were allowing us to do, and the webinar about how to do a risk assessment and what criteria to take into consideration when [returning to] face-to-face teaching was also very useful. The way you provided information for each of the countries was quickly updated when things changed and always clear. This must have taken a lot of work!!’ – ISM member

Seizing digital opportunities

Helping you return safely and conﬁdently to faceto-face work is an absolute priority for the ISM over the year ahead. We continue to update our COVID-19 advice for members in all four UK nations, and publish further guidance on topics like risk assessments, instrument hygiene, testing, and contracts. Be sure to access our COVID-19 advice hub at ism.org/covid-19 We’ve also widened our support to include new services like our visa and work permit advice service and added new discounts such as savings on personal protective equipment (PPE) and ATA Carnets. As always, your membership continues to provide you with crucial insurance cover – protecting you for any music-related work. This includes £10m public liability insurance and £100k legal expenses insurance.

The pandemic presented significant opportunities for musicians to move work online, develop their skillsets, and promote themselves to new audiences. We’re helping ISM members to capitalise on this through extensive online advice covering everything from social media and digital advertising, to remote teaching, livestreaming, and much more. Over this period, we have been pleased to deliver two high-profile digital conferences and a digital AGM. In the year ahead we will continue to expand our digital offering to ensure as many of you as possible can attend our events, connect with colleagues throughout the UK, and have your say on how the ISM can work better for you. ‘Thank you for hosting these events. I cannot tell you what a lifeline it is for me. When I am asked for advice […], I look to the ISM and always find support. The past few months would have been much more difficult if I had not been a member of the ISM!’ – Karenne Mills, ISM member since 2019

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | ISM MEMBERSHIP

Supporting your wellbeing

Helping you to connect with your fellow members is a key aim for us over the next 12 months, so be sure to keep an eye on our website and social media channels for news on this. ‘I just would like to register my gratitude for all that you do. I have experienced at ﬁrst hand your excellent legal advice and your informative and thorough updates throughout this crisis which have been both illuminating and reassuring. We are all so fortunate to be a part of the ISM community.’ – Ali Sharpe, ISM member since 2007

Your subscription fee

With society reopening, it’s incredibly important to look after your physical and mental wellbeing. In recent years, based on your feedback, we expanded our wellbeing support for members to include telephone and face-to-face counselling, CBT, and a physiotherapy service, all of which are provided to you at no extra cost by our sister charity, the ISM Members Fund.

We know that many of our members are continuing to experience increased ﬁnancial pressures, and so for the second year in a row, we are freezing our subscription fees. We encourage you to get in touch if you are experiencing difﬁculties, so that we can arrange a bespoke payment plan, to help make your membership fee as manageable as possible.

Putting members ﬁrst

‘[The Counsellor] in only a few short weeks has helped me so much with my anxiety - she is so empathetic and attentive and has such a vast knowledge that proves to be very insightful. [She also provides] handy practical techniques. I am so pleased and thankful to ISM and the therapy they provide.’ – ISM member

Our members are at the heart of everything we do. If there is a service that you think we should be offering, or if you have any feedback, please let us know by emailing our dedicated membership team at membership@ism.org or calling us on 020 7221 3499, Monday – Friday, 9.30am – 5.30pm.

Professional community

‘You are doing a fantastic job with legal advice, lobbying, informing, updating. It makes membership […] absolutely worth every penny.’ – Elspeth Williams, ISM member since 2014

The ISM community continues to go from strength to strength and now includes close to 11,000 music professionals from all backgrounds and genres, and from all corners of the UK. Our member-only Facebook group (facebook.com/groups/myismis) grows daily, and is a lively forum for discussion, debate, and learning, as well as being a great way to stay up to date with ISM announcements.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | THE NEVIS ENSEMBLE

The Nevis Ensemble Clare Stevens reports on the Scottish Awards for New Music 2021 and introduces the winners of the new ISM Award created to acknowledge inspirational musical responses to the pandemic From highly experimental works to a three-week virtual summer camp aiming to invigorate the cultural heritage of brass instrument playing and a representation in ﬁlm of what it means to be a modern Scot, the 12 winning projects in the Scottish Awards for New Music 2021 reveal a huge range of musical activity taking place across Scotland. Scroll through the shortlist as well and an even richer tapestry emerges.

Above: Clare Stevens Photo: Bruce Childs

Read our next feature to ﬁnd out about recent experiments into harnessing 5G internet technology to reduce latency levels for virtual performances

The awards were created by New Music Scotland (NMS) in 2017 with support from the National Lottery through Creative Scotland’s Open Projects Fund. Initially there were ten categories; this year two new awards were added: New Music for Media, which focuses on music written for ﬁlm, TV and computer games; and The ISM Award for New Music in Covid Times.

Photo: Tommy Ga-Ken Wan / Nevis Ensemble

Be Mine in Patience – an embrace in B minor by Michael Begg and the Black Glass Ensemble – an exploration of the historical association between emotions and particular musical keys. An idea that had begun before lockdown was extended online so that 104 musicians returned 247 individual musical tracks that were mixed by Michael Begg into a 39-minute expression of solidarity, ‘embracing’ seasoned classical players, key ﬁgures in the European electronic avantgarde, teachers, students and amateur musicians, made freely available for anyone to listen to via Soundcloud and Bandcamp.

The COVID-19 Sound Map by Peter Stollery of the University of Aberdeen, a crowd-sourced project where the public is invited to consider everyday aural ‘The submissions for this year’s awards covered a environments around the world which have changed huge range of styles and situations, from low budget as a result of lockdown restrictions. The main aim of home-spun from individuals and small charitable the project is to capture the sounds, document and groups, to well-funded and extremely glossy preserve them on a Google Earth web-based sound productions from major companies and organisations,’ map which will be available in perpetuity so that these says trombonist John Kenny, a member of the sounds can be (re-)listened to at any point in the future 22-strong judging panel. ‘Choosing between such as a sonic memory of this unique period in our history. diverse submissions posed lively discussion and deep The winning work, however, was Lochan consideration amongst the panellists – but one thing Sketches by the Nevis Ensemble, bringing together that shines out is that Scotland has been absolutely ten composers with ten musicians from the ensemble ﬁzzing and bubbling over with creativity in every style, and ten individuals or groups from around Scotland’s and at every level during the past year, in spite of the coastal or lochside communities to create ten new trials imposed by lockdown.’ works for solo performers, which then received their The awards ceremony was streamed from the RSNO Centre in Glasgow on 7 July and can be viewed on the NMS website. Four works, projects or organisations were shortlisted for each award. The runners up for the ISM Award were:

Left: Nevis Ensemble musicians performing at Oban seafront

captivating new pieces of music.

Distant Duets: Drake Music Scotland / Tinderbox Collective Ten musicians who had never met before worked collaboratively and remotely to create five stunning, colourful, and varied duets. All the development, creative sessions and recordings and the final sharing session happened online. Yet deep connections, wide imaginations and new friendships grew from the project, along with five

broadcast premieres on BBC Radio Scotland ‘s Classics Unwrapped programme. Each composer was paired with an individual or group, who then acted as ‘commissioner’ for the music. Ranging from schoolchildren on the island of North Uist (who had remained in school through lockdown because their parents were key workers) to a retired couple by Loch Fyne; an NHS Lothian doctor to a community hall manager living on the Cowal peninsula who commutes to Glasgow by ferry and train every day, the participants brought a diverse range of experiences and stories of their strong connections to Scotland’s seas, lochs, islands and Continued overleaf È

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | THE NEVIS ENSEMBLE

Above: Out and about with the Nevis Ensemble Left: Orchestra 5, St Kilda Middle: Trumpeter Guro Skullerud performing on Berneray Beach Right: A children’s session at Castlebay School All photos: Tommy Ga-Ken Wan / Nevis Ensemble

rivers, highlighting the role these environments play in our lives, and our need to protect them. Recordings of the pieces (some with relevant images submitted by participants), and notes on each work can all be found on the Nevis Ensemble’s website: nevisensemble.org/lochansketches. ‘Our selection of the Nevis Ensemble for an award was unanimous,’ says John Kenny, ‘quite simply because their combination of youthful dynamism, superb performance on both a technical and expressive level, and the strength of the concepts realised through the series of works presented were outstanding on every level. This is a collaboration of young generation performers and composers working at home in Scotland and also representing a diaspora of Scottish talent internationally; inspired by environmental issues; working within community settings and also producing multi-media and live performance events at the highest professional level.’

