Music Journal November/December 2021

November/December 2021 Brazel v The Harpur Trust: ISM legal action on holiday pay The Mercury Prize 2021 Higher education research projects: women working in music; the value of freelancers; singing for health

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021

Welcome Welcome to this edition of Music Journal, where we look forward to seeing you at our Annual General Meeting on 13 November at the Royal Over-Seas League in central London. Please do let us know you are coming if you have not yet confirmed – we would love to see you there and you have until the end of the day on 1 November to confirm your place. This is the first in-person event we have held for nearly two years so it would be great to see as many ISM members as possible.

Above: Deborah Annetts Photo: Emile Holba

Front Cover Arlo Parks Photo: John Marshall, JMEnternational See feature on pages 22-25 Insert images: Photo: iStock.com/ Zerbor See feature on pages 14-17 Image of the report Mind the Understanding Gap: the Value of Creative Freelancers, published by ACE NPO and Sector Support Organisation Creative United

Later in the month, on 27 November, we are delighted to be holding a free music education conference online. No need to worry about travel or accommodation – it will be readily accessible to all. The conference will be opened with a keynote address from Mark Phillips, Ofsted’s National Lead for Music, and during the day we will be exploring early years, looking at recent developments in Wales, Scotland and Northern Ireland and examining the future of music education in England. The day will be rounded off with a double hander from our crack legal team on knowing your rights as a music teacher.

They will tackle everything from redundancy and status to the recent Brazel case on holiday pay and how it might impact on you. It will be a critical session for all those who work in music education. So do tune in to hear the debates and ask questions. We want to hear from you since this conference will form the bedrock of our policy work on music education. More information about our AGM and our conference can be found on pages 10-12.

For our sector, whether we are educators or performers, the past two years have been difficult but it has also been a time for reflection and research, and in this edition of MJ, on page 18-21 we explore research projects in higher education, including the Third International Conference on Women’s Work in Music hosted by Bangor University, research into creative freelancers by Coventry University and Scotland’s first Singing for Health Network; and we look at the artists shortlisted for this year’s Hyundai Mercury Prize, won by singer-songwriter Arlo Parks (page 22).

Very little if any progress has been made by the UK Government in tackling the mountains of red tape which now face UK performers in Europe since the Trade and Cooperation Agreement took effect at the start of this year. As we have repeatedly said to the Department for Digital, Culture, Media and Sport (DCMS), this is about trade, not immigration. The DCMS is still putting out misleading statements on how easy it is to tour in the European Union (EU); if you want to know the correct position you should consult the ISM website at ism.org/ advice/european-visa-guide The best way to sort out this mess is for the UK Government to enter into a Visa Waiver Agreement with the EU so that creative professionals can work more easily across the channel. This is such an important issue for so many musicians – and we do not intend to give up.

Lastly, I would like to wish you a happy holiday season and good music making.

Keep safe and well.

Contents 4 8 10 13 14 18 22 26 29 30 31 40

News & campaigns Legal & business ISM Trust music education conference Professional development Holiday pay Research projects in higher education The Mercury Prize 2021 News from our members Classified advertising Local area events News from our corporate members Ask me a question

Volume 88 / Number 4 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: 26 November 2021 for January/February 2022 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

And see you next year!

See feature on pages 18-21

deborah@ism.org

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS & CAMPAIGNS

News & campaigns

Music education

See page 10 for more information about our conference in November, which focuses on music education

In a keynote speech to an audience of teachers and senior leaders, Deborah Annetts highlighted the failings of the English Baccalaureate (EBacc), called on Government to reform accountability measures and spoke of the importance of wellbeing in holistic education.

Despite the difficulties facing music education Annetts said that the ISM believes there’s a ‘golden opportunity’ for new thinking in the Department for Education.

Suggestions included moving from Progress 8 to Progress 5 which would ‘help maintain the broad and balanced curriculum until the end of Key Stage 4.’

Read the full speech: ism.org/news/full-textof-deborah-annetts-delivering-excellence-inteaching-arts-in-schools-keynote-speech

Exam results and music entries Following A-Level and GCSE exam results in August the ISM analysed data on exam entry levels and highlighted concerning trends in the number of students taking music exams.

The statistics show GCSE music entries have fallen by a staggering 19% since 2011 in England, Wales and

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Northern Ireland combined. Meanwhile in Scotland, music entries to the National 5s have increased by 8% since 2020 and 10% since 2016.

Statistics released by the Joint Council for Qualifications ( JCQ) revealed that the number of candidates for A-level music has dramatically fallen by 44% since 2011. In Scotland entries for music Highers have increased by 2.5% since 2020, and 0.7% since 2016 and Advanced Highers have increased by 13% since 2020 and 11% since 2016 according to figures released by the Scottish Qualifications Authority (SQA).

This prompted the ISM to call for ‘urgent reform’ to the EBacc or for it to be scrapped altogether because it does not include creative subjects.

ISM chief executive Deborah Annetts said of the results data, ‘The Government continues to preside over a dramatic decline in music education and is clinging onto its EBacc agenda, no matter the consequences. It’s time for urgent reform of the EBacc to include music and creative subjects, or it should be scrapped altogether.’

Despite the testing circumstances, the ISM thanks all music teachers and students for their work during the last 12 months.

Read the ISM’s analysis on our website: ism.org/news/ism-concern-music-gcse-decline

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS & CAMPAIGNS

Brexit

‘Carry on Touring’ letter

The ISM continues to campaign on Brexit-related issues on behalf of musicians. We have regular meetings with politicians and government officials to highlight the disastrous consequences of the Trade and Cooperation Agreement (TCA) for musicians’ ability to tour in the European Union (EU).

Recently the Department for Digital, Culture, Media & Sport (DCMS) claimed that ‘20 EU countries offer visa and work permit free routes for UK musicians and performers’. The ISM believes that this announcement gives a misleading impression about the extent to which work in these countries will now be possible without a visa or work permit. We have also called on the Government to urgently clarify what kinds of work and what time periods are permitted in each of the 20 countries listed in the statement.

ISM Chief Executive Deborah Annetts gave evidence to the House of Lords European Affairs Select Committee in September, setting out why it is critical that the Government and EU negotiate a bespoke Visa Waiver for the creative industries, which could allow musicians to tour in the EU without a visa for up to 90 days in a period of 180.

Annetts challenged the Government to support UK musicians by: • making Eurostar a CITES-designated point of entry or exit, so that more musicians can use this route • financially compensating new musicians whose careers are now being limited by Brexit • clarifying rules around ATA Carnets and the transport and sale of merchandise while touring • correcting false information it has provided to musicians and ensuring all guidance it publishes on touring is clear and accurate You can watch the session by visiting: ism.org/news/ ism-give-evidence-to-the-european-affairscommittee-on-the-impact-of-brexit The ISM keeps an up-to-date ‘Visas and Work Permits in Europe Guide’ – which is a must-use resource for artists planning to tour in Europe: ism.org/ visa-guide-europe

Representatives of the ISM have joined more than 1,600 creatives and signed an open letter calling on the new Secretary of State for DCMS, Nadine Dorries MP, to help get the creative industries ‘back on tour’.

The letter, coordinated by campaign group ‘Carry on Touring’ and supported by the ISM, calls on the Government to fix the post-Brexit barriers preventing UK creatives being able to tour in Europe – including additional costs and red tape.

The letter calls for a ‘pan-European EU visa and work permit waiver’, which the ISM strongly supports.

Responding, ISM Chief Executive Deborah Annetts said, ‘we hope that Nadine Dorries will put getting Britain back on tour at the very top of her “to do” list.’

Read Carry on Touring’s letter in full: ism.org/news/ ism-back-get-us-back-on-tour-open-letter

COVID-19 Since the Government moved to step 4 of the English ‘roadmap’ out of lockdown on 19 July the UK’s live events industry has begun to return after more than a year of restrictions.

While some musicians have been able to return to work and are earning steadily once more, the results of the ISM’s Summer Survey showed that COVID-19 is still causing events to be cancelled regularly, and confidence in the music sector returning to pre-pandemic levels of activity before the end of 2021 is low.

The survey results showed: • a third (33%) of musicians have had work cancelled by others or had to cancel work themselves since 19th July.

• 90% of cancellations are COVID-19 related and will not be covered by the treasury-backed reinsurance scheme.

• over half (54%) of those who responded have lost over £500 of potential earnings due to cancelled work since 19 July.

• 62% have less work booked between JulySeptember 2021 than they did in the same period in 2019. Only 9% have more.

• only 23% are completely or somewhat confident their engagements will have returned to prepandemic levels by the end of 2021.

Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS & CAMPAIGNS

The reinsurance scheme opened in September and will remain active for twelve months.

However, we are concerned that it does not go far enough in providing cover for all types of COVID19 related cancellations. One example is, the reintroduction of social distancing requirements which could make events financially unviable or where outbreaks of COVID-19 among performers and production teams lead to performances being cancelled. This could be devastating, particularly for smaller organisations, ensembles and productions on a limited run.

Learn more about scheme by visiting our website, ism.org/news/ism-responds-to-treasury-backedreinsurance-scheme

Financial Support for hardest hit sectors We thank the hundreds of ISM members who took the time to fill out our survey, giving us a comprehensive overview of how the pandemic continues to impact your work.

The furlough and self-employment income support scheme (SEISS) closed at the end of September. For the music industry, where recovery from COVID-19 is at an early stage, the closure is a great concern.

You can read more about the results of our summer survey on our website, ism.org/news/isms-covid19-summer-survey-results-show-musicians-stillfeeling-the-financial-impact-of-the-pandemic

Musicians who have been supported by the scheme but are not yet able to work and earn in a sustainable way are now at risk of financial hardship.

Reinsurance scheme The ISM was pleased when the Chancellor of the Exchequer, Rishi Sunak, announced a £750 million reinsurance scheme. It is something that the ISM and other creative organisations had been campaigning on for months.

We feared events would be unable to return without insurance support because the financial risk of COVID-19 related cancellations was too great.

These fears were proven accurate.

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ISM Chief Executive Deborah Annetts wrote to the Chancellor of the Exchequer, Rishi Sunak, to ask for targeted financial support for musicians who have been hit hard by the COVID-19 pandemic and have not seen activity return to pre-pandemic levels.

Read Deborah Annetts’ letter in full; ism.org/news/ ism-asks-chancellor-for-targeted-incomesupport-for-musicians Make sure to visit our COVID-19 hub for up-to-date advice across all four nations: ism.org/advice-centre/ coronavirus-listing

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS & CAMPAIGNS

Streaming & copyright

Diversity & inclusion ISM Chief Executive Deborah Annetts has written to the Minister for Women and Equalities, Liz Truss, to ask for protections against sexual harassment in the workplace for musicians following the government’s response to a consultation on sexual harassment in the workplace.

While the response covers much ground such as length of time to bring claims to tribunal and a new duty on employers to prevent harassment, it provides The ISM is committed to working with industry very little protection for freelance workers. Protections stakeholders to find an equitable, sustainable and instead remain primarily focused on employees. transparent model for the licensing and distribution of The ISM has called for wider protections for the royalties that is suitable for the streaming era. music workforce and called for further details from In October two important documents were released Government. regarding streaming. The first was a response to June’s The ISM continues to work towards a safe and Department for Digital, Culture, Media & Sport (DCMS) welcoming music industry for all, and will be calling Select Committee report into streaming which the on Government to introduce robust and far-reaching Government called a ‘key moment’. protections for the freelance music workforce, Government committed to convening industry working groups but stopped short of concrete action.

who often fall outside the scope of legislative protections at work.

