Ten works by women composers are added to the collection
A reminder of the range of services you receive in exchange for your
Introducing new guidance developed with ISM’s input to help orchestras protect their
Welcome to the Autumn edition of Music Journal, which is packed full of news and features. Topics range from what the new government might mean for those of us working in music, to the launch of a new BBC Ten Pieces collection of works to be introduced to children and teenagers through education projects. This time the BBC is focusing on women composers and is fully utilising the BBC Singers in performances, which is great news. Find out more on page 18.
This issue also includes an interview with the now not so new Controller of Radio 3, Sam Jackson, and a lovely feature on the presentation of the ISM Distinguished Musician Award to Professor Martin Fautley, who has done so much for music education not just in the UK but beyond. We are delighted that our Council made this very popular decision.
A feature on page 12 covers the launch of Preventing sexual harassment at work: a toolkit for orchestras. This builds on the research which the ISM published back in September 2022 on discrimination in the music sector. Out of that research we developed a strong relationship with the Equality and Human Rights Commission, and used their knowledge of other sectors to develop a toolkit for the orchestral sector. This is a groundbreaking piece of work, and it would not have been possible without us working closely with many other organisations.
We also take a look at all the ways the ISM can support you in your career and indeed in ‘life admin’ and healthcare, from great discounts to amazing legal services. Just in the last year our legal team has recovered close on £300K for ISM members, which is
Many of you will be renewing your membership over the next few months. The good news is that the increase to your annual membership subscription has been kept as low as possible – and there is no increase for students, surely the best value for money going With the range of services we provide, from free in-house legal services and an out-of-hours helpline to our comprehensive range of insurances including public liability insurance and legal expenses
will renew your membership and remain part of the ISM community
to afford your renewal, please get in touch with our membership team led by Francesca Stokes who can be contacted on Francesca.Stokes@ism.org a suitable arrangement.
04. Valuing your ISM membership
06. Meet the ISM’s new DMA recipient, Professor Martin Fautley
08. Get to know your Legal Team
11. News & campaigns
12. Tackling sexual harassment in orchestras
15. The ISM responds to the UK’s change of government
17. Interest free loans from Abbado European Young Musicians Trust
18. BBC Ten Pieces collection features women composers
22. Radio 3 shake-up
26. ISM member responds to music education coverage in Music Journal
28. Inside Tracks: the world of grade exams
30. Reaching and engaging D/deaf people in music-making activities
32. ISM Community
36. Member spotlight
Francesca Stokes, the ISM’s Head of Member Engagement, provides a reminder of the many different the importance of renewing it when the relevant date comes round. The process couldn’t be simpler – and there are savings to be had if you spread the word and recruit your colleagues and friends!
In our recent ISM member survey 99.1% of members said it was easy to renew their membership. Renewing your membership ensures that you have PLI (Public Liabilit y Insurance) cover, essential support, advice,
When it is time to renew, if you haven’t done so already we will reach out to ensure you don’t miss the deadline and that you remain protected and supported for another year
Your ISM membership is competitively priced – the combined value of inclusive versus the cost of an annual subscription highlights the fantastic value of continuing membership
Another w way to save money is to use our Discount Plus service. ISM Discount Plus houses hundreds of diverse offers accross high-street stores, leisure activities, utility services, , and many more areas. You can enjoy discounted weekly deals and if discounts are claimed over a sustained peeriod, the amount you could save could exceed the value of your annual ISM membership fee. ism.org/discountplus
Renewing your membership ensures that you have PLI (Public Liability Insurance) cover, essential support, advice, resources, and excellent value services and
Schemes like ‘Refer a Friend ’ help you save money on your membership fee. Register for the scheme and get your referral code emailed to you. If used regularly throughout the year, ‘Refer a Friend’ can reward you with free membership. Referring one friend and we’ll gift you a year’s free membership. ism.org/my-ism/refer-a-friend
ISM member Russell Bly the says brilliant scheme; it’s a
Many ISM members value our sector news updates and actively follow our campaigning work. One member noted, ‘ The We also encouragage you to explore our extensive resources and professional l development archives We have many downloadable resouource documents that you can download to curate your own wn easily accessed personal library straight from your laptop, ph phone, or desktop computer. ism.org/advice
Our superb in-house le tirelessly to resolve cases for you, coverin such as fee recovery, recoverin unpaid fees 2024. They can a rights and contractua can access a on any legal issues affectin or personal l ism.org/members/legal
We are here to help you throu care for and support your p through our Mem and our counselling many members and continue to do so. Waitin for such services can even further, so speedier treatment. members-fund
Renewing your ISM mem easier and th the testimonies of o who have sha such as, ‘I feel like it has and
If you need any support with renewing your ISM membership or have any questions, please email membership@ism.org or call the team on 0207 221 3499.