Championships allowed us to give 70 concerts in two weeks all around Scotland, including at the top of Ben Nevis alongside a group of refugees from Glasgow charity Refuweegee for whom we had performed the week before. At our second (ever!) concert we persuaded [First Minister] Nicola Sturgeon to get on the podium and conduct. ‘Since then, we’ve expanded and developed the programme so that (in normal times) we have ﬁve or six full orchestra tours each year, alongside a number of projects working with different groups (those experiencing homelessness, survivors of domestic violence, young carers etc), to write new music and songs that the orchestra then performs for or alongside the participants. There’s also a substantial training programme for our musicians, covering everything from tax and writing funding applications, to presenting concerts and working with children with Additional Support Needs.’

The Nevis Ensemble is Scotland’s street orchestra, founded in July 2018 by Jamie Munn, now its chief executive, and conductors Holly Mathieson and Jon Hargreaves, with a vision of ‘music for everyone, everywhere’. It originated over a cocktail at a British Council reception in Rio de Janeiro, Brazil, where the director of Live Music Now Scotland (LMNS) met the artistic director of the Ricciotti Ensemble, which has been bringing symphonic music to communities in the Netherlands since 1970, suggested Ricciotti should visit Scotland, and put them in touch with Munn, then general manager of LMNS, to be their soloist.

What makes the Nevis Ensemble’s performances unique? Munn acknowledges that the UK has been a long way ahead of other countries in community engagement for 40 or 50 years, but points out that although there is a lot of discussion around removing barriers to participation and providing access to classical music, often the object is to draw people into concert halls, where many of the barriers still remain in the form of subtle but signiﬁcant rituals, which have quite an impact on how the musicians relate to the audience or how the audiences engage with the musicians or the music.

‘The rest is history!’ says Munn. ‘Seeing the reactions of the audiences and how the musicians worked together led us to think we should try it here, performing all kinds of music in rural areas or in urban districts that wouldn’t normally be visited by professional performers. Participating in the Culture Festival around Glasgow 2018 European

‘It’s all catering to an audience that knows what to expect and feels comfortable in that setting, but a lot of people aren’t. They have their own spaces, community halls, day centres, parks, or schools, where they feel comfortable. So that’s where we perform, sometimes unexpectedly and sometimes by arrangement, but at a time when people will be there anyway.’

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | THE NEVIS ENSEMBLE

Turning that around, how does it feel for the musicians to perform in settings such as a social club on a housing estate or in a remote fishing village, in a prison or a hospital or an urban street, which may be very unfamiliar to them? Cellist Joanna Stark says ‘every performance is a time to learn and be really empathetic and aware of what’s going on. ‘When you’re performing live you get a lot of audience feedback and response, and I think that really feeds into the way that you perform and communicate with them. Sometimes we ourselves don’t know what to expect from our performances, and that’s really exciting for us. ‘Because we have such an intense schedule when we’re touring, perhaps five or six concerts a day, if the weather is absolutely terrible and one man and his dog turns up for the first one, there might be 250 schoolkids at the next, so it doesn’t matter, and that concert for just one person is just as important to us as the others,’ adds Munn. The Nevis and Ricciotti Ensembles were to have joined forces in 2020 for a summer tour, but inevitably that fell victim to the pandemic and was cancelled, together with around 200 other Nevis concerts. ‘Holly, Jon and I decided quite early on just to “park” that and focus on what we could do instead,’ explains Munn. ‘We were quite keen not only to keep the musicians engaged, which we did through a number of projects, but also to keep the audiences and the communities we work with engaged; and we felt there was an onus on us to continue to promote or commission as much music as we can. ‘Lochan Sketches was devised to meet all three of those challenges. We had some funding last year from the Scottish government as part of its Year of Coasts and Waters 2020 programme, which tied in quite well thematically. We did an open call for composers, and selected ten, including four who’d already been chosen to write orchestral pieces for us, plus six more, to show not only a breadth of experience and level of career development but also a complete range of styles.’

Akroyd and inspired by Gillies’s story of sailing across a stretch of ocean carpeted with disco-light jellyfish. When she described this experience to Gleave, he says, ‘her words formed as images and movement as she spoke, the wildlife practically blossoming on the screen in front of me. The contrast of bright, pulsating sea-creatures against dark water captured a certain, soft magic, which I have tried to recreate.’ Not only does the resulting piece sound beautiful, but the score is illustrated with delicate sketches of sea creatures. Joanna Stark was paired with poet Catherine L Ryan and composer Suzanne Parry to create Lochan VIII, Steal Falls, Glen Nevis, inspired by one of Ryan’s poems. Written at a time of mourning, it uses the waterfall as a metaphor for loss; as she stands beside it, the water journeys onwards – as it has done for all time. With all its memories and secrets encased within, the poet lets it go. ‘Suzanne really wanted to make sure the piece was reflective of all three of us, our musical and artistic voices,’ says Stark, explaining that while the project began with thoughtful discussions between all the participants, delays caused by the changing situation with the pandemic meant they had even more time for reflection than was originally intended. ‘It felt very collaborative in nature and I think that really shaped the end product that we designed, which changed quite a bit as we worked on it. At first Suzanne’s focus was on the tumbling element of the water, but as we dug deeper into the message of the poem we found more of a stillness and an emotional response to the idea of things coming to a halt for a while. That really resonated with all of us in the time of COVID-19.’ nevisensemble.org newmusicscotland.co.uk creativescotland.com

Below: Nevis Ensemble violinist Yeon-Seo Oh Photo: Tommy Ga-Ken Wan / Nevis Ensemble

Many of the ‘commissioners’ of the sketches were communities, groups or individuals with whom the ensemble already had links. They include a start-up gin distillery on North Uist which had served gin and tonics to the ensemble when they did a concert on a blustery beach on Berneray in the Outer Hebrides; the manager of a community hall in Glasgow, whose daily commute is by ferry across the Firth of Clyde; children and teachers from the Uist Schools Hub; a very musical family on the Isle of Eigg; and Jenny Gillies, a sea captain with the Fletcher Group, which transports goods and services to offshore oil and gas platforms. Gillies commissioned the ﬁrst sketch, winding through seaweed for soprano saxophone and tape, composed by Ryan Gleave for Nevis saxophonist Jenny

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | FIRING UP 5G

Firing up 5G The impossibility of achieving simultaneous online performances has been one of the biggest frustrations of the pandemic for musicians. But experiments have been taking place to ﬁnd a way of harnessing 5G internet technology to reduce latency levels sufﬁciently to allow satisfactory virtual performances and then broadcasts. Jamie Gosney tells us more Back in March 2020, and as news of the pandemic started to kick in and the pro audio industry ground to a halt, immersive audio specialist Sonosphere, of which I am Commercial Director, was fortunate to be asked to become part of a consortium of companies, led by Digital Catapult and including Metropolis Studios, Warner Music Group, Mativision, Audiotonix, Virgin Media O2 and Live From, Brighton Dome and Brighton Festival, to present a way of using 5G technology for the entertainment industry to the DCMS (Department for Digital, Culture, Media and Sport). Above: James Gosney