The second publication is the report from the Intellectual Property Office (IPO), ‘Music creators’ earnings in the digital era’. It aims to investigate the issues impacting upon the ability of creators to earn money since the development of music streaming.

Read the ISM’s letter in full: ism.org/news/ismwrites-to-minister-for-women-and-equalitiesin-response-to-the-consultation-on-sexualharassment-in-the-workplace

The IPO has analysed music creators’ earnings from music sales and royalties, which showed general decline. It provides further evidence that musicians are increasingly reliant on live performance for income.

Although the research is comprehensive and thorough, the IPO did not have access to major label artist-royalty distribution data.

This research should inform the thinking of Government and decision makers in the industry.

The ISM continues to urge Government and the music industry to ensure that creators’ rights are protected and that they receive fair remuneration for their work.

Read the ISM’s summary of the reports here: ism.org/news/important-streamingreports-launched

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

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | LEGAL & BUSINESS

Legal & business Raisa Pankalainen ISM, Office & Member Administrator, provides a reminder of the procedures involved in obtaining criminal record checks for safe-guarding purposes in the four UK nations

Obtaining a criminal record check for private teaching Now that life is getting slowly back to normal in all four nations, many music teachers have started or are planning to start face-to-face lessons again.

If you are teaching privately, the ISM recommends that you obtain a criminal record check for safeguarding purposes.

Above: Raisa Pankalainen Photo: Emile Holba

As your professional body, we can request a Disclosure and Barring Service (DBS) check if you are based in England and Wales, request Protection of Vulnerable Groups (PVG) scheme registration if you are based in Scotland, or request an AccessNI check if you are based in Northern Ireland.

ISM Registered Private Teacher Status If you wish to apply for ISM Registered Private Teacher (RPT) status, a criminal record check is mandatory.

Having ISM RPT status can help you to promote your private music lessons, as it demonstrates that you have been reference and criminal record checked by your professional body, and that you have signed up to our Safeguarding & Child Protection Policy, Code of Practice and procedures. You will receive a certificate of your status and a highlighted listing on the ISM Music Directory.

DBS checks A DBS check is a criminal record check which employers in England and Wales may request, especially if you are working with children and vulnerable adults.

There are four different types of checks: basic, standard, enhanced and enhanced with a check of the barred lists. A barred list check shows whether the applicant is on the adults’ and/or children’s barred list. The barred lists allow the DBS to keep a record of people who are not permitted to work in a regulated activity with children and/or vulnerable adults. It’s a criminal offence for a person to work with a group from which they have been barred from working.

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We can organise an enhanced DBS check with barred list for you if you teach or your intention is to teach under 18s and/or vulnerable adults in the next 4-8 weeks, on one occasion or more per week, or for intensive periods of four days or more over a 30-day period. Applications are handled by our DBS partner, Due Diligence Checking (DDC).

The current fee for enhanced DBS check is £61.60 and the whole process takes approximately 4-8 weeks, so it is good to start the process as soon as possible.

Once you have received your DBS check, we recommend that you join the DBS Update Service. This is an automatic annual renewal service that allows you to keep your DBS certificate up to date. If you join this service, you will be DBS checked once a year. The cost for the Update Service is £13/year.

PVG scheme If you live in Scotland, you will need to join the PVG scheme. Protected adults are defined as those aged 16 years and over who are unable to safeguard their own wellbeing, property, rights or other interests and are at risk of harm.

The scheme is managed and delivered by Disclosure Scotland, which carries out criminal record checks for our members and shares the result with the DDC. The cost for PVG scheme registration as a new member is £80.60.

There is no separate update service for the PVG scheme, as Disclosure Scotland regularly checks applicants’ suitability to continue working with children or protected adults on an ongoing basis. If they find new information which means someone is no longer suitable to work with children or protected adults delete, they will contact the DDC who then will inform the ISM about the changes.

If you are already a member of the PVG scheme, DDC can process the application as a PVG update, providing they have seen the original PVG certificate from when you first joined the PVG scheme. The cost of a PVG update is £39.60. The PVG update is required for ISM members who have registered with the PVG scheme through another organisation (not the ISM) and wish to apply for the ISM RPT status.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | LEGAL & BUSINESS

AccessNI Northern Ireland has its own criminal record checking service, AccessNI, for those whose work involves close or regular contact with children or vulnerable adults.

AccessNI don’t have an update service, so the check is valid only on the point of issue, and employers can decide how often they would like their employees to obtain a check. To maintain your ISM RPT status, we ask members in Northern Ireland to obtain an AccessNI check every three years.

If you are self-employed, the ISM can start the application process for you by entering the basic applicant information onto the portal of our partner Due Diligence Checking (DDC). DDC will contact you to provide guidance on setting up an online account with AccessNI, and entering form information required to process the application.

DDC will submit the form online to AccessNI and track the application to ensure it is processed as quickly as possible. Any queries from AccessNI will be dealt with by a DDC counter-signatory as quickly as possible.

The certificate will be issued, printed and posted to DDC, with a copy sent directly to the applicant’s home address. The fee for an enhanced AccessNI check is £54.60.

Contact the ISM If you require any of these checks, get in touch with us on membership@ism.org or by phone on 020 7221 3499

You will need to provide original ID documents which need to be verified (either by the ISM or DDC).

Documents will then be cross-referenced with the form information to ensure they match.

Any discrepancies or differences will be identified and queried with you directly.

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

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ISM ANNUAL GENERAL MEETING 2021 As members will be aware, the ISM Annual General Meeting (AGM) originally scheduled for 24 April 2021 could not go ahead as planned, on account of the COVID-19 pandemic and related restrictions on travel and social distancing in place at the time.

The AGM was consequently adjourned, and we sent out a notice confirming this in April.

COVID-19 restrictions have now been relaxed such that it is possible for the ISM to hold an in-person AGM. We are delighted to be hosting the AGM on Saturday 13 November 2021 at 1.00pm, at the Princess Alexandra Hall, Royal Over-Seas League, Over-Seas House, Park Place, St James’s Street, London, SW1A 1LR.

There will be a light lunch served from 1.00pm and a chance for members to network and meet the ISM staff team to share their thoughts. The actual AGM will start at 2.30pm and around 3.15pm there will be the Open Forum. Tea will be available afterwards and an opportunity for further networking.

We look forward to seeing ISM members who have booked their attendance for the event. Minutes from the AGM meeting will be included in the March/April 2022 edition of Music Journal.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | ISM TRUST MUSIC EDUCATION CONFERENCE

ISM Trust conference: Where next for music education?

Saturday 27 November 2021, 10am-4.30pm With debate raging around what the education system 12.15-1.15pm: Does music education should be seeking to deliver, where does music have a future in England? education stand across the four nations of the UK? Now is the time to regroup and discuss what the future There has been a deeply concerning trend of declining might look like as we head into 2022. music entries at both GCSE and A-level over the last ten years, since the English Baccalaureate (EBacc) was Join us on Saturday 27 November for a free, online introduced. In this session, we’ll examine the impact conference, bringing together experts from across of this damaging policy, and how it could be reversed. the sector to discuss the issues, opportunities and We’ll also discuss how a second National Plan for challenges that music educators currently face.

Music Education and a new team in the Department We’ll discuss the future for music in schools across for Education will affect the music education the four UK nations, examine the priorities for landscape in England. Most importantly, how can we early years music, and look at legal rights for ensure that all children and young people have access music teachers. There will also be a keynote speech to a high-quality music education? from Mark Phillips, Ofsted’s National Lead for Music, as well as opportunities to have your say and share your experiences.

10-10.15: Opening words from Deborah Annetts, ISM CEO 10.15-11am: Keynote speech and Q&A with Mark Phillips, Ofsted’s National Lead for Music 11am-12pm: What’s next for early years music?

Early years music education has historically been undervalued, however campaigns to recognise its importance are gaining momentum. It is vital that music-making starts with the early years, as quality musical experiences from birth have multiple benefits for learning. In this panel session, we’ll discuss the value and potential of early years music, and look at how we can support music educators and leaders to offer excellent and accessible provision for all.

2pm-3pm: Music education success in the devolved nations: what can we learn?

We’ve seen some recent successes for music education in the devolved nations, such as free instrumental tuition in Scotland, and a new arts curriculum in Wales. What can England and Northern Ireland learn from these achievements, and where do challenges remain? In this panel session, we’ll examine the impact of the pandemic on musical learning across the UK, and discuss the priorities for the future.

See page 18 for research projects in higher education from across the UK

Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | ISM TRUST MUSIC EDUCATION CONFERENCE

See page 14 to learn more about holiday pay and our work on the Brazel case

3.15-4.25pm: Session 3.

Legal essentials: Know your rights

4.25-4.30pm: Conclusion from Deborah Annetts, ISM CEO

In this session, ISM legal experts will examine the BOOK YOUR FREE TICKETS at ism.org/conference concerning casualisation of the music workforce, and outline ways in which music educators can protect themselves. As working conditions become increasingly precarious within music education, we’ll help you to understand your rights, covering employment status, contracts, fees and redundancy.

We’ll also discuss the landmark Supreme Court holiday pay case, involving ISM member Lesley Brazel, which could have far-reaching impact on thousands of music educators.

Play: A psychological toolkit for optimal music performance This essential hands-on guide will help you manage performance anxiety and reach your full potential as a musician. It is packed with approachable practical strategies to help you overcome common psychological obstacles and optimise your musical performances.

Written by Gregory Daubney (CPsychol, MSc) and Dr Alison Daubney (PhD), two experts in the field of performance psychology, Play is the perfect guide for any musician wanting to improve their performances by focusing on wellbeing and tackling performance anxiety.

ISM members can buy the guide in print for £8 and as a print-ready PDF for £4.

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 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.

New resource: How to... Become a music workshop leader As a new graduate, experienced performer, or music teacher you may be thinking of ways to diversify your income, or to find a new career that you can embark on with music at its heart. In our latest How to… guide, Maria Thomas, Founder and Artistic Director of The Music Workshop Company, provides an overview of some of the common workshop settings that you could work in, before looking at the considerations you need to take into account prior to starting out as a workshop leader. These include training, marketing yourself, contracts and statutory requirements. The guide also contains guidance on how to approach teaching.

Upcoming webinar Friday 5 November 4.30-5.30pm Join us for this free webinar in which Maria Thomas, Founder and Artistic Director of The Music Workshop Company, and author of our new guide How to...

Become a music workshop leader will provide an overview of our new guide, before taking questions from viewers.

To register visit: ism.org/professionaldevelopment/webinars/ workshop-leader

Catch up webinars Watch our previous webinars at: ism.org/professional-development/webinars Preparing for pre-recorded examinations As the pandemic took hold, many of the major instrumental and vocal exam boards accelerated measures to offer digital versions of their exams, either pre-recorded or live streamed.

In this session, Ivor Flint takes you through the process of preparing your students for recorded exams, from booking slots and rehearsing through to recording and uploading the performances.

Preparing for live online examinations Following on from our session on recorded exams, we continue our exploration of new digital options for taking instrumental and vocal exams.

In this webinar, Ivor Flint explains the process for carrying out live-streamed online exams, looking at everything from booking exam slots and preparing your students, through to what equipment to use and pre-exam checks to mitigate against technical issues.