We are here to help you throughout challenging times.
Professor Martin Fautley has been at the forefront of music education in the UK.
The ISM honours Professor Martin Fautley with its prestigious Distinguished Musician Award (DMA) for 2023
The Distinguished Musician Award (DMA) is bestowed by the ISM Council once a year to an individual who has made an outstanding contribution to musical life in the UK. This year it was given to Professor Fautley for his outstanding contribution to music education.
Professor Fautley joins an esteemed list of musicians, including those working in music education, who have been awarded the DMA, including Dr Kadiatu Kanneh-Mason, Nicola Benedetti CBE, Errollyn Wallen CBE, Dame Sarah Connolly, Sir David Willcocks, Sir Michael Tippett, Jacqueline du Pré OBE, and Sir Charles Groves.
Martin Fautley is a champion of musical learning, focusing on composing and progression. He also researches and promotes the use of sound assessment practices in
Professor Martin Fautley said,
Martin Fautley is a champion of musical learning, focusing on composing and progression.
Nicky Spence OBE, ISM President, said,
for helping teachers in this area. As Emeritus Professor of Music Education at Birmingham City University, Musical Director of Birmingham Savoyards, and Co-Editor of the British Journal of Music Education , his career has made an invaluable contribution to the music education landscape.
ISM President and internationally renowned opera singer Nicky Spence presented Professor Fautley with the DMA in a short ceremony held on 26 June at the historic Wigmore Hall in London. Regarded as one of the world’s great concert venues, Wigmore Hall gives opportunities to people of all ages and backgrounds to participate in music-
to one of the UK’s strongest advocates of music education.
Meet the members of the ISM’s in-house legal team and learn how you can go to them for legal advice on all aspects of your musical career
s an ISM member, you have access to free one-to-one advice from our specialist and experienced in-house legal team on any legal issues relating to your music career. Th s includes: recovering unpaid fees, employment or self-employment rights, discrimination, accompanying you to internal meetings such as disciplinaries, redundancy, publishing contracts, copyright and more. If you need immediate advice to something outside of your work as a musician, you can contact the Law Express legal helpline, which is available 24 hours a day, 365 days a year.
you have access to free one-to-one advice from our specialist and experienced in-house legal team on any legal issues relating to your music career.
Stuart Darke Director of Legal Services
Role within the ISM legal team
I oversee the work of the legal team, ensuring that we have enough resources to offer a gold-standard service to members. I ensure that the legal expenses insurance and public liabilit y insurance are in place to protect members as well as saving them money.
Route to the ISM
I undertook a degree in Government and Economics at LSE and then worked as a civil servant for a few years. I went back to studying and trained to become a barrister. I didn’t undertake pupillage, so I never practised as a barrister but worked for a trade union for 17 years. As a trade
grievance hearings and on matters such as redundancy or withdrawing from the Teachers’ Pension Scheme (TPS)
What are the most common cases that you deal with from members?
I don’t undertake individual casework for members. But as the Director of Legal Services, I know that the most common cases we deal with relate to employment law and unpaid fees. We are successful in both areas: in employment-related cases we are able to either resolve issues quickly or to reach suitable settlements with employers, and in unpaid fees we have a good success rate in payment or seeing if they can be covered by legal expenses insurance.
Most memorable case you’ve dealt with
After working for the ISM for only two months I found myself in the Supreme Court listening to the arguments being made on behalf of ISM member Lesley Brazel. It was fantastic to listen to leading employment law barristers arguing what the ISM had been saying for years about the calculation of holiday pay.
What advice would you offer to members?
Don’t delay in talking to us and getting advice. It is better to get advice early than to leave it too late and not be able to resolve an issue. Time limits are short for employment related cases and the legal expenses insurance always requires members to act quickly. And make sure you send us all relevant information when you come for advice: this could include contracts and correspondence with other parties.