Left: The Concert Hall at Brighton Dome, one of the venues for the 5G Festival trials, where teams and equipment from Audiotonix, Sonosphere, d&b and Make Amplify set up a simulation of the 5G network to allow remote collaboration between musicians in Brighton and London. Photo: Jamie MacMillan

Over the next three months, the nine companies met for an hour every week via Zoom to come up with a concept that resulted in the following three ‘use cases’. The ﬁrst was a way of allowing musicians to play together from remote locations with levels of latency insigniﬁcant enough to be unnoticeable to them; once that use case was achieved, the second was to be able to broadcast the collaborating musicians to an audience on their mobile phones, tablets and other devices; this leads to use case three, which will be a hybrid of use cases one and two, with a number of solo artists and bands collaborating live between three venues, Brighton Dome, the Blue Room at The O2 and Metropolis Studios, with a live audience in two of the venues.

The musicians were asked to rehearse and play three songs over the network, with the audio and network team feeding in various degrees of latency to the network, starting at 5ms, right up to 40ms, at which point it became almost impossible for them to play together. The musicians were not told what was happening, but were asked for their feedback every step of the way. Their comments ranged from ‘you’ve changed the EQ’, ‘you’ve added more reverb’, ‘I can’t put my ﬁnger on it, but something’s different,’ right up to the point where 40ms latency was reached and they realised they were all playing out of time with each other. We then dropped the latency back to 25ms and they felt everything had gone back to normal. This gave us our benchmark for the maximum amount of latency the network could perform at. What the team, led by renowned monitor engineer, Andy ‘Baggy’ Robinson, discovered helped in terms of latency was using the KLANG immersive inear monitoring system.

‘The very nature of the way KLANG works is to add various degrees of latency and phase information to the objects (instruments and vocals) in the musicians’ ears, allowing them to place those objects around them in a way that mimics a rehearsal room or on Our concept was handed in to the DCMS on 1 stage,’ says Robinson. ‘We discovered that giving the June 2020 and by mid-August we were told it had musicians a spatial monitoring experience bought us been successful. The project started in earnest on 1 between 5 and 10ms latency. This is very different to September when the consortium got together to work a normal stereo experience and has now become an on the experience definitions and technical challenges integral part of the system as we move forward.’ of such a ground-breaking project. Taking all the information we had learned from Due to COVID-19 restrictions, March 2021 was the first trial, we went back to meeting online and the first time we could come together as a full team prepared for the second trials, which took place in to start trialling what we’d been working on since June this year. Here, a new group of experienced September. The first trials took place over three days at session musicians, aptly named The Remotes, was put Brighton Dome and included three musicians: a singer, together, led by musical director Kojo Samuel, who has a guitarist and a percussionist. Each of them was in worked with Stormzy, Jess Glynne and Dave. a different part of the Dome complex and they could The musicians now performed from physically only communicate via a network simulating 5G. Continued overleaf È

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | FIRING UP 5G

Photos: Jamie MacMillan

separate locations over a leased line, simulating the 5G network, with a vocalist and drummer located in Metropolis Studios in London, and a vocalist, bass player, lead guitarist and keyboard player in two separate spaces in Brighton Dome, 60 miles away.

the technology will create a more emotionally connected experience in-venue, and through AR, virtual reality and 360° video, will enable streaming of their favourite artist live into their own homes on their preferred viewing device, or from one venue Again, we tested how much audio latency could be to another. tolerated. With the leased line in place, and conﬁgured One of the most exciting and moving experiences by Digital Catpult’s Kostas Katsaros and Audiotonix for me about these recent trials was not only the Dave Sampson, we were able to achieve an 8ms round musical connection between the artists but the trip from London to Brighton. This was unprecedented emotional one too. They seemed totally oblivious and completely unnoticeable by the musicians, who to the technology and communicated and played played together like they were in the same room. We together as though they were in the same space. actually ended up setting the round trip latency levels COVID-19 has had such a devastating effect on our to 20ms (10ms each way) as this had always been our precious industry, not only because artists and working benchmark. technicians have not been able to work and thus had no income, but also because of the effect on people’s Video latency was also tested to see if the mental health by not being able to connect on a performers could take visual cues from each other creative level with other artists. I am convinced that remotely from the separate venues with live streams what we are doing will go some way to changing that of the band’s individual performances creating an and act as a safeguard should anything like COVID-19 immersive in-venue experience, created by artist happen again. Zach Walker from Make Amplify and videographer Nick Driftwood. Completing the setup, a d&b Soundscape system was installed in the Dome to trial how it could be combined with the new technology to create a ‘virtual festival’ experience, which transports the audience from an intimate space elsewhere in the venue to the very centre of the Concert Hall auditorium. The Remotes performed using augmented reality (AR) glasses, live streaming through a 5G network-ready 360° content distribution platform, and an innovative immersive audio mixing interface. This meant that even though they could not perform together – or take cues from each other – in real life, the individual performers were able to collaborate using technology to recreate the same kind of seamless rehearsal and performance as from a band performing together on one stage. For the audience,

Further trials will take place during 2021, to introduce a third venue with further testing of the spatial hybrid elements and culminating in a live public event, with the 5G Festival taking place in March 2022. sonosphere.co.uk 5G Festival: uk5g.org brightondome.org brightonfestival.org Jamie Gosney is a Director of Sonosphere. He has more than 35 years’ experience of designing audio systems for venues such as theatres, cinemas, conference centres, churches and clubs and of engineering and production for live music and in recording studios

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | 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 4 October for the November/December 2021 issue

Zuzanna We˛żyk releases ﬁrst mini-album

Contemporary jazz album with echoes of blue note

Steuart Bedford’s memoir completed and published

EP 2020 is the ﬁrst mini album of music by Zuzanna We˛ żyk, who is a guitarist, vocalist and composer. The classical guitar sounds are complemented by both Zuzanna’s voice and the harmonies delivered by Joffe Walters. This six-pieces-album is Zuzanna’s collaboration with Visconti Studio’s in-house record label and a studentled collective of music producers, Acid Grass Records. The EP was a cross-continental effort between UK students and Zuzanna, who arranged for the recordings to take place in Gdanʼsk, Poland. You can listen to EP 2020 on many streaming platforms such as Spotify and iTunes or you can purchase a copy via bandcamp: zuzawezyk.bandcamp.com/album/ ep-2020

Saxophonist Guido Spannocchi gathered a stellar quintet, carved from a new wave of European and UK talent, for his ﬁfth studio album Perihelion, recorded at the creative London hub Total Refreshment Centre.

Described by Sir Simon Rattle as ‘an enthralling read’, Knowing Britten is the memoir of the conductor Steuart Bedford, who died earlier this year. It has been completed and published by the tenor Christopher Gillett.

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Zuzanna We˛żyk (vocals, guitar and shaker)

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Joffe Walters (backing vocals in Vaseline)

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Wojciech Mocarski (recording and shaker)

It features Wurlitzer keyboards, vintage drums, soviet mics, tape decks and analogue consoles. Tristan Banks lays down rollercoaster rhythms for harmonic punch by Michelangelo Scandroglio’s bass. Robert Mitchell weaves the Wurlitzer’s melodies. Trumpeter Jay Phelps soars with virtuosity. A Walk in Yoyogi Park features Sylvie Leys on tenor paying homage to the Flower Duet from the opera Lakmé. Guido Spannocchi’s alto sax dances on his compositions, leading the band with a calm dexterity, technical prowess and lightness.