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

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | HOLIDAY PAY

Holiday pay for VMTs and peris – the ISM fight goes on On 9 November 2021, the case of Brazel v The Harpur Trust reaches the Supreme Court. This landmark case around holiday pay, funded by the ISM’s legal expenses insurance, could benefit thousands of workers across the UK. ISM Senior Legal Adviser Nerys Owen tells us more

Above: Senior Legal Adviser Nerys Owen

All employees and workers are entitled to 5.6 weeks’ paid holiday a year. In this feature, we focus on holiday pay, starting with the Brazel legal action and why it matters. The issue at the heart of the Brazel case – the widespread practice of pro-rating the holiday pay of visiting music teachers (VMTs) because they are not contracted to teach during the school holidays – is just one of several holiday pay problems routinely brought to the ISM’s in-house legal team by our VMT and peri members. These include the use by schools of ‘self-employment’ contracts to avoid statutory obligations such as holiday pay, problems working out what should be included in a week’s holiday pay and how this should be calculated, and holiday pay hidden inside the hourly rate. Each of these issues is addressed briefly below.

The ISM’s history with the Brazel case ISM member Lesley Brazel works part-time, teaching clarinet and saxophone at an independent school operated by her employer, The Harpur Trust. As with many VMTs and peris, Mrs Brazel’s termly working hours depend on how many pupils need lessons on her instruments. Mrs Brazel has a permanent ‘zerohour style’ employment contract, so there are no guaranteed minimum hours, and she is paid only for work done.

Left (bottom): Supreme Court Photo:iStock

Mrs Brazel first sought the ISM’s help back in 2013, when the ISM in-house legal team took up her complaint about how her holiday pay was calculated and helped her bring a formal internal grievance. That grievance was dismissed because the Harpur Trust maintained that they were entitled to pro rate her holiday pay to term-time only, since she didn’t teach

during the holidays. They based their approach to holiday pay on Advisory, Conciliation and Arbitration Service (ACAS) guidance (since withdrawn) designed for working out the holiday pay of casual workers.

Relying on this guidance, the Harpur Trust calculated Mrs Brazel’s earnings at the end of each term and paid her one-third of 12.07% of those earnings. This ACAS guidance is the source of the ‘12.07%’ figure that still appears in many members’ contracts, even though use of this method of calculation for term-time only workers is no longer lawful following the Court of Appeal ruling in Brazel. The basis for the 12.07% figure is 5.6 weeks’ holiday, divided by 46.4 weeks (that is, 52 weeks minus the 5.6 weeks’ leave).

In March 2015, Mrs Brazel launched an employment tribunal claim under the Working Time Regulations.

Since then, it has taken eight years – and a good many stages along the way – for this case to reach the Supreme Court. The ISM’s legal expenses insurance – a benefit provided to all members – has funded Mrs Brazel’s case throughout.

Since the ISM was created in 1882, we have been working to protect the rights of those working in music, but this marks the first time we have supported a case all the way to the Supreme Court. We salute Mrs Brazel’s determination, and we feel privileged to have been able to stand behind her in this way.

This case is especially significant because it will impact not only on the holiday pay of VMTs and peris, but also on holiday pay rights for thousands of others with irregular hours who work term-time only, such as school catering staff and playground assistants.

Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | HOLIDAY PAY

Right: Lesley Brazel

Where are we now?

The fight goes on. Despite the Court of Appeal victory in Mrs Brazel’s case, more than two years ago, confirming that just like all other workers, ‘term-time only’ workers must be paid 5.6 weeks’ paid holiday a year, a mid-2021 ISM survey of VMTs and peris found widespread refusal to comply with the law on this issue. Just under a third (30.77%) of VMTs and peris who identified as employees or workers told the ISM that they knew or were fairly certain that their holiday pay was still being pro-rated to term-time only, while only 7.08% were confident that they were getting their correct allocation of 5.6 weeks.

Meanwhile 36.31% reported getting no holiday pay at all. Employers are clearly waiting to see what the Supreme Court decides before changing their behaviour. Judgment is expected in early to mid-2022.

Employment status and why it matters Only employees and workers are entitled to statutory holiday, so one important way in which many schools have sought to escape these obligations (as well as other key statutory responsibilities such as pensions auto-enrolment contributions) is for their VMT and peri workforce to be classified as ‘self-employed’. In our latest ISM survey of VMTs and peris, 41.15% of participants described their employment status as ‘self-employed’. The genuinely self-employed have very few statutory rights.

A troublingly large proportion of the VMTs and peris who approach the ISM legal team with contract documents that describe their status as ‘selfemployed’ are more likely, on closer examination, to be workers, with statutory worker rights, including a right to holiday pay. Confusingly, there is a difference between employment status for tax purposes and employment status for statutory worker rights.

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HMRC does not recognise the category of ‘worker’ and uses only two classifications: employment (which is subject to PAYE tax at source) and self-employment (which is not). You can be legitimately classified as self-employed by HMRC, paying tax on this basis, while at the same time qualifying for statutory worker rights.

As regards worker rights, there has been a fundamental shift in this area of law, following the February 2021 Supreme Court ruling in the case of Uber v Aslam. As a result of that ruling, employment tribunals must take no notice of an employer’s carefully drawn up contract documentation when deciding whether or not someone qualifies for statutory rights at work. Instead, the focus must be on what really happens day to day.

Another important ruling for VMTs and peris is the tribunal case of Scott v Chigwell School. Mrs Scott, a visiting singing teacher, was judged to have worker status. The case is not binding because it is a decision of the employment tribunal, but it is still important, because Mrs Scott’s working arrangements are common across the sector. Among a range of relevant factors, it is significant that Mrs Scott was found to be a worker even though she invoiced the parents who paid her direct, and this was because the school dictated what she was allowed to charge – a common practice among bursars. This practice is also vulnerable to attack as unlawful price fixing, because it removes from the parent the choice to opt for the cheapest from a range of ‘business providers’.

How much holiday pay should you be getting?

Even if the school accepts that you are an employee or a worker, there can still be problems working out how much holiday pay you should be getting. Statutory holiday pay calculations are based on a ‘week’s pay’,

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | HOLIDAY PAY

so to work out your annual holiday pay entitlement, you first need to calculate a ‘week’s pay’ and then multiply this by 5.6 weeks.

Where teaching hours are regular and you have no other work commitments, such as regular ensembles, working out your holiday pay should be relatively straightforward.

For example, if you have been timetabled to give 10 hours’ teaching per week across all three terms of the academic year at an hourly rate of £30 and you have no other regular work commitments, your holiday pay entitlement for the year will be £1,680 (=10 x £30 x 5.6).

However, changes to pupil numbers over the year can mean that your weekly pay does not remain stable across all three terms. In particular, many VMTs see their pupil numbers fall in the summer term during GCSE and A-level year. The law on calculating the holiday pay for people with irregular working hours and pay has recently changed. Since April 2020, where working hours and pay are irregular, the law requires employers to base their workers’ holiday pay on their average pay over the previous 52 weeks. Weeks when you were paid nothing at all (for example, school holidays) must be excluded, and replaced by an earlier week. Weeks when you were paid a smaller amount than usual because you were off sick or on a statutory leave, such as maternity leave, must also be excluded. This is because you should get paid the same when you’re on holiday as when you’re at work.

The employer should only count back as far as needed to reach 52 weeks of normal pay – up to the previous 104 weeks, but no further.

In straightforward cases, this means that schools will be able to calculate a week’s pay by working out average weekly pay across all three terms and then multiplying that figure by 5.6 to give a week’s pay.

What pay counts towards a week’s pay?

Another live issue for VMTs and peris is the question what pay should be included when working out a week’s holiday pay. Holiday pay should be based on your normal pay when working, and this includes

any usual or regular payments, including regularly worked voluntary overtime. This means that on top of hourly pay for teaching, the school should add other regular pay, such as running group ensembles or accompanying exams. Holiday pay must also reflect income earned for performing contractual tasks, such as attending safeguarding training or INSET days.

Rolling up holiday pay inside the hourly rate Another common problem in this sector is the practice of including holiday pay within the hourly rate (known as ‘rolled up’ holiday pay). Employers are not allowed to simply designate part of your normal pay as ‘holiday pay’. Instead, there must be an extra payment for holidays, on top of the pay for work done. And you must be able to see clearly, from the information provided by your employer, such as your contract documentation and your payslip, precisely how your holiday pay has been worked out.

What to do if you think you are being underpaid holiday pay ISM members who think they are not receiving their full holiday pay entitlement should contact the ISM legal team for advice by email at legal@ism.org.

There is currently legal debate over how far back these claims can go, but the absolute maximum that can be recovered is two years of underpayment.

Even in cases where a school’s liability is clear, good record keeping is likely to be very important.

There are three months (less one day) in which to bring a claim, counting from the most recent underpayment. Many of the VMTs who approach the ISM legal team are not particularly interested in pursuing back payments of holiday pay. Instead, what they really want is to see their school acting lawfully and responsibly moving forward.

See page 10 for more information on our conference about music education, which includes the session ‘Legal essentials’

The ISM’s 2022 fees survey Our annual survey of music teaching, examining and accompanying rates is now available online. The continued disruption to the industry caused by COVID-19, which meant that much work was cancelled or moved online, has been taken into account within the questions, and we will use your responses to deliver a comprehensive report of the situation this year.

Your participation is incredibly important because the more musicians who complete the survey the more authoritative the survey results will be as an indicator of what musicians have been charging. To complete the survey visit: surveymonkey. co.uk/r/8XJ5CR2 The deadline for submissions is 17 December 2021 and the results will be published in spring 2022.

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Research projects in higher education A conference in Bangor on Women’s Work in Music, Coventry University’s report on creative freelancers and the establishment of Scotland’s Singing for Health Network are three of the innovative works carried out in our higher education institutions during the pandemic While the pandemic brought many challenges over the last two years, it did not stop the continuation of the groundbreaking work that is being carried out in the UK’s higher education institutions. In this feature we will look at three projects that closely affect musicians.

Above: Clara Schumann playing with Joseph Joachim, painted by Adolphe von Menzel, 1854 Photo: Wikimedia Creative Commons

Above: Morfydd Owen Photo: Rhian Davies Collection

Left (clockwise from top): Dr Rhiannon Mathias, Nick Henry, Liesbeth Tip and Brianna Robertson-Kirkland Left (below): Women of Note: images of women composers whose lives span 300 years Photo: Courtesy of Diana Ambache womenofnote.co.uk

musicians in early 20th-century France; and on media representations of women composers in Soviet Czechoslovakia. Some topics were more overtly feminist or addressed complex issues relating to gender and sexuality; others looked at the challenges still faced by women working in a range of different musical contexts.

Third International Conference on Women’s Work in Music, Bangor University

The inaugural WWM Conference marked the 40th anniversary of the death of Grace Williams (1906-77), one of the first professional Welsh composers of the It has already become a cliché to note that the silver 20th century to attain international recognition. While lining to the COVID-19 pandemic has been its impact the main focus is on academic musicology, Mathias on the development of digital communications, writes says she was keen from the start to widen the scope of Clare Stevens. A recent beneficiary of this revolution the events, inviting representatives of music industry was the Third International Conference on Women’s bodies, administrators, funders, publishers, journalists Work in Music (WWM), hosted by Bangor University’s and broadcasters to take part.

Department of Music, Drama and Performance in the ‘For example, a particular highlight in 2017 was first week of September. Situated on the north-west a presentation

by Edwina Wolstencroft on her work tip of Wales, Bangor is easily accessible only from as editor of BBC Radio 3’s International Women’s Liverpool and (by fast ferry across the Irish Sea) from Day celebrations.

This year one of the keynote Dublin. But because its 30+ sessions took place on presentations was given by film and video-game Zoom this year, more than 90 delegates from all over composer Eímear Noone, who in 2020 was the first the world were able to attend. woman to conduct the music for the Oscars ceremony.