Who is your music idol?
I am a huge Bob Dylan fan. I have a favourite album from the 1960s ( ), the 1970s ( Tracks), the 1980s ( ) and the 1990s (Time out of ). I love the poetry and the politics of his music!
1,014 NEW cases opened from September 2023 to July 2024: Recovered almost £300k for members:
39% 54 701 £17k £34k £226k 18% of new cases related to employment matters cases referred to the legal expense insurance calls a year to the legal helpline operated by Law Express – they’re open 24 hours, 365 day just over almost almost in unpaid fees in holiday pay in employment related settlements of new cases related to unpaid fees
It is better to get advice early than to leave it too late and not be able to resolve an issue.
Nerys Owen Senior Legal Adviser
Role within the ISM legal team I support members who are facing legal problems in their musical career – mainly employment, self-employment
Route to the ISM
for many years, often working for trade unions, and in my spare time I like to play the piano, listen to music and sing so when I saw this job advertised during the COVID-19 pandemic lockdown, I felt it had my name written all over it and rushed to apply and here I am.
What are the most common cases that you deal with from members?
All too often, we see cases of ‘ false self-employment’, where members are given written contract documents that
their responsibility for basic employment rights like the right to paid holiday, and to limit the organisation’s liability to pay a pension, or to make employer national insurance contributions. There is nothing at all wrong with being
genuinely self-employed, and many of our members prefer yourself with no choice at all about how much you get to charge and where and when you work, you have to start to ask yourself – am I really self-employed at all? We see lots of these cases, especially at the start of musicians’ careers, when they have to take whatever work is offered to them.
What is the most complex case you’ve dealt with? Problems at work are always stressful and can be deeply unpleasant for members, especially when they involve sudden income loss, or career-threatening safeguarding allegations. Such cases are always complex, but it is rewarding to be in a position to offer practical advice and support, and to help the member navigate their way through to the other side of the problem. Members also have access to our 24-hour counselling helpline, which can
What advice would you offer to members?
Remember that the ISM in-house legal team is here to help you with legal problems that arise in your musical career,
or a safeguarding allegation. If you need us, make contact as soon as possible by emailing legal@ism.org
What’s your musical guilty pleasure?
It’s singing by Abba, arranged for SATB by Ralph Allwood and Lora Sansun, Novello edition. It’s a musical workout – l ke going to a singing g ym.
Your service is fantastic, and on two occasions your legal team has been a great help with contracts offered to my band from record labels — I always recommend you to fellow musicians.
ISM Member
Dunn Senior Legal Adviser
Role within the ISM legal team
To provide legal advice on all issues relating to our members’ working lives as professional musicians.
Route to the ISM
I have worked in law since 1996, including in personal injury, asylum and immigration law, and investigating
What are the most common cases that you deal with?
I give advice on most cases, but the majority of my caseload involves employment law
What advice would you offer to members?
Always read all communications and contracts sent to you, and if you do not understand anything contact us for an explanation before agreeing anything.
Fun music fact
I’ll give you two: I once kicked Jay Kay of Jamiroquai’s hat into a ladies’ bathroom at a nightclub; and my favourite music depends on my mood –if I want a rush it is Motorhead: Ace of if I want a lyric it is by the Jam, my go to Christmas carol is the , for contemplation and for relaxation it is Beethoven’s Sixth symphony, my favourite lyrics are from by Petula Clark simply for the line: ‘You wander around. On your own little cloud. When you don’t see the why. Or the wherefore’, but the Grrrow’ and ‘Mercy in Roy Orbison’s are pretty good too
Always agree on your fee and details of the work in advance – this saves you from having disputes later.
Always have a paper trail! WhatsApp messages with key information are better than nothing. If you have agreed on anything over the phone, follow it up ideally in an email and as soon as possible to avoid any issues at a later date.
and full name for anyone you intend to contract with. If you cannot get these, then refuse the work.
Always read a contract through to the end. Do not assume it is going to be fair. Read it and if you cannot understand anything, take legal advice.
If a dispute arises, stay calm and professional. Emotions can run high when money is involved and working relationships are damaged, but it’s in your best interests to keep a cool head and remain reasonable.