Mixed by Louis Peckham. Artwork and layout by Łukasz We˛żyk. Mastered by Acid Grass Records.

Mixed by his brother Raphael Spannocchi in Vienna and Munich, mastered on a Scottish island overlooking the North Sea, with artwork by established New York fashion photographer Nic Kern, this album reminds the listener of blue note yet captures the essence of contemporary jazz.

Bedford could not remember a time when he did not know Benjamin Britten. His mother, Lesley Duff, sang in the premiere productions of The Rape of Lucretia, Albert Herring and The Beggar’s Opera, and the Bedford family was closely involved with Britten and Peter Pears for many years. As Britten’s trusted surrogate conductor, Steuart Bedford worked closely with the composer on many of his operas. In conversation with Gillett, Bedford shares his memories and insights, illuminating the process of preparing performances and casting a shrewd eye over the Aldeburgh Festival and the artists associated with it. The text quotes generously Continued overleaf È

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR MEMBERS

from correspondence with Britten and Lesley Duff’s memoir of the early days of the English Opera Group. Knowing Britten by Steuart Bedford with Christopher Gillett is published by Bittern Press and available from christophergillett.co.uk

More organ variations from Paul Ritchie Two further volumes of Paul Ritchie’s organ variations on Genevan psalm melodies have been published by Spiritoso Muziekuitgeverij. Volume 7 contains a harmonisation and eight variations over Psalm 121, and Volume 8 contains individual preludes in a variety of styles on Psalms 23, 24, 42, 77 and 88. Variaties over Psalm 121 is also available in Klavarskribo notation. Copies can be obtained from the publisher at spiritoso.nl

A quarter of a century later the composer abandoned his brittle, jazzy style for one of sweeping patriotism and nostalgia, when Laurence Olivier invited him to compose the score for his propaganda ﬁlm of Shakespeare’s Henry V. Christopher Palmer later compiled a Henry V scenario for narrator and symphony orchestra, later reduced by Royal Shakespeare Company clarinettist Edward Watson for chamber ensemble.

for artists to explore their immediate square miles and follow the same process: Talk. Listen. Create. More information on how to get involved: onesquaremile.eu

This pairing of Façade (with Roderick Williams and Tamsin Dalley as the reciters) and the Walton Henry V (with Kevin Whately narrating) will be released early in January to coincide with the Façade centenary. RSC Head of Music Bruce O’Neil conducts instrumentalists from the RSC and Stratford’s Orchestra of the Swan.

1 Mi2 [One Square Mile]

Composing with Intention in-person CPD Day

A music project promoting empathy Led by Rachel Shapey, author of in the square mile we live in How to Teach Composition in the 1 Mi2 is artist/producer Stergin’s Secondary Classroom – 50 Inspiring latest project. It seeks to make deeper Ideas (HarperCollins) and Director connections across communities in a at I Can Compose, Composing with time of division. Conversations with Intention is designed for secondary p people living within one square mile classroom teachers wanting to o the artist inspired new songs. of refresh their approach to delivering composition in the classroom and ‘I see music as a shared part of our h human experience, everyone can and seeking to support their students in creating imaginative and s should engage in it,’ says Stergin. successful compositions. ‘I the media we mainly see ‘In

Christopher M Morley l FISM

“e “exceptional” people doing “e “exceptional” things, but I like to in involve people in the creation process a explore their everyday stories to and ﬁ the exceptional bits in there.’ ﬁnd

Together with his colleague Stephannie Williams, he has been executive-producing a forthcoming CD release on the SOMM label of two of William Walton’s most attractive works. Walton was still only 19 when he conducted the private premiere of his ’entertainment’ for narrator and orchestra Façade to a select audience of London’s artistic glitterati on 24 January 1921, with Edith Sitwell reciting her surrealist, onomatopoeic verses via Sengerphone from behind a curtain.

The project has aspirations to grow beyond SE London and patch artists across multiple square miles from all over the world. Stergin is looking

Delegates will gain new techniques, lesson activities and ideas to adapt and develop; explore tried-and-tested strategies and approaches to support both under-conﬁdent and more able students, and understand how to implement a holistic approach to teaching classroom composition. This event takes place on Wednesday

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR MEMBERS

20 October, 10 am– 4 pm, and is hosted by Manchester High School for Girls and sponsored by Dorico. Lunch and refreshments are provided and each delegate will receive a goody bag and complimentary I Can Compose course. icancompose.com/CPD

A premiere and performances aplenty at Prescot Parish Church Robert Howard’s latest choral composition was heard for the ﬁrst time on the Royal School of Church Music (RSCM)’s Music Sunday, 6 June. Members of Prescot Parish Church Choir with conductor David Kernick and organist Tim Hall sang God of All Creation, a new anthem composed for the 2021 RSCM Sunday Anthem Competition, using words by the Reverend Canon Gordon Giles. The joyous, major key anthem features a series of memorable choral motifs in the main outer sections, a contrasting middle section that uses imitation between parts and builds in volume and excitement, and an adapted return of the initial material. The work is framed by an introduction and extended fanfare coda in the accompaniment. Robert’s compositions also featured in several other services and as part of this year’s Prescot Festival, which took place in June with a mix of online and in-person events; these can still be viewed at prescotfestival.co.uk. The 18th Prescot Festival will take place from 17 to 26 June 2022.

In addition to Robert’s choral works, he also has an extensive catalogue of instrumental works. All items are available for purchase via sheetmusicplus.com.

Peter Aviss clarinet concerto premiere Peter Cigleris with Oare String Orchestra will be giving the world premiere of a new Clarinet Concerto by Peter Aviss FISM on Saturday, 25 September at West Faversham Community Centre, ME13 7RH.

As a matter of further interest, The Seafarer by Peter Aviss was performed by the London Mozart Players, conducted by Michael Bawtree, at the JAM on the Marsh Festival in July. More information about Peter Aviss is available at peter-aviss.com

Introducing Malics Tree

Malics Tree is a band that was formed in 2013. They originally performed indie Rock’n’Roll with their ﬁrst release ‘Hot Potatoes’ and then released other tracks such as ‘Screaming in the Dark’ (in conjunction with Del Wright who The concerto lasts just under 20 formed the Runts dark band), ‘King minutes and is scored for clarinet in B ﬂat and string orchestra. The work was Criminal’ and ‘Election Blues’, released in 2015. In 2016 the band decided to written for Peter Cigleris and consists change its musical direction, went of three movements. back into the studio and started The programme is an all-British composing dance music. The members celebration: Holst Moorside Suite; Elgar of the band are singer-songwriter Terry Idylle; Aviss Clarinet Concerto; Finzi Gardner and vocalist Kelly Beaney. Five Bagatelles, Spain-Dunk Lament; Kelly performed on the ‘Firepower and Ireland Downland Suite. Vocal Remix’ track in 2020. Malics Tree are going back into the studio this The concert starts at 7.30pm and autumn, and plan to release more tickets will be available at the door. tracks in spring of next year. Check out Please see oare-string-orchestra. digital platforms such as org/osoprogramme.php for further YouTube, Deezer and Apple Music to details. listen to their work.