The contrast with the previous two events in 2017 We also had quite a lot of papers relating to jazz, and 2019 is extraordinary, admits the conference’s which was exciting as we hadn’t really featured that instigator and director, Dr Rhiannon Mathias, lecturer previously. I particularly enjoyed one from Pauline and music fellow at the university. ‘While a sizable Black, who is based in Scotland, about introducing number of international delegates attended them in school students to jazz improvisation.’ person, I think we had just one online contributor in Conference partners for 2021 were the Royal the past, who probably connected with us on Skype,’ Musical Association, the ISM, the PRS for Music, she says. ’This time we had participants from all over and the Ambache Charitable Trust which promotes the United States, and from Canada, Ghana, South Africa, Australia, Singapore, Finland, Spain, Poland and performances of music written by women, as well as the Welsh Arts Council, the Welsh Government more, as well as from the UK and Ireland.’ and National Lottery and Tŷ Cerdd, which promotes The range of topics under discussion was equally and celebrates the music of Wales. Deborah Keyser, wide-ranging. The lives and music of female composers Director of Tŷ Cerdd and current President of the and performers of the past such as Pauline Viardot, ISM, joined a panel chaired by ISM Chief Executive Fanny Mendelssohn Hensel, Clara Wieck Schumann Deborah Annetts to reflect on the impact of the global and lesser-known figures like Caroline de Belleville, pandemic on women’s work in music. You can read Marie Grandval and the South Indian courtesan and more about this session in a blog post by Annetts musician Bangalore Nagarathnamma were explored on the ISM website: ism.org/blog/the-ism-chiefin the context of an over-arching theme of ‘virtuosa’. executive-on-the-ongoing-challenges-facingThere were sessions on the contributions of women women-in-the-music-industry to contemporary piano music in Mexico and to music for the synagogue; on the unionisation of women Continued overleaf È

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Just one performance was included in the programme, but it was a very special one, streamed from the historic Powis Hall and acknowledging the centenary of Bangor University’s music department.

Mezzo-soprano Sioned Terry and pianist Iwan Llewelyn-Jones gave a recital of songs by five Welsh women composers whose lives spanned that century: Morfydd Llwyn Owen (1891-1918), Grace Williams (1906-77), Dilys Elwyn-Edwards (1918-2012), Rhian Samuel (b.1944) and Terry herself (b.1975).

‘It was wonderful to introduce these beautiful songs to such a large and appreciative international audience,’ says Mathias, ‘and to hear people say that none of them would be out of place at the Wigmore Hall.’

Mathias is the daughter of the Welsh composer William Mathias, and a proud custodian of his legacy. But the focus of her own academic work is women composers; her publications include Lutyens, Maconchy, Williams and Twentieth-Century British Music: A Blest Trio of Sirens (2012) and she has edited the Routledge Handbook on Women’s Work in Music, which grew out of the first WWM conference and is due to be published later this year.

‘There are 44 chapters, each by a different author,’ she says. ‘I’m very conscious of the pioneering work on women in music done by people like Sophie Fuller (who has written one of the chapters), Nicola LeFanu and Jennifer Fowler, but there is so much more to find out about female composers and performers of the past who did not receive the recognition they deserved in their lifetimes.’

Understanding the Lived Experience and Value Generation of Creative Freelancers, Coventry University Nick Henry, Professor of Economic Geography at Coventry University, looks back at its research and report into creative freelancers – an ever-growing group of people within the UK work market, and one which encompasses many musicians.

In late 2019, now known as pre-pandemic, here at Coventry University we won a research award from the Creative Industries Policy and Evidence Centre to research creative freelancing. At that time we knew creative freelancing was a large, growing and critical aspect of the much-lauded cultural and creative industries. We knew also that limited data, understanding and recognition was afforded to this varied community of workers, including concerning issues around income and career insecurity.

To read the report visit: creativeunited. org.uk/services/thevalue-of-creativefreelancers

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Our recent report Mind the Understanding Gap: the Value of Creative Freelancers, published by ACE NPO and Sector Support Organisation Creative United, is based upon over 100 hours of interviews with 86 self-identified creative freelancers across Coventry, Northumberland and Waltham Forest. In these

interviews the freelancers described their motivations, how they work, why that way and what it means for their business and personal lives – in short, their lived experiences as creative freelancers.

What we didn’t know as we prepared to start our interviewing in early 2020 was that for too many creative freelancers their work and income was about to fall off a cliff. Their vulnerability within the supply chains and talent pipelines of our word-class sector – and the lack of understanding of their business models – was to be made glaringly apparent. Our interviewing was deliberately delayed until mid-2020, by which time, notwithstanding the largest economy-wide and sector-specific interventions ever seen in most of our lifetimes, large numbers of creative freelancers had fallen regularly through the structural cracks in support.

The report sets out how the UK workforce of creative freelancers contributes significantly, and in many ways, to local and national economies, communities, and culture. Their cultural and creative activities deliver self-development and well-being, the joy and buzz of shared cultural participation, and citizenship and community outcomes, entrepreneurship and market making. In today’s place-based policy frameworks especially, recognition of this richness of contributions and value, and understanding of how different creative freelancers generate such value, should attract greater levels of investment, funding and support.

The report proposes a typology to better present the range of creative freelancers and the characteristics that define their (business) motivations, and their modes of working. It categorises creative freelancers into creative entrepreneurs, creative contributors, work-life balancers, precarious projecteers, creative ecologists and community creatives.

The aim of this typology is to help national government, creative and cultural sector institutions, and local place-based policy makers build an environment that is better designed and funded to support, raise, and sustain the contribution made to place, economies, and culture by creative freelancers.

One ‘silver lining’ of the pandemic has been the organic and impressive response by the sector to both support and advocate for creative freelancers never to be under the radar again. Our work adds to this caucus, and viewed through the lens of the typology we put forward 10 recommendations for national government, creative and cultural sector institutions and local place-based policy.

At national level, the experience of (creative) freelancers highlights bigger questions on the changing nature of the labour market – and the extent to which existing systems of employment policy, tax and welfare are suited to these shifts, including income and insurance schemes to deal with economic instability.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | RESEARCH PROJECTS IN HIGHER EDUCATION

At organisational, institutional and business level, it is about better business practices by the diverse array of contracting organisations. It is about their stakeholder – as well as shareholder –responsibilities to their supply chains, including creative freelancers, customers and communities. A post-pandemic world may indeed be building back the requirements of a ‘social license to operate’ across swathes of economy and society.

At the local level, we have seen an active shift to place-based policy and the search for ‘more prosperous, fairer and resilient places’. What our research shows is how creative freelancers can deliver to such place-based agendas, across economic, social and cultural value.

talk by Professor Emeritus Grenville Hancox on the topic of ‘Singing on Prescription’. Practitioners and researchers attending Spheres of Singing recognised the need to establish a network that could continue the many conversations raised at the conference, and could also unite practitioners, researchers and health professionals who are doing work in a variety of areas but are not necessarily aware of how their work interlinks. There are several organisations and charities providing Singing for Health services across Scotland, as well as many practitioners facilitating groups without organisational support; however, to date, there is no resource that shows the number of Singing for Health support services in Scotland.

Research in singing for health has demonstrated that singing can help people to live well with their chronic illness, such as by giving them the tools to ‘self-manage’ their symptoms. For example, singing teaches deep-breathing practices, which can help to prevent breathlessness for individuals living with respiratory illness; it can help strengthen vocal muscles of individuals living with Parkinson’s disease, and it can aid the memory of those living with dementia. These health management techniques can help to empower people to have better control Our partners in the research, motivated to close over their illnesses. Singing groups also provide a safe the understanding gap, were Creative United, Coventry and supportive space to be around people who have City of Culture Trust, London Borough of Waltham similar lived experiences of illness. As a result, peer Forest, Northumberland County Council and the support is an important feature of singing for health Warwick Institute of Employment Research. communities. By giving people the tools to manage their health difficulties, singing for health practices Scotland’s Singing for Health Network exemplify the Chief Medical Officer for Scotland’s aim Dr Brianna Robertson-Kirkland (Royal Conservatoire that by 2025 all health practitioners will be practising of Scotland) and Liesbeth Tip (University of Edinburgh) person-centred ‘realistic medicine’. recall the work that occurred last year to establish Scotland’s Singing for Health Network will provide a Scotland’s Singing for Health Network. space for a diverse community of singing practitioners In summary, we believe the report provides an insightful statement on why and how you might invest in, fund and support the variety that is creative freelancers; this critical – yet precarious – part of our much-lauded creative and cultural industries. Our hope also is that our proposed typology does hold traction with creative freelancers. That they can see themselves in the report and that the report closes the gap between their lived experiences and the funding and (design of) policy frameworks, programmes and projects.

In December 2020, with Sophie Boyd from the University of Glasgow, we were awarded a Royal Society of Edinburgh network grant to establish Scotland’s Singing for Health Network. Singing for health is an umbrella term that refers to the use of singing to help support and manage a range of illnesses. There are a wide range of singing for health practices that help with the management of different conditions, such as respiratory illness, Parkinson’s disease, dementia, mental health difficulties, and cancer. Singing for health has been developing over the last 20 years in the UK and it can be recommended as a form of social prescription, where health professionals refer people to a range of local, nonclinical services to support their health and wellbeing.

Interest in developing a singing for health network in Scotland followed the Spheres of Singing online interdisciplinary conference in May 2020. This event attracted over 400 registered attendees, and dedicated a day of workshops and talks to Singing for Health and Wellbeing. A huge range of research and practice was showcased, followed by a keynote

and researchers, who specifically work on singing and health, to come together to share knowledge, ideas, and practice and to open avenues for communication between individuals and organisations. The network also hopes to provide a space to discuss larger issues about how to engage and work alongside medical professionals, to offer Singing for Health as a legitimate form of music therapy proven by research to help with a wide range of medical conditions.

The team are recording a podcast series, where singing group leaders, researchers and medical practitioners discuss specific health conditions and how singing can help patients to manage their condition. The first series of the podcast will launch in January 2022. The network is also mapping all the Singing for Health groups in Scotland with the aim of providing an open-access resource that makes it easier to identify local groups. If you would like to know more about Scotland’s Singing for Health Network activities, please see our website: rcs.ac.uk/research/staffresearch/scotlands-singing-for-health-network or follow us on Twitter @ScotSingHealth.

See our next feature on the Mercury Prize for more success stories in music from over the last year

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | THE MERCURY PRIZE 2021

The Mercury Prize 2021 The shortlist for this year’s Hyundai Mercury Prize for Music was even more eclectic than usual, and the awards ceremony marked a joyful return to live music in front of an audience. Clare Stevens reports The Hyundai Mercury Prize for Music celebrates recordings rather than live performance, but the annual awards ceremony has traditionally taken place in front of an audience and included sets by as many as possible of the shortlisted artists. The pandemic inevitably meant that the 2020 ceremony was a virtual event, but this year the relaxation of rules about large gatherings in England enabled it to take place more or less as normal on 9 September at the Eventim Apollo in Hammersmith, West London.

Above: Clare Stevens Photo: Bruce Childs

The sense of relief felt by all the artists at getting back to performing in front of an audience – in some cases for the first time since the outbreak of the pandemic – meant that the 2021 ceremony had a very special atmosphere and a real sense of camaraderie rather than competitiveness between the musicians taking part. Of course there was an element of controversy, as there almost always is over a major prize in any artistic discipline. In this case some music fans and critics felt that the prize should have been awarded to an artist whose work was truly innovative.

But others agreed with the jury that the winner, singer-songwriter Arlo Parks, captured the mood of the moment with her début studio album Collapsed in Sunbeams.

Produced by Gianluca Buccellati and Paul Epworth, the album was released in January 2021 on Transgressive Records, and reached No 3 in the UK album charts, earning Parks three nominations at the 2021 Brit Awards, for Album of the Year, Best New Artist and Best British Female Solo Artist as well as the Mercury Prize.