Seek advice sooner rather than later – it’s a lot easier to help members who come to us early as soon as when something happens.
‘The ISM legal team is incredible, and I recommend them highly to non-members.’
ISM Member
Speech to parliament since the new Labour government was elected on 17 July. The speech outlined 40 bills for ‘national renewal’ which include major reform in education and workers’ rights.
The Department for Education will introduce a Children’s Wellbeing Bill to raise standards in education and promote the wellbeing of children. This bill will require all schools to teach the national curriculum, once a curriculum and assessment review has concluded. An Employment Rights Bill will seek to ban the ‘exploitative’ use of zero-hours contracts. Government will introduce a Fair Work Agency, which will strengthen enforcement of workers’ rights. The Race Equality Bill will enshrine in law the full right to equal pay for disabled people and ethnic minorities. The ISM looks forward to working with the new government to advocate in the interest of musicians and music.
The ISM has congratulated the Labour Party on its general election victory. The ISM worked closely with the party in opposition and hopes to continue working together constructively. Notable appointments for music include Wigan MP Lisa Nandy as the Secretary of State for Culture, Media and Sport. Nandy takes over at the DCMS having had responsibility for International Development in opposition. Bridget Phillipson is the new Education Secretary, having shadowed the role while in opposition in recent years. (Both pictured left)
ISM Chief Executive Deborah Annetts said, We congratulate the Labour Party on its general election victory and welcome the new government.
We enjoyed a good relationship with Labour while the party was in opposition and consistently found Labour politicians had open ears when it came to the issues facing music and music education.’
The ISM has been awarded a prestigious new kitemark by the Council for Subject Associations (CfSA), recognising the ‘exemplary work’ we do as a subject association .
The CfSA kitemark formally recognises subject associations that have done excellent work over a sustained period of time. The award was made following a process which considered subject associations that could demonstrate evidence of continued subject expertise, CfSA engagement, and membership support over a period of at least three years.
ISM Chief Executive Deborah Annetts said:
‘At the ISM, we pride ourselves on what we deliver through our services and resources , and our independence. This allows us to support music educators and stand up for music effectively and we will
to improve. I thank the CfSA for recognising our work. We will display the prestigious CfSA kitemark with pride.’
Naomi McCarthy
Photo: Daniel Lane
TNaomi McCarthy , ISM’s Senior Policy & Campaigns introduces the new guidance developed by the ISM and the Equality and Human Rights Commission to help orchestras deal more effectively with sexual harassment of their musicians
he UK’s orchestras are rightly renowned for their excellence.
Their high standards attract talented musicians from around the world and every year the BBC Proms showcases what a rich and varied selection of orchestras we have to offer as a country. They also help to bring orchestral music to wider audiences through their education and outreach work. But the brilliance of their performances conceals a darker side – the prevalence of bullying and harassment of the musicians in their ranks.
This is part of a wider problem in the music world. The ISM’s own research has revealed that discrimination and harassment are endemic across the sector: 66% of respondents in our Dignity at Work 2 report from 2022 said they had experienced discrimination at work. Furthermore, 78% of this discrimination was committed against women, and 58% of all discrimination would be classed as sexual harassment.
The recent Misogyny in Music inquiry by parliament’s Women and Equalities concluding that ‘when it comes to discrimination, and the harassment and sexual abuse of women, [the music industry] has a lot of work to do.’
Se x ua l h a r a s sment Sexual harassment of musici a ns h a s musicians has de s troy ed ca reer s destroyed careers a nd ruined the li v e s of and the lives tho se a ffec ted a nd it those affected and it is v ita l w e ta k e ac tion vital we take action t o er a dicate it. to eradicate it.
Why has the sector found it so hard to tackle these problems? One of the answers lies in the largely freelance workforce. Freelance musicians are often reluctant to report harassment and discrimination for fear of not being hired again. In the music world, having a reputation for speaking out can easily ruin a career. found that 7 7% 77% of musicians did not report discrimination, which rose to 8 8% 88% of selfemployed respondents.
Many musicians did not report incidents due to a culture of acceptance in which offenders face few, if any, consequences for poor behaviour. Over half of our survey respondents who didn’t report incidents said it was because ‘ One respondent said she did not report as she was told
Our research also revealed that many freelancers had no idea who they could report an incident to, with 94% 94% of self-employed respondents saying there were no clear procedures for reporting incidents.