Continued overleaf È

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR MEMBERS

Marie Miller bows out with a duet recording As Marie Miller explained in our last issue, she is now finishing her career as an opera singer, and her farewell CD of duets with soprano Grace Worrall will be available from 25 September. It was recorded at the National Opera Studio, with pianist Aeron Glyn Preston, to celebrate her long career. Miller, a lirico spinto soprano, studied with the Welsh tenor Edgar Evans (principal tenor at the ROH for 30 years) and has performed title and central roles in more than 40 operas, including the title roles in Verdi’s Aida and Puccini’s Madama Butterfly, Abigaille in Verdi’s Nabucco and leading soprano roles including Marguerite in Gounod’s Faust and Leonora in Verdi’s Il Trovatore. Her favourite roles include as Leonora (in Trovatore); Ciao Ciao San (Butterfly), Violetta (La Traviata), Lady Billows (in Britten’s Albert Herring); and her coloratura roles Constanze (Seraglio), Mme Herzfeldt (Impresario) and Koningnacht (the Queen of the Night) in many performances of Die Zauberflote. She is well-known throughout the UK, with past performances at the Lyric and Polish theatres in Hammersmith; Wimbledon Theatre; Kenneth More Theatre, Kenwood; St Mary Abbott’s Theatre; London open-air theatres; and the Minack Theatre in Cornwall.

Miller’s performances can be viewed at musicteachers.co.uk. Following her eight years’ tuition with Edgar Evans, Miller plans to continue teaching vocal technique to students.

James Welburn publishes new anthology for young pianists

Adventures & Accolades is the third publication from composer James Dogs and Birds Welburn. It is published by Editions Musica Ferrum. James’s passion for Elza and Chris Lusher are running composing fun and engaging music online courses for piano and primary music teachers on the ‘Dogs and Birds’ lies at the heart of the collection; a approach (a method for teaching piano number of the pieces were written during the composer’s own childhood to 3- to 7-year-olds). and their inclusion, he hopes, Each course consists of a one-hour may inspire young pianists to give introductory session and a five-hour composing a go themselves. main session (including three 15 minute breaks). There will be around five teachers per course and the cost is £70.00 per participant. During a course we show how to incorporate the basic elements of the Dogs and Birds approach (singing, ear training, rhythm, finger exercises etc) from the start and to build on them as you work through the Nursery Rhyme Book and Book 2, to offer a seamless transition to using conventional music. We also present some as yet unpublished reading exercises. Each course is tailored to the participants’ needs and experience. Courses are being held monthly. Please email info@dogsandbirds. co.uk to register your interest. See dogsandbirds.co.uk for more information.

Covering a variety of styles, moods and keys, the collection is pitched around Grades 3–5 and may be a great resource for those looking to explore exciting new repertoire in a range of performing contexts, from assemblies to festivals. Adventures & Accolades is available in both print and digital formats, via a range of online and local retailers. jameswelburn.com

Obituaries: We are sorry to announce the deaths of the following members: Mrs Jean Murphy FISM of Basingstoke

Indian Takeaway: Rāg and Tāl basics Take away a lesson in Indian classical music. Our award-nominated, free online resource brought to you by the ISM Trust and Indian music expert Yogesh Dattani enables you to take away our lesson plans and successfully play or teach a piece of Indian classical music on any instrument.

Mrs Rosemary Cross FISM of Southampton

This lesson explores the basics of the melodic (rāg) and rhythmic (tāl) al) structures of North Indian classical music sargam, as you gradually learn to play a short composition, Sargam Gīt. ism.org/indian-takeaway

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021

COMMENTS AND FEEDBACK Just wanted to drop you an email to say how much I’ve enjoyed using the Indian Takeaway courses this term. I have been using them to introduce Indian music to some Year 2 children (two classes) in Dorset, where there is a lack of exposure to world music (especially Indian music). The class had been learning about different countries for this term’s topic, which included India, so it gave them a great insight into the culture and music. It has been really great for helping to internalise a pulse and also learning how to connect words to rhythms. They have absolutely loved it and now ask to say and tap the tukra all the time and can say the words and tap the rhythm now off by heart and without my help.

They have really enjoyed doing something different and have found it really enjoyable – I thought you’d like to know. On the down side I now ﬁnd myself loving rabbits, caterpillars and gorillas whilst I’m driving home. Lee Merchant, visiting music teacher – Springdale First School, Poole Thanks so much for organising this – it was great to have an opportunity to present my research!

I also love that you have risk assessment forms available when I’m ready to start in-person lessons again. It’s just great to have the support from the ISM as a private lesson teacher way up north in the Highlands. Thank you for all you do. I hope I can get to an ISM gathering at some point. Connecting with other music teachers has always been great for me. Christy G Okie MISM, ISM member since 2020

James Lever (in relation to ISM Teach Meets) Your advice as we come out of lockdown has been invaluable. I’ve been able to tell my students that I need to continue with online lessons rather than doing them in person because the ISM has issued that guidance based on Scottish law. This makes me feel like I have backup and the parents of my students aren’t pushing me.

Set up a Direct Debit to save money Take the hassle out of renewing your membership by setting up an annual Direct Debit. Your ISM 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. It’s quick and easy to set up Direct Debit payments. Simply log in at ism.org/direct-debit, call us on 020 72213499 or email membership@ism.org

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. Copy date by 4 October 2021 for the November/ December 2021 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 Various brass, woodwind and stringed instruments for sale and/or rental. Tel: 07974 412269.

Double bass Paesold concert model 590. Excellent condition, cost £3k plus in 1997, £750 ONO 01747 828552 Double bass shipping case, VGC. Any offers. 07974 412269

Student cellos, mostly German, various TUBA! Besson 928 EEb. £3750. sizes, from £100. Tel: 07974 412269 07974 412269. Bassoons several. 07974 412269

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | LOCAL AREA EVENTS

LOCAL AREA EVENTS Full listings can be found on our website, ism.org. The next deadline for copy is 4 October for the November/December 2021 issue

Right: Robert Saxton (second left) and Paul Harris (right) with ISM members Carolyn King (left) and Rachel Maby at Professor Saxton’s talk for the Oxford group

The questions afterwards and Robert’s responses were as absorbing as the Talk by Robert Saxton South Wales talk itself. As well as writing music Luncheon Members of the ISM Oxford group himself, he has taught composition 12.15 pm for 1pm, Uisce, 4 Romilly Crescent, were treated to a fascinating talk by Pontcanna, Cardiff CF11 9NR (and indeed will continue to do so composer Robert Saxton at Worcester following his retirement from Oxford Dr Jeremy Huw Williams, chairman of College on 11 July, as part of our ‘My University this year) and spoke most the ISM South Wales Group, has great Life in Music’ series writes Paul Harris. eloquently and philosophically on pleasure in inviting members of the There would of course be no music to group to a luncheon to be held at Uisce play or sing if there weren’t composers what teaching composing actually entails. As a young composer, Robert in Cardiff on Sunday 19 September, to compose it; so it’s always intriguing had some lessons with Benjamin 12.15 pm for 1pm, subject to COVID-19 to hear about the process from Britten who impressed upon him the regulations at the time. The event may someone who has devoted a great importance of the core ‘idea’ when need to be cancelled at short notice deal of their life to the act of writing developing a work. It is this that dependent upon COVID-19 regulations. music. Robert encourages in his students. Please contact Dr Williams for further Robert particularly described the information jeremyhuw@me.com After the talk, and with careful social thinking behind his opera The distancing, we managed to have very Wandering Jew – a deeply evocative Dydd Sul 19 Medi 2021 pleasant drinks in the splendid, and work that took him well over 20 years De Cymru fairly new, atrium of the Worcester to complete. Not quite a lifetime’s Cinio College Nazrin Shah auditorium. It work – but a signiﬁcant part of it. 12.15pm ar gyfer 1 o’r gloch, Uisce, 4 Romilly was a very enjoyable occasion and The art of creativity is a complex Crescent, Pontcanna, Caerdydd CF11 9NR especially good to be back IRL! and mystifying one, but Robert’s Hoffai Dr Jeremy Huw Williams, description and explanations of Many thanks to our speaker and cadeirydd Grw ^ p De Cymru yr ISM, how he does it were as erudite and to all who were involved in organising wahodd aelodau’r grw ^ p i ginio yn engaging as you would expect from the event. Uisce yng Nghaerdydd ar Ddydd Sul 19 such a distinguished musician. Medi, 12.15 p.m. ar gyfer 1 o’r gloch, yn ôl amodau cyfredol COVID-19. Mae’n bosibl y bydd rhaid gohirio’r ginio ar fyr rybydd oblegid amodau COVID-19. Cysylltwch â Dr Williams am fwy o wybodaeth ar jeremyhuw@me.com Sunday 19 September 2021

Oxford Event Report

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | 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 high-res images. Please email mj@ism.org. The next deadline is 4 October for the November/December 2021 issue

Mark Allen Group

Trybooking.com

Music & Drama Education Expo London 2021

Are you starting to plan your next concert?