Left (from top) Wolf Alice; Nubya Garcia; Mogwai Photos: John Marshall, JMEnternational

Commenting on their choice, the judging panel said: ‘It was extremely difficult to choose a winner of the 2021 Hyundai Mercury Prize. There were so many strong albums, of such diversity and character. But in the end we decided that Arlo Parks was an extremely worthy winner. Addressing such complex issues as mental health and sexuality with real empathy, displaying a lyrical wisdom that belied her 21 years, with Collapsed In Sunbeams she has created an album that has captured the spirit of the year in a positive,

forward-thinking fashion. It has the ability to reach out and remind a wider audience of the timeless art of the album. Arlo is an artist who connects deeply with her generation and reflects the plurality of contemporary British life.’

Parks was brought up in West London – she used to cycle past the Eventim Apollo on her way to school. She is half Nigerian, quarter Chadian and quarter French, and spoke French before she learned English; her family name is Anaïs Oluwatoyin Estelle Marinho, and she chose Arlo Parks as her stage name as a distinctive personal pseudonym. Words are as important to her as music; she has named the poet Sylvia Plath and singer-songwriter Joni Mitchell among her influences, as well as the songwriters and rappers King Krule and Frank Ocean. Her own breakthrough as a performer came when radio presenters across the UK noticed the demo tracks that she had uploaded to BBC Introducing and began playing them; her first commercial releases were through Beatnik Records before she signed to Transgressive.

She performed her first ever gig at The Great Escape Festival in Brighton in May 2019, followed by appearances that summer on the BBC Music Introducing stage at Glastonbury and at Latitude, but her first headlining tour of Europe in spring 2020 was interrupted by the pandemic. She continued to release singles, however, building her fan base and attracting critical acclaim. Black Dog, for example, written when she was still at school and describing how it feels to try to help a friend through depression, turned out to have even more resonance when it was recorded and released during the first lockdown. NME described it as ‘the most searingly honest song we’ve heard all year’ and said that it ‘positions Arlo Parks as a young artist able to tackle the weightiest subjects imaginable with the deftest of touches, and such naked honesty that it could well serve as an instruction manual for those struggling right now’.

In response, Parks said she was glad to hear that her song was helping people who were finding quarantine difficult, and welcomed the increased Continued overleaf È

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discussion around mental health in the music industry and beyond, which had encouraged her to express her own feelings through her music. ‘Being vulnerable has a big place in what music looks like today.’

Other songs on her prize-winning album, however, are optimistic and upbeat, such as the bouncy ‘Too Good’ which she performed at the ceremony. Website The Line of Best Fit praised Parks when the album came out for her ‘seemingly effortless lyricism, and laidback melodies make her songs cosy in winter, and chilled in summer – always uplifting and comforting … this level of versatility in a debut album is a rarity.

Collapsed in Sunbeams is timeless.’

Accepting the award and the £25,000 cheque that goes with it, Parks initially described herself as ‘speechless’, but went on to explain that it had taken a lot of hard work and sacrifice to achieve such success.

‘There were moments where I wasn’t sure whether I would make it through – but I am here today, so thank you very much.’

The Mercury Prize has no categories, and is open to all genres of music, which tend to vary from year to year. The 2021 shortlist was particularly eclectic, including jazz, soul, rap, electronic, contemporary classical and beyond; the judges commented that ‘it is testament to the strength of British music that, during a year which saw musicians face the toughest challenges of their lives, so many remarkable albums came out. There was an embarrassment of riches for us to choose from, but the final 12 showed how diverse, vibrant and far-reaching British music continues to be.’

Below (from left): Black Country New Road; Ghetts; Laura Mvula Photos: John Marshall, JMEnternational

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ceremony, in which she played a huge pink ‘keytar’ was one of the most eye-catching as well as earcatching of the event.

Jazz saxophonist and composer Nubya Garcia and her band also made an impression with their exuberant performance of Pace from her album Source, as did the British-American singer-songwriter Celeste with her wistful song Strange, and rapper/ grime MC Ghetts with Fine Wine from his album Conflict of Interest, which features colleagues such as Stormzy, Giggs, Dave, Pa Salieu, Ed Sheeran, Skepta and Emeli Sandé. In contrast to the well-connected Ghetts, an established figure on the grime scene who was accompanied on stage by a choral backing group and substantial instrumental ensemble, was newcomer Berwyn, accompanying himself on an acoustic piano in his song Glory. Berwyn was nominated for his debut album DEMOTAPE/VEGA, self-produced and recorded at his home in Romford, Essex, which describes his life as part of an immigrant family on a poverty-stricken council estate in intimate and sometimes harrowing detail. He says his mixtape ‘just came out of blood, sweat and tears; out of the overwhelming need to get out of the situation’ in his ‘absolute shithole’ of a flat.

Veterans of the night were the Glasgow post-rock band Mogwai, earning their first shortlist nomination and also their first UK No 1 chart hit for their tenth studio album, As the Love Continues, 25 years after they formed; and the 80-year-old American jazz artist Pharaoh Sanders, saxophonist and vocalist who joined members of the London Symphony Orchestra for Promises, an ambient contemporary Over half the nominees were Black British and classical track produced by Floating Points. The most only two of the shortlisted artists had been nominated eccentric performance was probably by seven-piece before: rock band Wolf Alice, winners of the overall experimental rock band Black Country, New Road, prize in 2018 for their second studio album, Visions whose frontman Isaac Wood included a snorkel in his of a Life, and singer-songwriter Laura Mvula, who is stage outfit. yet to win the overall award despite two previous The identities of the band Sault remain a mystery, nominations for her albums Sing to the Moon (2013) even though their nominated release Untitled (Rise) and The Dreaming Room (2016) in addition to this is their fourth studio album, produced by Inflo in the year’s Pink Noise, released in July on Atlantic Records.

Forever Living Originals label. In an age when image Mvula’s performance of her song Church Girl at the

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | THE MERCURY PRIZE 2021

seems to be everything for so many artists, Sault do not give interviews, produce videos, run active social media accounts or perform live. They leave their compelling, multi-faceted dance music to speak for itself, blending funk and Afrobeat with disco, soul and R&B. But Untitled (Rise) and its predecessor Untitled (Black Is), released just 13 weeks earlier less than a month after the killing of George Floyd, clearly indicate their mission to articulate the Black experience and confront the challenges raised by the #BlackLivesMatter movement.

and the Radiophonic Workshop, re-sampling and generating her own new digital instruments to create something new.

Above (from left): Hannah Peel; Celeste; Arlo Parks Photos: John Marshall, JMEnternational

When Fir Wave was shortlisted for the Mercury Prize Peel agreed to do a one-off performance of one of the tracks, Emergence in nature, at the prize ceremony, with generous support, she says, from the Arts Council of Northern Ireland and Belfast City Council towards the significant costs of taking part. ‘I had performed at the Mercuries in previous years as a session musician with other people, but it’s completely Northern Irish composer, producer and broadcaster different when you are there as a producer in your own Hannah Peel had never intended to perform her right. It was an eye-opening experience … and a real nominated album Fir Wave live. It is an electronic celebration of the return of live music.’ soundscape, inspired by a photograph in National Mercuryprize.com Geographic of a band of fir trees on a mountainside, which seemed to Peel to resemble a sine wave.

Thinking about the relationships between music, science and nature led her to an exploration and reinterpretation (with permission) of the 1972 KPM 1000 series Electrosonic: the music of Delia Derbyshire

The Hyundai Mercury Prize The Hyundai Mercury Prize promotes the best of UK and Irish music and the artists who produce it, through the celebration of 12 ‘Albums of the Year’ and one overall winner, recognising artistic achievement across a range of contemporary music genres.

It is the music equivalent of the Booker Prize for literature and the Turner Prize for art.

The main objectives of the Mercury Prize are to recognise and celebrate artistic achievement, provide a snapshot of the year in music and to help introduce

new albums from a range of music genres to a wider audience.

The shortlist is selected by an independent panel of judges made up of music experts from a variety of backgrounds: musicians, music journalists, music presenters, music producers and heads of music. They meet twice, once to choose the shortlist and then on the day of the prize ceremony to choose the overall winner. They base their decision solely on the quality of the music on the album.

The 2021 Hyundai Mercury Prize ‘Albums of the Year’ are: Arlo Parks Collapsed in Sunbeams BERWYN DEMOTAPE/VEGA Black Country, New Road For the First Time Celeste Not Your Muse Floating Points, Pharoah Sanders & The London Symphony Orchestra Promises Ghetts Conflict of Interest Hannah Peel Fir Wave Laura Mvula Pink Noise Mogwai As the Love Continues Nubya Garcia SOURCE SAULT Untitled (Rise) Wolf Alice Blue Weekend

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 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 26 November 2021 for the January/February 2022 issue

New music theory app Treble Music Theory is an exciting new music theory app that offers unlimited practice quizzes and exams to help prepare you for examinations or just to consolidate your knowledge, writes Clare Lawson.

We offer Grades 1-5 for a monthly subscription. As well as full mock exams, you can take short quizzes in the individual areas of music theory, enabling you to work on any problematic areas on an individual basis. You can look at your results and statistics to track your progress!

As a music teacher, you can recommend us to your students, and our system tracks results to enable you as a teacher to see which areas need further teaching and saving you valuable time by not having to mark papers! Because it is an online, multiple-choice platform, it provides ideal preparation for the new-style ABRSM theory exams. treblemusictheory.com

New student chamber music anthologies from Nancy Litten After attending an EPTA conference in Vienna, Nancy Litten was inspired to produce two books of trios. They are arrangements of well-loved piano solos, plus two songs and one orchestral piece, and could be very useful in schools and colleges as well as serving as encores for professional ensembles.

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‘The piano, violin and cello parts are all Anne Brontë 200: A Fine and written at the same level of difficulty, Subtle Spirit – A Celebration making these particularly suitable for GCSE or A-level ensembles. The music is in Words and Music distributed judiciously across the three A bicentenary celebration for Anne instruments ... An excellent addition to Brontë will take place in Manchester the chamber music repertoire at this on Saturday, 13 November 2021. level.’ Pianist magazine Postponed from 2020 due to the ‘They are all beautifully constructed ... pandemic, this unique concert Litten has potentially solved one of the event features choral settings of overriding difficulties faced in chamber Anne’s words, written specially for the occasion, as well as new poetry music education when pianists are inspired by Anne’s life and example. considered, and for this we should be extremely grateful.’ Murray McLachlan, Lucy Pankhurst, BBC commissionee of The Pankhurst Anthem, has composed Piano Professional magazine the title work which sits alongside Classical Vienna (grades 6-7) Alfred other new settings by Paul Vowles Music ISBN10:1470613530 and by American composers Cristi Haydn: ‘She Never Told Her Love’, Cary Miller, Judith Herrington and Canzonetta; Finale from Piano Sonata Dale Trumbore. There is also music in D, HOB XVI 37

by John Rutter, David Fanshawe and John Joubert. The performers Mozart: Alla Turca from Piano Sonata in A K331; Rondo from Piano Sonata in are Manchester Musicians’ Choir, Withington Girls’ School Choir, soprano C, K545 Lesley-Jane Rogers, pianists Janet Beethoven: Adagio Sostenuto from ‘Moonlight’ Sonata Op 27 no 2; Tempo Simpson and Wendy Nugent and Brontë scholar Nick Holland. Poets di menuetto from Piano Sonata in G Liliana Pasterska, Philip Watts and op 49 no 2; Adagio from ‘Pathétique’ Edwin Stockdale will perform their Sonata op 13 own works. The event is supported Romantic Vienna (grades 6-8) Alfred by the Ida Carroll Trust, the Hinrichsen Music ISBN10: 1470613638 Foundation and Arts Council England.