The nature of the work also increases the risk of sexual harassment. Musicians are often expected to socialise after concerts and can be required to share transport and even hotel rooms when on tour. Sometimes there are no private changing spaces, especially when on tour. They can also be exposed to third-party harassment from audience members.
Some orchestras have tried to mitigate against these factors and have established policies and procedures to tackle discrimination and harassment. However, even that all musicians are aware of them.
We developed our guidance, Preventing sexual harassment at work: a toolkit for orchestras, with the Equality and Human Rights Commission (EHRC) to help address this situation. Orchestras are one of the largest employers of classical musicians and they can lead the way in tackling bullying and harassment. If we can move to a position where these behaviours are clearly labelled as unacceptable and incidents are swiftly and effectively dealt with by orchestras, this would help to shift the culture across the entire sector.
The toolkit looks at what orchestras can do to improve safety and raise awareness of sexual harassment among their musicians. This includes the process of hiring musicians, preparing for orchestra sessions and following up afterwards, as well as addressing issues related to touring. It contains guidance on what the law says about sexual harassment and what responsibilities orchestras have as employers, and template logs to help track progress.
58% of all discrimination would be classed as sexual harassment.
The toolkit recognises that orchestras come in many shapes and sizes. Rather it aims to support orchestras to develop policies and procedures that are appropriate for their circumstances. Although the toolkit adapted to cover other types of harassment
Sexual harassment of musicians has destroyed careers and ruined the lives of those affected and it is vital we take action to eradicate it. While
toolkit for orchestras is an important step on the road to a safer and more
We are grateful to our
Association of British
well as the many orchestras the guidance.
toolkit: ism org/news/ ism.org/news/ orchestra-toolkitsexual-harassment
Orchestras are one of the largest employers of classical musicians and they can lead the way in tackling bullying and harassment.
The ISM’s own research has revealed that discrimination and harassment are endemic across the sector: 66% of respondents in our Dignity at Work 2 report from 2022 said they had experienced discrimination at work.
The United Kingdom of Great Britain and Northern Ireland went to the polls on 4 July to decide who was going to lead the country for the coming years
The result was a resounding Labour victory, marking since 2010. The Conservatives take up the role as suggested for a long time that the Labour Party was set to win, and the ISM acted accordingly. As an entirely independent organisation, the ISM has no political to work with all parties to secure the best for music.
Labour has made a number of commitments, particularly on music education and touring in Europe that we are anxious to see delivered.
In recent times our External Affairs team has worked hard to build relations with the Labour MPs who were likely to take up roles related to the areas of interest to musicians and music educators. While Labour had much to celebrate on election night, the Shadow DCMS Secretary and concert cellist Thangam Debbonaire lost her seat and just before the election, Shadow Minister for Music Barbara Keeley announced she would not be standing as an MP again. Both were strong advocates for musicians on the Labour front bench . Barbara Keeley was awarded a peerage in the dissolution honours and we hope to continue to work with her in her new role in the House of Lords and with Thangam Debbonaire in whatever lies ahead for her.
Ahead of the election, the ISM researched and published a popular analysis of the part y manifestos. It became a well-used resource by musicians and music businesses alike
Overall, there were warm words about the importance of music, culture and the creative industries in the manifesto, and an acknowledgement of the issues that the sector faces.
importance of arts subjects, with many mentions of music Both Labour and the Liberal Democrats said they would reform accountability measures (the EBacc and Progress 8) to support music and arts subjects, which is a core ISM campaign ask
On Brexit, both Labour and the Liberal Democrats said they want to make it easier for musicians to tour in the European Union (EU).
Conservatives pledged to ensure proper remuneration for creators’ work.
When it came to the polling day the country decisively made its decision and the ISM welcomed the new government
Labour has made a number of commitments, particularly on music education and touring in Europe that we are anxious to see delivered. The ISM has offered its support to the government if it needs our experience and expertise to help them deliver these policies.
Labour manifesto promises of particular interest include:
implementing a creative industries sector plan as part of the Industrial Strategy
working to improve the UK’s trade and investment relationship with the EU and helping touring artists
supporting children to study a creative or vocational subject until they are 16, and
launching a new National Music Education Network – a one-stop shop with information on courses and classes for parents, teachers and children
launching an expert-led review of curriculum and assessment, working with school staff, parents and employers
A host of changes to workers’ rights which we will know more detail about in due course.