Event dates: 24 & 25 September 2021 Location: Business Design Centre, London Music & Drama Education Expo is Europe’s largest conference and exhibition for everyone involved in music and drama education. Registration is now open for this year’s show, taking place on 24 & 25 September at Business Design Centre, London. Everyone who attends will beneﬁt from exciting, free CPD sessions and a bustling exhibition featuring a variety of brands from the creative ﬁeld to speak to. Music and drama teachers and practitioners can get involved in a wide variety of sessions promoting upskilling and introducing new approaches to teaching that will help to liven up lessons. The key themes running through this year’s CPD conference programme include improving diversity and inclusion, promoting performance health and wellbeing, creating opportunities for collaboration across the curriculum, and much more! Register now to secure your FREE place and take a look at the CPD conference programme at: musicanddramaeducationexpo.co.uk

Trybooking.com makes online ticketing simple to do for any size or type of concert. Easy to use, and very low booking fees. They are also free to use for all free concerts. One of their most recent additions is a Socially Distanced Seating Plan, which enables your audience and guests to book seats at your performance with conﬁdence. No matter the size or shape of the venue, their seating plan is very easy to set up, and fun to create. Add reserved seats, add disabled seats, and block seats and rows for social distancing.

and optional add-ons. Make sure to keep an eye out for the launch of our musical instrument ‘Lost and Found’ website, which helps musicians get back to what they love by helping to reunite instruments with their owners. NB Terms and conditions apply. *Two months free only applicable when you buy a policy online. For the ﬁrst year you will only make ten payments. Subject to our minimum premium and not valid in conjunction with other offers. Allianz Musical Insurance is a trading name of Allianz Insurance plc

London College of Music Examinations

You can also decide how many seats will automatically block out next to booked seats – as few as one, or up to ﬁve seats can be blocked.

The new LCME 2021 syllabus and handbooks for violin and electronic keyboard are now available, featuring fresh repertoire and Visit Trybooking.com to ﬁnd out more revised assessment criteria.

Allianz Get ready for the return of live music with Allianz Musical Insurance. Starting from as little as £33 a year, and now with a special online offer of two months free*, get protection for yourself as a musician and your instruments/equipment when out on the road. As well as accidental damage, loss and theft, our policies include unlimited professional use,

With a comprehensive handbook to guide them through each level, keyboard candidates will get to grips with a range of musical genres from Irish folk songs to bossa novas, New Orleans jazz and classical piano styles, with a focus on keyboard features and developing good keyboard management skills.

Continued overleaf È

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

Inspire-works Inspire-works is excited to announce Inspire-works Studios, a global ﬁlm producer of Videos On Demand. Inspire-Works Studios specialises in developing and producing online docu-workshops, celebrating the diversity of the arts from many cultures across the globe. Launching in September 2021 with four docuworkshops, each ﬁlm focuses on a different genre of music. inspire-works.co.uk/online-studios

To access all these events and take part in our member- only forums come and join us – the only UK organisation dedicated to singing teachers!

Oxford University Press Oxford University Press are pleased to announce two major new additions to the highly respected Oxford Solo Songs series: Oxford Solo Songs: Secular and Oxford Solo Songs: Christmas.

LCME exams can be taken remotely from anywhere in the world via online and recorded assessments, which are offered alongside our in-person exams. See our website for further details: lcme.uwl.ac.uk

Music Education Solutions (MES) have announced a full programme of online training for every type of music educator this academic year. Whether you’re an instrumental teacher, primary or secondary teacher, community musician or workshop leader, they have something for everyone. From Wednesday Webinars for Primary Teachers, through Thursday Tutorials for music specialists, to Online Self-Study courses that can be taken in your own time, there is a huge variety of topics to discover. Remember that ISM members receive a 20% discount on all MES courses, you can ﬁnd the discount code in your handbook. To browse all the available courses and training visit musiceducationsolutions.co.uk

Sunday 31 October, 10am-5 pm at St Paul’s Girls’ School, London. ‘Giving Boys a Voice’ (Training the male voice from child to young adult). Come to hear Anita Morrison, Martin Ashley, Lucy Joy Morris, Sam Oladeinde and members of the Eton College teaching team. Some streaming options available.

aotos.org.uk

On the violin, Baroque, Classical and Romantic gems sit alongside 20th century, traditional Greek, klezmer and contemporary Chinese pieces, while revised discussion and technical work components encourage a deeper understanding and mastery of the instrument.

Music Education Solutions

Autumn conference

Association of Teachers of Singing (AOTOS) Launch 2021: accredited ‘Essentials’ teaching course launch Brand new accredited online course for singing teachers called ‘Essentials’ beginning in October. For aspiring singing teachers with four years or fewer teaching experience, this is packed with crucial information to elevate your skills. Real-time group sessions are supplemented by video material provided by experts in their ﬁeld. The ﬁrst course is scheduled for October and costs an incredibly low £80 in total.

In OSS: Christmas you will ﬁnd solo arrangements of festive favourites, including John Rutter’s ‘Candlelight Carol’, and Will Todd’s ‘My Lord has Come’, alongside brand-new pieces from Becky McGlade and Toby Young. OSS: Secular presents well-loved classics, including Eleanor Daley’s popular setting of ‘The Lake Isle of Innisfree’, and Bob Chilcott’s ‘The Lily and the Rose’, alongside exciting new pieces such as Joel Thompson’s strikingly atmospheric ‘Supplication’ and Marques L. A. Garrett’s jubilant setting of ‘The Gift to Sing’.

Each book is available in versions for high and low voice with piano accompaniment and downloadable backing tracks for practice and performance. Perfect for services,

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

weddings, recitals and even unison choir, these collections are essential new additions to your music shelf. global.oup.com/academic/ category/arts-and-humanities/ sheet-music

Royal Birmingham Conservatoire Virtual Open Day In June we held a virtual open day at Royal Birmingham Conservatoire, with many of the sessions broadcast live from our impressive music facilities in the city centre of Birmingham. The live sessions included a jam session broadcast from our Jazz Club, Keyboard and Brass in the stunning Bradshaw Hall, and our Strings and Vocal and Operatic Departments live from the Recital Hall. Catch up on replays from the day here: bcu.ac.uk/conservatoire/ virtual-open-day-17-june-2021 Success for composer Emily Abdy Composition Master’s student (and former undergraduate) Emily Abdy has been named one of four Associate Composers by Nonclassical – a Sound and Music Fair Access partner – following a record number of applications. The role will provide Emily with a range of opportunities over the next two years, including curating her own Nonclassical event, paid commissions for Southbank Sinfonia and CoMA festival, appearing on the upcoming Outside the Lines release, and

receiving workshops and mentoring throughout the scheme. Emily follows in the footsteps of RBC doctoral students Yfat Soul Zisso and Blasio Kavuma, who are two of the Associate Composers on the current scheme.