Schubert: Song ‘Who is Sylvia?’; Saturday, November 13th at 7:30pm.

A Selection of Waltzes £15/£12 Bruckner: Fantasie J.Strauss the Younger: ‘On The Beautiful Cross Street Unitarian Chapel, Cross Street, Manchester M2 1NL Blue Danube’ Brahms: Ballade op 118 no 3; Intermezzo op 76 no 7

The Artistic Director is Pamela Nash.

Contact Pamela at: na nashhpschdnew@aol.com or go to: FFa Facebook/Website: facebook.com/ e v events/831053234161332

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR MEMBERS

Michael Jones FISM – 50 years ‘in search of music’ In 1971 Michael Jones FSIM became a church organist, started private piano teaching, and began full time study at what is now the Royal Birmingham Conservatoire, graduating in 1974 with prizes for Piano, Advanced Harmony, and Musical Distinction.

one sharp or flat, even those who feel a little rusty can enjoy learning lots of these solos in the build-up to Christmas. Lyrics are also provided and an added benefit is the inclusion of backing tracks (and slower practice tracks), accessed via QR codes. These are great fun to use while helping to develop important musical skills.

You can purchase Countdown to Christmas by Darren Day from Amazon.co.uk. Digital copies are also available from MyMusicResource. com and TopMusicMarketPlace.com Alongside Darren’s busy teaching career, he is also an Examiner for Trinity College London.

Countdow n Christotma s Elementary / Early

Intermediate UK Grade s 1–3

25 CARO

LS, SONG S SOLOS FO & ORIGINAL R PIANO DARREN

Michael joined the ISM in 1977, and in 1979 was mentioned in the ISM Journal for “flying the flag to Germany” for playing the Frank Bridge Piano Sonata at the British Centre, West Berlin. In 1983 he made his first London appearance at the Purcell Room and has subsequently promoted London concerts for the composer’s centenaries of: York Bowen, B J Dale, Julius Harrison, Rebecca Clarke and Dorothy Howell.

For Michael’s 50th Anniversary Andrew Downes and Mike Smith have written piano works specially for him, and in early September he appeared on More4 TV talking to Gyles Brandreth and Sheila Hancock (about Nicolas Medtner’s stay in Wootton Wawen during World War 2) on ‘Great Canal Journeys’.

Single User

Licence

DAY

G IN CK IA BA S V EE CK DE FR RA CO T R Q

Celebrating the life and work of pianist and composer F S Kelly Pianist Alex Wilson released a CD of previously unrecorded piano works by the British-Australian pianist, composer, Olympic rower and war hero F S Kelly last year on the Toccata Classics label.

perhaps Australia’s first great romantic composer, composing music for piano, voice and orchestra. His music is reminiscent of Scriabin, Chopin and Vaughan Williams, full of passion, emotional resonance and youthful exuberance.British pianist Alex Wilson has been working with Kelly’s music since 2014, performing it to honour the recent WW1 centenary and recording most of his piano music on the Toccata Classics label. Most of the repertoire had never previously been recorded, or even performed in public during the last 100 years. The CD, featuring Kelly’s 24 Monographs and 12 Studies, is available at alexwilsonpianist.com or at the Toccata Classics website.

The delayed launch event for this CD happened at Southwark Cathedral, London on 30 October 2021, a concert featuring Kelly’s piano works alongside a substantial world premiere by Sadie Harrison: a series of works based on Kelly’s diaries.

Penelope Roskell’s course for piano teachers Penelope Roskell, ISM member and Professor at Trinity Laban Conservatoire, is pleased to announce the launch of her new online course: Teaching Healthy, Expressive Technique. After the success of her award-winning book, The Complete Pianist, Penelope has teamed up with Informance Publishing to produce a nine-hour series of videos which gives teachers, both new and experienced, an in-depth understanding of how to teach all aspects of technique.

The course forms the basis of the Trinity Laban Pedagogy course and is available to ISM members at 30% discount. Click here for details: mailchi.mp/informance/

Countdown to Christmas piano anthology Countdown to Christmas by Darren Day features 25 carols, songs and original solos for piano. Arranged for elementary to early intermediate level (Grades 1–3), it is packed with attractive and interesting arrangements and as most pieces have a key signature of no more than

Born in Sydney, Australia, in 1881, Frederick Septimus Kelly performed with Pablo Casals and Jelly d’Arányi in concerts around the world, won a rowing gold medal at the 1908 London Olympics and died at the Battle of the Somme in 1916, aged 35. He was Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR MEMBERS

Echo Ensemble

Escape to the Dance Floor

It’s been a constant joy (and a creative challenge!) to find new ways of bringing you live music during the pandemic, writes Noah Max. As we begin to emerge from COVID-19, we can’t wait to welcome you to more live performances soon.

Share the GOOD NEWS with earlier time! 6-7pm Escape to the Dance Floor in St Leonard’s-on-Sea, Sussex with composer/ musician Marguerite MacLean

The Echo family are delighted to announce a new collaboration with The Epiphoni Consort. This Remembrance Day, at 8pm on Thursday 11 November 2021, we will perform Duruflé’s iconic and astonishingly beautiful Requiem in the composer’s intimate chamber version.

The programme also features music by Brahms, David Bednall and the London premiere of a new work of my own, Nebulae.

Inviting you to a FUN HOUR THURSDAY at the BANK HOTEL: Music 2 inspire Tickets are limited; find out more and Movement book yours now at noahmax.net/ events.

We look forward to welcoming you for what promises to be a truly special, moving and thought-provoking evening to mark an important occasion.

A New Song for Christmas!

ISM member Philip Colls has been conducting The Cappella Singers since 1981. This Gloucestershire choir, which was founded in 1960, will be joined by the Baroque instruments of Warwick Cole’s Corelli Orchestra at Holy Trinity Church, Minchinhampton, on Thursday 16 December. The programme was originally planned for the choir’s Diamond Jubilee and includes a specially commissioned setting of ‘O sing unto the Lord a new song’ by Mark Blatchly; and there are works by Purcell and Handel.

You are advised to obtain tickets in advance. For more information see cappellasingers.co.uk

Do you just love to FreeStyle Dance?

Then JUST DANCE! WHERE? At the TOP BALLROOM of the Bank Hotel, St Leonard’s TN37 6DR

Pianist, examiner and ISM member David Richard’s new resource for beginner pianists Daily Drills stems from years of trying out piano tutorials and realising that the vast majority of students struggle with notation, no matter what book is used. Using mnemonics such as FACE and All Cows Eat Grass (and overrelying on them) is the go-to method but it never allows students to reach fluency. In fact it usually slows them down!

Daily Drills is the ideal companion to the piano methods on the market at the moment. It contains 100 bite-sized note reading exercises. The book starts in the five-finger starting position and notes are added gradually and methodically throughout the chapters.

Once the first few notes are covered, the hands move to different positions.

There are also rhythm exercises and bonus pieces, so that students can apply what they have learnt with famous repertoire.

WHEN: Thursday evenings 6-7pm BOOK YOUR SPACE, due to limited space for movement, by regular monthly payments in advance or pay £4 cash on arrival. A donation will go towards education in the third world.

Seriously...they have 100 pupils per class.

Your FUN in dancing towards a healthier you will make a real difference for these schools. margueritemaclean.co.uk

Obituaries: We are sorry to announce the deaths of the following members: Miss Eileen A Godier FISM of Eastbourne

Mrs Stella L James FISM of Reading

Gerard Healey of Frodsham, Cheshire

Mr Dennis J Taylor FISM of Sunderland

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | CLASSIFIED ADVERTISING

COMMENTS AND FEEDBACK I thoroughly recommend your service to anyone thinking of joining. You have been hugely supportive and helped me through some difficult issues. ISM is an essential supporting service for all musicians.

The advice and help I have received throughout my musical career has been invaluable. They are highly reliable and always quick and efficient to respond to any requests for help.

I have noted how the ISM has engaged with the major issues facing the profession in recent years, and praise the team in their support of the membership, who more than ever need advice and assistance.

ISM member since 2015

[The tax helpline was] very quick and efficient and helpful

Your service is fantastic, and on two occasions your legal team has been a great help with us from contracts offered to my band from record labels – I always recommend [the ISM] to fellow musicians.

ISM member

ISM member

Philip Chapman, ISM member since 1993

It gives one such confidence to know that a team of experts is available to give help and advice on a long list of problems, and certainly under the current leadership the organisation has shown itself to have real clout in the world of music. I applaud the campaigns on music education etc, and the support offered during the plague has been very useful.

ISM member since 1991

Give the gift of ISM membership this Christmas Do you know a music student or musician who would benefit from becoming an ISM member?

ISM membership would be the perfect gift to ensure they have the advice, protection and support they need throughout their music career.

Full membership is £181 a year, or £171 by annual Direct Debit.

To order a gift membership, simply call 020 7221 3499, Monday – Friday, 9.30am – 5.30pm.

ISM student membership is just £15, and for recent Find out more at ism.org/gift-membership graduates or those with 10 or fewer years’experience, ISM early career membership is just £50.

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 26 November 2021 for the January/ February 2022 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.

Student cellos, mostly German, various sizes, from £100.

Tel. 07974 412269

Bassoons several. 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 Tuba! Besson 928 EEb. £3750.

07974 412269

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LOCAL AREA EVENTS Full listings can be found on our website, ism.org. The next deadline for copy is 26 November 2021 for the January/February 2022 issue

Sunday 21 November 2021 Oxford Pupils’ concert 3pm Church of St. Michael & All Angels Lonsdale Road, Summertown, Oxford OX2 7ES

www.benslowmusic-ils.org 01462 420748 Registered Re gistered Charity No. No. 313 313755 755

We would like to invite members to encourage their pupils to play in this concert, which is for duets or larger ensembles as well as solo items. Teachers may be part of an instrumental group if desired, and any instrument or voice can take part. Pieces may be at any level, as long as they are ready for public performance.

Refreshments will be available.

Admission: £8, ISM members £5 School age children, performers and accompanists free Contact: Carolyn King 01235 522774 carolyn2king@btinternet.com

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 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 26 November 2021 for the January/February 2022 issue

MusicTeacher.com Here at MusicTeacher.com, we currently have the following teaching opportunities where we have overflows of students coming through and not enough local teachers to meet the demand: Drum Teachers • Bath • Guildford • Manchester Singing Teachers • Hemel Hempstead

project involves stonework conservation, weather-proofing and the sympathetic installation of heat, light and electrical infrastructure to the loggia in the East Wing of King Charles Court. Home to Trinity Laban’s Faculty of Music, King Charles Court is part of the Old Royal Naval College UNESCO World Heritage Site.

Stainer & Bell Stainer & Bell have launched a special choral collection in celebration of the 150th anniversary of the birth of Ralph Vaughan Williams.

• Milton Keynes • Reading Piano Teachers • Norwich

HL452

R. VAUG

HAN WIL

LIAMS

ANNIVE RS CHORAL ARY COLLEC TION Curated by Angus Sm ith

• Reading If you are a teacher able to provide in-person lessons to students based in these locations please contact matthew@musicteacher.com or visit musicteacher.com/sign-up/.

S TA I NE

both of folksong and the heritage of choral singing, fused by his genius into one of the great voices of 20th century music. stainer.co.uk/rvw150

Awards for Young Musicians Awards for Young Musicians (AYM) has relaunched its Awards programme, a move that marks an exciting new chapter for the charity.

The programme offers young people the chance to join a community of like-minded musicians, receive a financial investment of up to £2,000 in their musical journey and access mentoring, workshops, concert tickets, performance opportunities and a programme of monthly online events.