The ISM is proudly a loud campaigning organisation,
positions. In the immediate weeks following the election we were invited to a music round table with DCMS Minister Chris Bryant, a sector celebration with DCMS Secretar y Lisa Nandy and an education sector online meeting with Education Secretary Bridget Philipson –which is a welcome change in relationship.
While there are commitments from the Labour party that we are pleased to see, there are others which have been causing some concern for ISM members.
Many music teachers work in private schools, and we appreciate that Labour’s plan to charge VAT on private school fees is causing concern. As soon as we have
further detail of the plans and the extent of them, we will scrutinise them in detail, as you would expect.
So, over the coming months the ISM may not be as loud on the campaigning front as we have been in the past, but that does not mean we are not working harder than ever to deliver real and meaningful change for music and musicians.
We are clear that every child should have access to high quality music education in schools, the music sector should be a safe place to work for everyone, creators need protection from AI and we need to remove the barriers to touring in Europe. The onus is on the new government to deliver.
If you are starting out in your professional music career and are struggling to purchase musical instruments, The Abbado Trust could assist with an interest free loan
As an entirely independent organisation, the ISM has no political party, and we try our best to work with all parties to secure the best for music.
The Abbado European Young Musicians Trust (The Abbado Trust) was initiated by conductor Claudio Abbado in 1982, to assist young professional musicians with the purchase of musical instruments. It has successfully been providing interest free loans for over four decades. The loans help musicians on the threshold of their music careers to purchase instruments of a quality that matches and fully demonstrates their playing ability, and thereby improve their professional trajectories within the competitive UK music industry.
Applications can be made at any time, and the tried and tested application process is seamless, with an emphasis on evidence of professional accomplishment. To apply you :
must be aged 30 and under
send a completed application form –these are obtainable from Liane Hartnett at liane. hartnett@crsblaw.com
provide two references – one musical and one personal
provide the name of a Guarantor
provide a biography that offers strong evidence that you are ‘on the threshold of a professional career’, preferably in the orchestral or solo arena
processed without the need to meet you face-to-face, instead you will receive an answer within a few weeks.
The amount of the loan you may apply for can vary, but they are typically between £3k and £15k. The loans are interest
We have provided 100S of interest free loans, for over four decades, to many musicians on the threshold of a professional career!
On the tenth anniversary of its launch, BBC Ten Pieces focuses on women composers. Vinota Karunasaagarar chats with Producer Jennifer Redmond to learn more
To celebrate the scheme’s ten-year anniversary, a new BBC Ten Pieces collection consists of works by ten female composers whose lives span eight centuries.
Ten years ago, the BBC Ten Pieces scheme was launched, as a partnership between BBC Education, BBC Radio 3 and the BBC Orchestras and Choirs, aided by stakeholders including the ISM, with the aim of opening the world of classical music to a new generation of children and inspiring them to develop their own creative responses to orchestral and vocal music. It has proved hugely successful.
The learning resources are designed for music educators: schoolteachers, music service staff, freelance practitioners, parents, and anyone in between. They are particularly suitable for primary school teachers, especially those who are not music specialists. Now, to celebrate the scheme’s tenth anniversary, a new BBC Ten Pieces collection consisting of works by ten women composers, whose lives span eight centuries, will be launched on 15th October. It includes a broad range of orchestral, vocal and gaming music by Sally Beamish, Hildegard von Bingen, Margaret Bonds, Lili Boulanger, Reena Esmail, Cassie Kinoshi, Marianna Martines, Laura Shigihara, Errollyn Wallen, and Master of the King’s Music Judith Weir.
Jennifer Redmond, Producer, BBC Ten Pieces, speaks of the need to increase the quality and quantity of music by women composers studied and performed by children and young people: ‘In the catalogue of BBC Ten Pieces so far, we’ve included six pieces by female composers, but by adding ten more pieces we make the proportion of pieces by women composers far greater than it ever has been. This is a conscious attempt to redress the balance.’