Naxos Naxos are offering ISM members an exclusive 15% off all subscriptions to MusicBox as part of their ‘Back to School’ programme until the end of October. Naxos MusicBox is aimed at 4–14-year-olds, and offers a fun, interactive and colourful introduction to the world of classical music; sections include Great Composers, Stage and Screen, and World Music amongst many others.

Practising the Piano Following on from the conclusion of our project featuring the new ABRSM piano examination syllabus, Practising the Piano will be creating videos featuring the latest Trinity syllabus. In these videos, Graham Fitch provides insights on how to learn, practise and interpret a selection of repertoire from grades 1 through to 8. We will also be running online workshops as a complement to these resources and have recently published several videos with general tips on other aspects of exam preparation such as scales, sight-reading, preparation and performing.

More information on our resources for piano examinations is available Annual subscriptions are reduced from here: mailchi.mp/informance/ £30 to £25.50, and Lifetime from £75 to piano-examination-resources. £63.75. Simply go to naxosmusicbox. ISM members are entitled to 30% com and use the discount code ISM discounts on online workshops and when subscribing. Teacher members annual subscriptions (please visit can also beneﬁt from the same mailchi.mp/informance/ismdiscount for the School version, by contacting Julian Edwards jedwards@ member-offers for more information on ISM member discounts). naxosmusic.co.uk 07768 448381.

RSL Awards

Classical Violin will become the sed second set of qualiﬁcations released d) under the RSL (RockSchool Limited) lClassical brand, following the wellreceived Classical Piano. RSL are building on their commitment to offering classical musicians the most diverse and well-represented collection of repertoire. Each Classical Violin grade features ten tracks celebrating the work of male and female composers from a diverse range of cultural backgrounds. Covering Classical, Contemporary Classical, Classical Crossover and Pop, this syllabus has been designed to give an academically rigorous overview of the repertoire available to the emerging musical artist.

Left photo: Guy Traynor

RSL will be hosting two webinars in September, giving you an introduction to the Classical Violin syllabus. Book your FREE place at rslawards.com

Continued overleaf È

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

ﬁrst trip out to Worcester Show in August and in September we launch Worcestershire Inclusive Choir.

Steinberg Media Technologies Dorico is now available for iPad

of a videoed recital with a target duration for a selection of pieces, with no technical or musicianship exercises required. With two options comprising either set works or complete free choice, candidates can choose to assemble a concert programme using the music that represents their musical interest. Performance diploma repertoire lists are currently available for the following instruments: piano, classical guitar, ﬂute, clarinet, alto saxophone, trumpet, trombone, violin, cello and singing. Repertoire lists for other instruments will be released by September 2022, but do contact MTB should you wish to take an exam beforehand.

Steinberg recently announced the release of a brand-new version of Dorico: Dorico for iPad. You can now take Steinberg’s music notation National Children’s and composition software with you Orchestras of Great Britain wherever you go. Whether you’re a composer, arranger, instrumentalist, Last chance to audition for the NCO teacher, or student, Dorico is the ideal 2022 programme! app for producing beautiful sheet Young musicians need to apply by 14 music that you can share as PDF, mtbexams.com September and submit their video M4A, or MusicXML, or print directly to audition by 1 October. your AirPrint-enabled printer. Dorico for iPad comes with a new Key The National Children’s Orchestras of Editor, making it possible to work Great Britain (NCO) offer exceptional seamlessly both on conventional orchestral learning experiences for music notation and detailed MIDI remarkable musicians aged 8-13. editing tools. An on-screen multiMembers learn from world class tutors, touch piano keyboard makes inputting experience the joy of playing in live and editing music feel effortless — and ensembles and make friends, through when connected to a USB or Bluetooth in-person residential or non-residential MIDI keyboard, you can input music Portsmouth Music Hub courses, complemented by access both in step-time and in real time. Memories – supporting traumatised to an ongoing online programme of Download it free of charge from the students through song creative and wellbeing resources. AppStore or visit dorico.com/ipad to ﬁnd out more. During the summer term, Portsmouth Auditions are free and are submitted Music Hub worked with individual by video. Full bursaries available. students, classes and year groups More information at nco.org.uk/ to help them ﬁnd a way to express join-in/start-heretheir emotions and their responses to events over the past year.

Severn Arts News

We are feeling proud of our summer online performance. Over 650 young people of all abilities played a part in ‘In Our Reﬂections’ which combined a wonderful score written by David Cowell and a spoken word poem by Worcestershire’s Young Poet Laureate for 2020 severnarts.org.uk/Event/ make-music-day-21

Music Teachers’ Board Exams

Music Teachers’ Board (MTB) are delighted to announce the launch of our new performance diplomas for candidates who are continuing their musical education beyond Grade 8 and seeking to achieve their The response from schools to our professional qualiﬁcations. MTB September music offer has been positive. New schools across the county Performance Diplomas are set at two levels: Associate of the Music have signed up to our First Access to Teachers’ Board (AMTB) and Licentiate Music Education programme and new of the Music Teachers’ Board (LMTB). teachers have joined our team. Our performance diplomas assess At the time of writing we are looking candidates’ ability to present a concertforward to our Music Box making its level recital program, which consists

The Memories initiative was created after a student shared a very poignant song she had written about the death of her grandfather and the hub arranged for her to work with a professional composer to create an arrangement, recording and ﬁlm: youtu.be/G2rGE6XtXDA

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

This appointment allows the College to beneﬁt from Xu Zhong’s knowledge, insight and artistry, enhancing the collaboration between music and drama across performance and production and supporting the development of opera as an increasingly global art form. Alongside this it will support RWCMD’s journey towards diversity and further the relationship between Wales and China, Europe and the rest of the world. rwcmd.ac.uk

Feldenkrais Guild UK

With support from the Cultural Recovery Fund this initiative was extended to beneﬁt hundreds more students across the city. With songs about standing ﬁrm, working together and getting through, students have risen to the challenge and enjoyed the process of working with the hub’s team of professional composers to create songs that act as a musical legacy of meaningful experiences. The chorus of one song states: ‘Can’t hold us down, Can’t hold us back, We’re here, we’re better, it’s true!’. Listen to the whole song here: youtu.be/ A8ToZmaECcg This initiative has highlighted the power of music to transform and heal.

Royal Welsh College The Royal Welsh College of Music and Drama (RWCMD) welcomes Maestro Xu Zhong, Conductor, Musician, Opera Producer and Educator as its International Chair in Opera representing Asia. One of the most internationally renowned Chinese pianists and conductors, Xu Zhong is currently President of Shanghai Opera House, Principal Director of Fondazione Arena di Verona and Chief Conductor of Suzhou Symphony Orchestra and Dean of Soochow University School of Music.

The Feldenkrais Method can offer musicians a totally new horizon in their performance, learning and approach. Find out more at feldenkrais.co.uk and join a class or workshop. The Feldenkrais Guild UK will be exhibiting at the Music and Drama Education Expo, taking place at the Business Design Centre in Islington, North London on 24 & 25 September musicanddramaeducationexpo.co.uk. Come and see us at stand B32 where we will be giving free taster lessons. Save the date: Feldenkrais Resources for Musicians will be holding a free online event on Friday 12 and Saturday 13 November. Find out more at frfm.co.uk and sign up to the monthly newsletter to be kept up to date.