These feature top level musicians and industry professionals and explore everything from musicians’ health and wellbeing to career development and genre-specific creative sessions.

R BE LL

AYM welcomes applications from instrumentalists, composers, Around RVW’s Five English Folksongs, producers or songwriters of all genres With lockdown lifting we have Three Elizabethan Partsongs and and styles of music. Applicants are been seeing increasing enquiries traditional and folk-inspired carol encouraged to demonstrate their nationwide across the database of arrangements, Stainer & Bell’s Choral potential and passion to take music to music teachers in our community.

Ambassador, Angus Smith, has created a high level, their progress in whatever If you are interested in taking on a captivating and flexible programme music education they’ve had access more students then do reach out, of related works, adaptable to a to, and their love of music-making and we are always excited to work with variety of performing situations, from ideas for development as an artist. professional music teachers who enjoy brief tributes to a whole evening’s sharing their knowledge with students performance. Included are partsongs To find out more or to apply, visit of all ages and abilities.

by Holst and Stanford, plus the a-y-m.org.uk/apply inspiring polyphony of Byrd, Gibbons, Trinity Laban Morley and Tallis, selected from S&B’s world-renowned historical catalogue.

To meet the evolving needs of its community, Trinity Laban is Young composer Sarah Cattley’s transforming part of its Greenwich newly commissioned SATB setting campus to create an additional of Ursula’s poem O Western Wind accessible performance, events and brings the tribute right up to date. activities space for students and The varied selection will inspire fresh audiences to enjoy. Supported by The understanding of RVW’s achievement, Foyle Foundation, the regeneration and renew admiration for the legacies Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

Steinberg

The Curious Piano Teachers

This past summer, Steinberg released a brand-new version of its music notation and composition software, Dorico, for iPad, and the app recently received a significant new update, adding new features that make it even easier to use. It’s now simpler to connect Bluetooth MIDI keyboards for note input from an external device, and scrolling around big projects is smoother and feels better. Dorico for iPad is completely free to use, and is compatible with Dorico projects created in any version of Dorico for macOS, Windows or iPad. An optional in-app purchase subscription adds more features, including the ability to write for ensembles of any size. Look out for more news from Steinberg soon, as a major update to Dorico for macOS and Windows is coming before the end of 2021.

Founded by Dr Sally Cathcart and Sharon Mark-Teggart in 2015, The Curious Piano Teachers is a global, online community of piano teachers who love to learn as much as they teach.

dorico.com/ipad

English Folk Dance and Song Society The latest resource published by the English Folk Dance and Song Society is Black Singers and Folk Ballads.

This Black History resource reflects on music-making among enslaved people in former British colonies in the southern US and Caribbean.

The video, audio files and supporting PDF (including sheet music, discussion and activity suggestions) are all free to download, and designed for secondary educators of English, Drama and History as well as Music.

They were prepared by musician and singer Cohen Braithwaite-Kilcoyne. efdss.org/BlackSingersFolkBallads

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Members can access a library of readyto-use teaching resources and videos, with new content added monthly. In addition to professional development resources, members can connect with one another – inside the Facebook group, on live Zoom chats, on webinars and on member-exclusive courses.

service to musicians of creating promotional videos. Creative You will harness the marketing potential of you talking about your music and illustrating your personal artistic credo using examples of your work, your programmes, your featured events and above all your passions. You can find out the details of Creative You by visiting impulse-music.co.uk/ resources/creativeyou/

Sarah says: ‘I would like to commend everyone at The Curious Piano Teachers for building such a great community and bank of resources, it’s incredible! I have learned so much already from fellow community members...’

Why not take a look at our website, thecuriouspianoteachers.org?

Follow us on Facebook at The Curious Piano Teachers, Instagram on @thecuriouspianoteachers, or check out our YouTube channel for our free webinar replays.

Launching in November, we are offering ISM members a 15% discount on all Creative You projects up to the end of the year. Call us on 01760 441448 to start your Creative You project.

Practising the Piano Practising the Piano – Resources for the Trinity 2021-23 Piano Syllabus Foundation & Intermediate Grades Videos for selected repertoire for the foundation and intermediate grades (Initial – Grade 5) of the 2021-23 Trinity piano examination syllabus are now available on the Practising the Piano Impulse Music Consultants Online Academy. These videos form part of our extensive collection of impulse-music.co.uk examination resources featuring 100+ We are delighted to announce the videos on learning and practising launch of our new programme, prescribed pieces in addition to tips on ‘Creative You’. Over the past two years, other aspects such as scales, sightmuch of the artistic world has become reading, preparation and performing. surprised by, accustomed to, and, More information on these resources increasingly, dependent on the online is available here: mailchi.mp/ world – finding new creative outlets, informance/piano-examinationestablishing new forms of creative resources. output and, importantly, maintaining a ISM members are entitled to 30% creative presence. discounts on all of our products Creative You has been developed by (please visit mailchi.mp/informance/ Impulse to build on this energy and ism-member-offers for information impetus by offering a cost-effective on ISM member discounts).

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

and genres from the past as well as contemporary classical, ‘crossover’ and pop styles and our free choice piece option gives even more flexibility in repertoire choice. Visit our website rslawards.com for more information and sign up to our FREE Teacher Registry to further expand your teaching portfolio.

RWCMD The Royal Welsh College of Music and Drama (RWCMD) has appointed one of the country’s leading movement directors, Struan Leslie, as its new Head of Movement.

Struan brings with him a wealth of diverse and collaborative experience as a director, choreographer and artist-teacher, celebrating the innate diversity of dance, and reflecting the Royal Welsh College’s innovation and ambition to push the boundaries between the music and drama disciplines.

Anita Morrison, Martin Ashley, Lucy Joy Morris, Sam Oladeinde and members of the Eton College teaching team.

Some streaming options available.

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! aotos.org.uk

mushRoom We are extremely excited to have finally achieved 100 music spaces listed on our platform!

Launched in 2019, mushroom (share music, share room) is an online platform gathering music spaces from concert venues and churches He has worked with some of the The return to live music offers an to people’s homes. Our service most renowned theatre and opera builds connections between hosts companies in the world, from WNO to opportunity to consider moving and musicians and improves musicthe RSC, with directors such as Michael your music insurance to NewMoon.

Boyd and Katie Mitchell and musicians Starting from as little as £28 a year, get making environments. With the protection for your instruments with success we have in London, we are such as James MacMillan and Aurora options for unattended vehicle, excess now expanding to other parts of the Orchestra. and either worldwide, UK or premises UK and to Paris. only options applied on an individual AOTOS If you are looking for a space to instrument basis across your policy. practise, rehearse or record, remember The Association of Teachers of Singing Cover is accidental damage, loss and that the mushRoom host community is (AOTOS) launched a brand new theft including unlimited professional here to welcome you. accredited online course for singing use. Remember, as an ISM member teachers called ‘Essentials’ in October. you benefit from the ISM discount, Find out more on find-mushroom.com For aspiring singing teachers with four subject to minimum premiums. years or fewer teaching experience, this is packed with crucial information newmooninsurance.com VKDUH PXVLF VKDUH URRP to elevate your skills. Real-time group RSL Awards sessions are supplemented by video material provided by experts in their (QGOHVV YDULHW\ RSL Awards is pleased to announce IURP KRPHV field. The first course is scheduled for WR FRQFHUW YHQXHV the arrival of our Classical Violin October and costs an incredibly low syllabus. Sitting alongside our RSL £80 in total. )RU DOO PXVLF Classical Piano syllabus, Classical Violin DFWLYLWLHV IURP VROR SUDFWLFH WR comprises carefully-crafted repertoire AOTOS Autumn conference SHUIRUPDQFHV which celebrates music by male and Sunday 31 October St Paul’s Girls’ female composers from a diverse )OH[LEOH SULFHV School, London. 10-5. ‘Giving Boys a &UHDWLYH VSDFHV WR range of cultural backgrounds. Each VDWLVI\ DQ\ EXGJHW Voice’ (Training the male voice from book contains ten pieces of music child to young adult). Come to hear which are representative of styles

New Moon Insurance Services

Continued overleaf È

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ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

Making Music Brass bands, community choirs, orchestras, string ensembles, barbershop groups, jazz bands, folk groups and music societies … are just a snapshot of the thriving UK leisuretime music sector.

Hot House Music

Hal Leonard Europe

With demand for music tuition at an all-time high, Hot House Music School are extending their reach by launching franchises across the UK.

The ABCs of Music: My First Music Book, written by YolanDa Brown and published by Hal Leonard, aims to provide an accessible, fun and informed introduction to music Jonathan Eno BEM, Hot House CEO for children aged 6–11. Beautifully commented: ‘Our award-winning designed, The ABCs of Music allows social enterprise transforms lives children to explore their thoughts and through inspirational music education feelings about music through creative – and we continue to see huge growth. exercises, games and playlists, As a franchisee, you can run your introducing them to instruments own school with full access to our and genres as well as the basics of successful model – expert tuition, lively music literacy. Featuring exclusive ensembles, professional performances educational songs by YolanDa Brown and international touring, with the and the opportunity to perform support of an experienced team.’ alongside her band, The ABCs of Music To find out more call 03303 200 880 is the perfect book for parents, carers or email support@hhmusic.co.uk and schools looking to facilitate those first steps into music.

London College of Music Exams W We’re delighted to announce the la launch of our new 2021 Piano Exam H Handbooks and Syllabus – available to o order now.

LC LCME’s most varied syllabus yet, the n new 2021 Piano Exam Handbooks an and Syllabus have something to in inspire every musician. Featuring re remarkable pieces by composers, past and present, from over 37 different countries, and showcasing an exciting and diverse mix of musical styles – we’ve included practice and performance tips, insight into the composers themselves, classical favourites as well as fresh new discoveries and iconic film scores, plus information about how to care for your instrument.

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

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YolanDa said of the book, ‘I am extremely proud to have written a book that provides children with an introduction to music and the magic that comes with it. Every child should have access to music, the sounds, genres, instruments and all its wonderful benefits. I would like this book to play a part in introducing a musical world full of joyous learning and discovery to many generations of children.’

At Making Music, our mission is to support you. Whether your group is small and just getting started or large and well established, we offer guidance on managing daily activity, and navigating necessary but often complicated tasks such as PRS, risk assessments, insurance and other administrative and financial activity.

We are a supportive community for amateur music groups to share ideas, good practice, advice and music.

Find out more today: makingmusic.org.uk

Musicians’ Chapel The 2020 Thanksgiving Service finally took place on 29 September 2021 at the St Sepulchre’s Church. There was a good attendance and St Sepulchre’s Choir directed by Peter Asprey sang the service. The address was given by the Very Reverend Dr Victor Stock.

44 musicians were remembered.

There will be a Choral Requiem Eucharist on Wednesday 3 November at 5pm, and the 2022 Service of Thanksgiving will be held on Wednesday 18 May, with the Chamber Choir of the Royal Birmingham Conservatoire directed by Paul Spicer.

The address will be given by the Reverend Canon Adrian Daffern.

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

the music that represents their musical interest. Performance Diploma repertoire lists are currently available Rocksteady and Trinity are launching a for Piano, Classical Guitar, Flute, brand-new, accessible, progressive- Clarinet, Alto Saxophone, Trumpet, style music qualification for primary Trombone, Violin, Cello and Singing.

Repertoire lists for other instruments age children, to be delivered by will be released by September 2022.

Rocksteady Music School. The new Ofqual-regulated qualification involves observing skills as they are being performed in lessons and unlocking the qualification using technology once a threshold number of skills have been observed.