Redmond recalls the lengthy process involved in selecting the pieces. One challenge she and her colleagues faced was that even though many works by female composers are not as well known as those by their male counterparts, there is a huge amount of repertoire to choose from: ‘There is so much fantastic orchestral and vocal music by women pieces are incredibly high-quality compositions, with variety in their instrumentation and narrative, from composers in voices this time too, and I’m so excited that the BBC Singers .’
by adding ten more pieces we make the proportion of pieces by women composers far greater than it ever has been.
One of the pieces is Laura Shigihara’s Grasswalk, composed for the video game Plants v Zombies As Laura has been bought to life by a real orchestra. For one of the other pieces the BBC has joined forces with Music for Youth, ABRSM and the Royal Albert Hall to co-commission saxophonist and composer, Cassie Kinoshi, to write a new piece especially for Ten Pieces. It features words from a poem by Belinda Zhawi and will be premiered as part of the Music for Youth Proms at the Royal Albert Hall in November this year. Kinoshi’s creative process was
new Ten Pieces resources later on in the year.
require voices. The BBC Concert Orchestra performs the orchestral pieces. They and the other BBC ensembles will be involved in live performances and workshops around the UK as part of the project. For Redmond this is an important aspect of Ten Pieces: ‘ ‘
The full list of pieces and their composers is available on the BBC Teach website at bbc.co.uk/tenpieces Here you will discover
music and its composers to a young audience. There is a lesson plan for each piece, within a learning framework that’s directly connected to curricula from each of the UK nations. There
for different levels of ability, from beginner up to Grade 5 and above, and resources for SEN settings including ‘open score’ arrangements for ensembles that include adaptive instruments.
Ellie Slorach , BBC Ten Pieces conductor, talks about the project and its accessibility:
I’ve often seen
Debipriya Sircar Debipriya Sircar, sitar player for Reena Esmail’s talks about her experience in performing the piece: [in sitar playing] is
[anywhere else]
me translate the notes [onto a score] together [with the BBC Singers]
BBC Concert Orchestra oboists Gareth Hulse (centre) and Esther Williams (right) Rebecca Lea of the BBC Singers, soprano soloist in Hildegard of Bingen’s O Euchari in leta via
Ed Price, baritone with the BBC Singers with Ten Pieces workshops: No Place Like on the Dies Irae and Tuba Mirum that was one of the highlights [of the scheme]
BBC Ten Pieces webinar withthe
Join us for a free webinar
4–5pm, to learn more about BBC Ten Pieces and how teachers can use the resource.
To register, scan the QR code or visit:
qrco.de/ bf Gk1x bfGk1x
Controller Sam Jackson discusses the changes introduced last spring with Clare Stevens
The BBC’s attitude seems to be, ‘if it ain’t broke wrote one irritated reader
Record Review Building a Library
declared an outraged correspondent on the Times website. and the BBC Radio 4 programme were swamped with complaints. BBC Radio 3, the UK’s self-styled ‘home of classical music’, had introduced the most radical changes to its schedules in 30 years, announced in February and rolled out in April, and a vocal section of its devoted listeners were not happy.
Many of them blamed the changes on Radio 3’s Controller since April 2023, Sam Jackson, accusing him of ‘dumbing down’ and aiming to recreate the playlists and presenting style of the commercial radio sector, where he worked for more than 15 years, latterly running three national brands: Classic FM, Smooth and Gold. Most recently he was Executive Vice-President of Global Classics & Jazz for Universal Music Group, managing teams in London and Berlin.
Jackson is sanguine about the fact that as station controller he is bound to be the whipping boy for listeners’ discontent, though he told another interviewer that he didn’t enjoy the experience of his phone pinging constantly with messages about the complaints when changes. He reminds himself that in any walk of life,
Jackson is sensitive to accusations of dumbing down. For a start, they misrepresent his own training and interests: he graduated with a First in Music from York University, where he was a first study pianist, played clarinet and saxophone, and chaired the contemporary music group.
it’s human nature to get in touch with a criticism rather than with a compliment: ‘ When I go shopping, if I have fairly decent service or even a bit better than before, I wouldn’t tend to write an email to say so, whereas if I had terrible service, I would complain.