Impulse Music Consultants impulse-music.co.uk As the classical music world begins to get its mojo back, now is as good a time as any to find a platform for the sales of your compositions and recordings. Our partner company, tutti.co.uk ltd, has more than 20 years’ experience of selling online and we offer an innovative programme for classical music sellers. Sign up to one of the tutti seller service levels and you will have access to a quick, efficient global sales platform where you can set your selling price, write about your music, upload samples and link to video performances. We take care of the fulfilment for physical products, and downloads take care of themselves!

Left: Xu Zhong Photo: Shu Xiaoning

Continued overleaf È

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

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It may have been something of a stop-start year for music education, but there’s no shortage of fabulous new books to get our teeth into. Hal Leonard Jazz Piano for Kids is the best-selling new method for teaching improvisation at the piano, by renowned pedagogue Richard Michael. Designed for teachers and children with little or no experience in improvisation, the book has met with unanimous praise, with reviewers stressing its central position in the corpus of jazz methods. Looking for new beginners’ piano repertoire? John Thompson’s Easiest Movies published by The Willis Music Company is hot off the press, and packed full of easy-toplay themes from top movies that perfectly accompany books 1–3 of the classic John Thompson’s Easiest Piano Course. And ﬁnally, if you are one of thousands looking for additional resources to assess learning for the new Grade 5 Theory assessments, look no further than Hal Leonard’s Grade 5 Theory Practice Papers.

BA Music programme leader Dr Brian Andrew Inglis’s book (co-edited with Barry Smith) Kaikhosru Sorabji’s The English Folk Dance and Song Letters to Peter Warlock, which Society has expanded its Resource documents the lived experience of a Bank of free educational materials queer composer of colour in early 20thwhich are suitable for folk newbies century Britain, has now been released and specialists alike. Recent additions in paperback by Routledge. Professor include videos and supporting Peter Fribbins’s edition (with William materials for Learning by Ear in Drabkin) of Agnes Zimmerman’s ensembles, and songs targeted Variations on Mendelssohn’s to the Model Music Curriculum. ‘Hirtenlied’ for flute and piano is now efdss.org/resourcebank available from Music Haven. Dr Mike Dines (Pathway leader in Popular International Piano Music) has co-edited a book with Georgina Gregory, Beatified Beats: International Piano magazine is Exploring the Spiritual in Popular delighted to announce the launch of Music (Bloomsbury) – one of the first our special collectors’ edition: Chopin: longform academic texts to explore The Perfect Virtuoso. This 100-page this topic. Dr Richard Osborne’s book publication provides a comprehensive on the use and abuse of statistics in portrait of the great Romantic pianist the music industry Music by Numbers, and composer, celebrating his timeless edited with the late Dave Laing, has masterpieces and the artists who bring been published by Intellect. And a them alive. report by Julia Haferkorn (Programme Drawing on nearly a quarter of a leader MA Classical Music Business) century of expert coverage from and Sam Leak (Lecturer in Popular International Piano’s archive, the Music), funded by the Economic and volume brings together articles that Social Research Council, explores the explore Chopin’s key masterworks in role of streaming live performances recordings by leading interpreters of during the COVID-19 pandemic and yesteryear and today. We also meet a how it may have a sustainable future raft of celebrated Chopin exponents within the music industry through to discover why they love his music, monetisation: and how they negotiate its fiendish livestreamingmusic.uk technical challenges.

ISM MUSIC JOURNAL SEPTEMBER/OCTOBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

Alumni news: BA Music alumnus Jocelyn Campbell has been selected by Wigmore Hall to compose one of its 16 ‘lockdown commissions’; the venue’s biggest ever commissioning programme in celebration of its 120th anniversary: wigmore-hall.org.uk/news/ lockdown-commisions

ABRSM New from ABRSM – Initial Performance Grade for Piano and Bowed Strings!

What does an Initial Performance Grade involve?

An Initial Performance Grade helps Initial Grade is a pre-Grade 1 beginners to measure progress and assessment that follows the same celebrate achievement. structure, content and marking • Candidates prepare four pieces criteria as ABRSM’s Grade 1-8 exams. to present as a continuous It’s perfect for beginners looking for programme: three pieces from helpful commentary from examiners. the syllabus (one from each list) Now available as a Performance Grade and one own choice piece for Piano and Bowed Strings!

•

They can record their performance in a location and at a time of their choice.

•

Once the exam has been booked, you can submit the video for assessment at any time up to the submission deadline.

When can I book? For booking period dates and performance grades information and guidance, please see the ABRSM website: gb.abrsm.org/en/

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Ask me a question

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

Charlotte Munro Flautist and flute teacher Tell us a little about yourself I was brought up in Oxford and studied at the Birmingham Conservatoire, and later at Goldsmiths College, London and the Royal College of Music. I play modern and baroque flutes, and especially enjoy playing chamber music of all types with friends and colleagues, performing in concerts throughout Southeast England. I work as a visiting music teacher (VMT) in two large boarding schools in Sussex, where I teach a variety of ages from seven to 18-year-olds, and standards from beginner to diploma level. Both schools have excellent music departments and I run several flute ensembles in each school, as well as helping with bands and orchestras. I previously worked as an examiner for 10 years, firstly with the Guildhall School of Music and Drama and later with Trinity College. This enabled me to travel extensively throughout the UK, experiencing a wide variety of standards of playing and performance and meeting some fascinating characters along the way. Ultimately, I realised I preferred helping students achieve their goals to judging them, and made the decision to focus on teaching and playing, rather than examining. When not working, I am a keen runner and run regularly with my local club, recently discovering the joys of muddy trail running in the Wealden countryside.

I’ve been lucky enough to have had many excellent teachers in my life; but possibly the most influential person was the flute teacher I had in my last year at school – Lucy Cartledge – whom I first met when she was brought in to help with my local youth orchestra. Despite being brought up in a musical environment, I had never heard the flute being played properly, and her playing was a revelation to me. After I’d had a year of lessons with Lucy, she sent me to study with her old teacher, John Francis. He was a generous, demanding teacher with a wealth of experience to pass on, and the year I spent learning from him will stay with me for ever. Later on, I was lucky enough to study baroque flute with Stephen Preston and Lisa Beznosiuk, both of whom helped me develop my love of baroque music and led to me gaining an MMus in performance practice at Goldsmiths College, London. What would you say is your greatest achievement to date? My late father would have said it was being appointed a VMT at Christ’s Hospital School, where he was a pupil during the war; but I think the more recent experience of being in a small, Covid-safe audience to hear one of my pupils win the Young Musician of the Year prize at her school ranks highly. She had come to me three years ago as a shy, frustrated Grade 4 standard pupil, with numerous technical faults which were stopping her achieve what she wanted to do. After three years of hard work, her stunning performance of Dave Heath’s Out of the Cool left me feeling very proud.

Who is your all-time favourite artist and why? This varies from year to year, but at the moment I would say it is Barthold Kuijken, baroque flute. I have yet to hear him perform live, but have many of his recordings, and admire his virtuosity and musicianship immensely. What was the last CD or music download that you purchased? My recent Spotify history shows the influence of my teenage son’s eclectic tastes. Rachel Podger performing Bach partitas, Amy Winehouse Back to Black and Tchaikovsky’s violin concerto all feature, but my most recent download has been The Colourful Telemann with the Indianapolis Baroque orchestra directed by Barthold Kuijken – a truly joyous recording with several unknown works for one or two flutes that I’d love to learn. What are your plans for the future? To get back into playing after a long Covidrelated break. Finally, what is your ISM membership to you? Incredibly important. To know that I have this body behind me is so reassuring, especially during these uncertain times.

@charlotte1358

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