Rocksteady Music School and Trinity College London

The innovative new approach combines Rocksteady’s progressive and inclusive teaching methods and a brand-new, forward-thinking qualification awarded by Trinity College London, which shares many of the same values and vision around giving children, regardless of their backgrounds or starting point, the opportunity to experience the lifeenhancing benefits of playing music.

MTB 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 professional qualifications.

MTB Performance Diplomas are set at two levels: Associate of the Music Teachers’ Board (AMTB) and Licentiate of the Music Teachers’ Board (LMTB).

Our Performance Diplomas assess candidates’ ability to present a concertlevel recital programme. These consist 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

composition as a musician’s life skill and a teacher’s essential tool.

Dr Kirsteen Davidson Kelly (SCO Creative Learning Director) highlighted social projects targeting mental health issues.

Concluding, Chair Fiona Sellar MBE invited all to remember Ronnie Robertson, a SAME stalwart who died last year.

The SAME Conference was planned and executed by its own members, with the support of the ISM in marketing and online technical provision.

ABRSM National Youth Jazz Orchestra The lovely seaside town of Deal, Kent has been announced as the new home of the National Youth Jazz Orchestra (NYJO)’s Academy-SouthEast, thanks to a dynamic partnership between NYJO and Deal Music & Arts (DMA). Led by saxophonist, composer and educator Joe Browne, who also runs DMA’s jazz programme, the Academy will give regular opportunities for young musicians in the region to learn about all aspects of jazz performance. As well as regular workshops, starting on Tuesday 26 October 2021, there will be an annual opportunity for all NYJO regional academies to come together at a residential summer school.

Music Theory exams anytime, anywhere ABRSM’s online Music Theory exams at Grades 1 to 5 are now available on demand, giving teachers and candidates complete choice over when to book and take exams. The exams are designed by experts to give candidates the best opportunity to demonstrate their music theory knowledge and understanding. When you’re ready, just make a booking and candidates then have 28 days to take their exam in a location of their choice. abrsm.org/onlinetheory

dealmusicandarts.com

Scottish Association for Music Education The Scottish Association for Music Education (SAME)’s conference was held online on 29 and 30 September. 210 delegates Zoomed with 12 presenters across Early Years, Primary, ASN, Secondary, Instrumental and MusTech.

Sir James MacMillan delivered the keynote address, focusing on Continued overleaf È

35

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

The Piano Teachers’ Course UK NYCGB NEW MUSIC!

Composers Edition

The Piano Teachers’ Course UK has been pleased to welcome teachers from around the world for its first ever hybrid course!

Not sure how to go about finding suitable contemporary repertoire for yourself, your musicians, students or leisure-time music makers? Don’t think commissioning is for you? Then come to Composers Edition and let us help match you with the perfect repertoire and composer(s). Whether you’re a pro musician, choral director, festival planner or teacher, find introductions to our newly developed range of services via our website today.

Did you know that the National Youth Choirs of Great Britain (NYCGB) has a digital music label, and releases new tracks recorded and performed by its five choirs and Fellowship each Delighted to be back at the Purcell month? NYCGB’s label showcases School of Music, tutors and participants music that crosses both musical genre alike enjoyed the wonderful facilities and style, and regularly includes new and online attendees were able to commissions by leading composers. observe and take part in sessions live, NYCGB’s ‘New Choral Monthly’ and review or catch-up with recordings playlist on Spotify features 101 songs over the following days. from 2016 – 2021. To hear the full Our mission is to transform the face of range of NYCGB music from 1997 piano teaching and raise the bar across follow National Youth Choir, NYCGB the country and beyond.

Fellowship, NYCGB Chamber Choir, National Youth Girls’, Boys’ and Training Learn to confidently teach technique, Choirs, and NYCGB Alumni. NYCGB also interpretation and musicianship releases regular music videos on its at all levels.

YouTube Channel.

Join our supportive network of Listen/subscribe on Spotify: teachers, build friendships and stand spoti.fi/3gx0ICd out from the crowd as a PTC-trained Watch/subscribe on YouTube: teacher. bit.ly/3D4IwJC Enrolment open for 2022-23 (online attendance available for all courses): pianoteacherscourse.org/courses T: 07833 687473 E: info@pianoteacherscourse.co.uk

composersedition.com

Royal School of Church Music RSCM Tutor Network As part of our plans to enable the Royal School of Church Music (RSCM) to reach further, we are building a new, dynamic network of skilled tutors right across the UK and Ireland. These tutors will make it possible for us to offer more local, high-quality and relevant training for all those involved in the musical life of local churches.

If you would like to become a tutor search ‘Tutor Network’ on our website (rscm.org.uk) for more information.

36

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

RSCM Carols for Sopranos, Altos, and Find out more about Severn Arts Music Unison Lower Voices Box and the crowdfunding behind the project here severnarts.org.uk/ travellingmusicbox

This superb new collection has been specially compiled to appeal to church and school choirs of all kinds, choirs and those who listen to them will love the 30 new carols, written during lockdown, in a wide range of tempos and styles (from plainsong to funk), as well as 12 arrangements of wellknown favourites. rscmshop.com/books/ 9780854023011/rscm-carols-forsopranos-altos-and-unisonlower-voices

Severn Arts Our Music Box is out on the road, and you can’t miss it!

At our first event, over 110 people, young and old, came to try out the music technology and instruments we had on board. Our aim is to give children and young people as many opportunities as we can to engage with music and develop their creativity, and our travelling Music Box is a different and fun way of reaching different people in new places. At the moment we are experimenting with what we do. We’ve gathered lots of brilliant ideas and have received some great feedback, and importantly our calendar is filling up fast!

Trinity College London

instrument insurance*. On top of that, every quote submitted between 4 November and 4 December 2021 will be entered into our prize draw to have the cost of ISM membership covered by us.*

Creative Composition for the Classroom

Is your insurance not due for another 12 months?

Trinity College London Press is proud to partner with Sir James MacMillan and Jennifer Martin, Chief Exec of The Cumnock Tryst to publish Creative Composition for the Classroom, a practical resource aimed at aspiring composers, those teaching creative music-making or composition, and instrumental teachers wanting to add more creativity to their tuition as well as those choosing to present an original composition of their own in Trinity grade exams. The authors draw on their wealth of expertise, offering the reader a window into their techniques and demystifying the concept of musical creativity.

Providing the keys to unlock students’ imaginations, giving them the tools and confidence to develop their ideas and share them with friends, teachers and family. Critical thinking is encouraged through a range of individual and group activities, musical examples and analysis, with concise hints and tips, compositional techniques and suggestions for listening included along the way.

Not to worry, if you submit your details between 4 November and 31 December 2021, we will honour the one month’s free instrument insurance promotion.

Learn more and buy the book via the Trinity Shop: //bit.ly/3ms5SSQ

Don’t forget, as an ISM member you also get a 10% discount on your instrument insurance which is valid with this offer. *Terms and conditions for both these promotions are available via our website larkmusic.com/ism/ Get the offer now.

Collins Music The Primary Music Leader’s Handbookk is the newest addition to the Inspiring Ideas series from Collins Music. It is an essential resource for any primary n music subject leader, with information on every aspect of the role, including defining your vision, curriculum design, assessment, extra-curricular activities and supporting colleagues.

Written by Dr Elizabeth Stafford, an internationally-recognised music education expert with over two decades’ experience as a primary music teacher, this book has been described as ‘a real treasure trove’ and will be a great support as you navigate the role.

The Primary Music Leader’s Handbook joins other practical guides in the range including Rachel Shapey’s How to teach Composition in the secondary Lark Music classroom and Kay Charlton’s How to teach Whole-class instrumental Get one month’s free instrument insurance and enter our competition to lessons. These books are packed with concise, easy to implement ideas and get your ISM membership paid for. can all be purchased at collins.co.uk/ It’s been a tough year for musicians so inspiringideas. we thought we would make it a little easier, with one month free on your

37

ISM MUSIC JOURNAL NOVEMBER/DECEMBER 2021 | NEWS FROM OUR CORPORATE MEMBERS

to consolidate learning and offer an extra layer of fun.

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

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London College of Music Examinations Middlesex University Music Mark Music Teachers’ Board MusicTchr musicteacher.com Open College of the Arts Royal Birmingham Conservatoire Steinberg Media Technologies GmbH Take it away The Academy of Music & Sound The Curious Piano Teachers

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For further information about our different levels of corporate membership and a full list of over 180 corporate members, visit ism.org.

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Ask me a question

As an educator I’m the co-founder of Neuzugang Learning, where we combine music with wellbeing. I’m also lead creative with InHouse records, a social enterprise/record label where I work with young offenders inside Her Majesty’s Prisons. I’m a work in progress and I love it.

Vinzenz Stergin Performer, composer, producer, educator

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

Tell us a little about yourself

Over the years I have met many inspiring people and they all play a part in me keeping my musical career going, which can be really hard from time to time. My family, musicians I worked with and the odd stranger on the train are keeping me inspired.

I’m a multi-instrumentalist, songwriter, producer and educator. I grew up in the Austrian Alps, worked for human rights organisations in Amsterdam and Los Angeles and eventually moved to London to do my Master of Music at Trinity Laban in 2008.

Over the years I acquired a versatile set of skills, ranging from playing different instruments (clarinet, guitars, vocals, synths), to producing music and videos, and creating multimedia projects and installations. Musically I’m not tied to a specific genre and I love to experiment and explore with different styles and art forms such as in my project ’12 Photos 12 Tracks’: I sent a Polaroid camera on a journey around the world where 12 people, living on all the continents, had only one chance of making a photo of a place they love. The camera took over two years to return to London! My band Ode To Lucius and I then wrote 12 tracks inspired by those photos. We premiered the project with a concert of all 12 songs and an accompanying exhibition.

My most recent project 1 Mi2 (one square mile) is about promoting empathy in the square miles where we live. I recorded chats with people living in my immediate neighbourhood and those chats inspired new music. The public can listen to the interviews and related songs in an online exhibition alongside photographs of the interviewees.

The aim is to find musicians from all over the planet to follow the same process.

As for specific mentors in my life, my clarinet teacher at Mozarteum Innsbruck Walter Seebacher was certainly very influential. Besides music I learnt so much in between the lines about being kind and staying curious in whatever I do. More recently my work with InHouse records and its founder Judah Armani really gave me new perspectives which I hadn’t experienced before. It really showed me about the power of music again. As an artist, where it’s a lot about yourself all the time, promoting projects, marketing, etc, it feels so good to see the transformative power of music in a greater context again.

I started to do music because of its magic and power to connect with people. I also get lots of inspiration from being in nature and making bonfires.

who see music and art, or whatever they do with passion, in a greater context and who don’t take themselves too seriously.

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

Recently I started a new Instagram reels series on my insta account where I learn and post a new song every morning.

It’s old classics and future classics. So I’m streaming lots of different songs; recently I checked out Jolene by Dolly Parton.

Such an amazing song.

What are your plans for the future?

I want to stay positive about the world and try my best to leave an impact, connecting people and spreading music and art as a tool for anyone for a happier life. I want to get back into playing live a lot more as well.

Finally, what is your ISM membership to you?

I gained a certificate of failure for terrible art by my favourite art gallery in Greenwich – the Ben Oakley gallery.

The ISM is very often my first point of contact for anything music or health related. Especially the legal service helped me to make several well-informed decisions. I know that the advice I’m getting is always in my best interest and that is very reassuring.

Who is your all-time favourite artist and why?

@sterginmusic stergin.com

I don’t have an all-time favourite artist as there are countless artists doing great things. Generally, I am inspired by people

onesquaremile.eu 12photos12tracks.com neuzugang.net

What would you say is your greatest achievement to date?

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