‘In terms of radio listening generally, we’re all quite naturally conservative with a small c. We get used to the voices that wake us up in the morning and the formats that punctuate our day. Putting a positive spin on it, people feel a deep personal connection to Radio 3 – I love that. So I think we have to harness and celebrate it, while also not being afraid of saying to the audience, “right, we’re going to do something a little different. We’re going to explain why we’re doing it and hopefully create the best possible programming so that, even if you as a listener thought that you preferred what was there before, in the end, you’ll come to love what’s there now.”’
Jackson is sensitive, however, to accusations of dumbing down. For a start, they misrepresent his own training and interests: he graduated with a First in Music from York
and saxophone as well and chaired the contemporary music group. Contemporary music was my really big thing … not as a composer but as a performer, particularly in adventurous, challenging, crazy pieces. York has this amazing creative spirit, focusing on the new, the experimental, fusing different musical styles … it was a very immersive experience to go there as an 18-year-old ’
The underlying philosophy of the whole strategy is that every programme can be accessed on demand via BBC Sounds.
The change that long-standing listeners have found hardest to accept is the move of Record Review, presented by Andrew McGregor, from Saturday w morning to Saturday afternoon, to make way for a new three-hour magazine programme presented by Tom Service. Of course the underlying philosophy of the whole strateg y is that every programme can be accessed on demand via BBC Sounds , and some of the critics have grumpily solved their problem by doing just that and listening to Record Review on the Saturday morning after w it is broadcast. Others, myself included , have happily adapted to the looser structure of the new show and enjoyed Service’s conversations with guests such as Marin Alsop, Lang Lang and John Wilson; it has received positive responses so far from many listeners who found the analytical nature of a reviews programme a little hard to take on a Saturday morning.
the UK’s self-styled ‘home of classical music’, had introduced the most radical changes to its schedules in 30 years.
fortunate to get on to the BBC’s work experience scheme, as a runner on the Proms, which led to paid work in subsequent summers across other BBC classical music events The scariest job I have done, genuinely by a country mile, was as score reader for a TV broadcast of a Tchaikovsky ballet, sitting next to the vision mixer outside the Royal Opera House, beating through the score and thinking “if I get one crotchet out, the whole thing is going to fall apart”.’
about, he admits, because champagne … and I was cheap and available. It was wonderful because you worked across all programmes 24 hours a day, seven days a week, and got to know every part of the output.’
Far from feeling it’s a stigma to have come from Classic FM
to all good radio stations, he says, is that they teach their staff useful skills, and they understand their audiences.
‘You get to work with really talented people and to understand how to create programming that meets the needs of your audience. Within commercial radio there is an unrelenting focus on how to keep the audience listening – that’s a business imperative, because the longer people listen, the more likely they are to hear messages from those who fund that station. And I think that principle is very easily applied –and should be applied – to public service broadcasting. The d more people listen to BBC radio as a whole, the more value they’re getting for their licence fee.’
Average hours per listener per week for different BBC stations, he says, vary from around 12 hours for Radio 2 and ten for Radio 4 to about seven for Radio 3 when he arrived ‘Arguably we have not been doing as good a job as we could at keeping our audience with us. The notion that Radio 3 listeners listen all day every day and all know what we have on offer already isn’t backed up by the audience data.’ Hence the extensions ’ of popular programmes such as Breakfast and t Essential Classics on weekday mornings and Michael Berkeley’s Private Passions on Sundays.
Space doesn’t permit discussion of the licence fee and its implications for budgeting, but if you speak to any BBC employee off the record they will tell you there isn’t enough money to do what they would like. Jackson’s role is to help his teams of producers and engineers to be as creative as they can while spreading their resources increasingly thinly. His arrival coincided with the existential threat to the BBC Singers and, it seemed, to some of the corporation’s orchestras, though for the moment their future seems to have been secured He has also had to manage geographical changes in response to the BBC’s Across the UK strategy, which dictated that by 2024-25 at least half of Radio 3’s production hours would be generated at Media City in Salford.
People feel a deep personal connection to Radio 3 — I love that. So I think we have to harness and celebrate it, while also not being afraid of saying to the audience, “right, we’re going to do something a little different”.
He is always mindful, he says, that the conversations he is having about how best to achieve this are
Sometimes a
good solution to a problem presents itself, however. The most recent announcement has been about the planned retirement next year of Sean Rafferty after more than 25 years presenting In Tune; he will be replaced by Petroc Trelawny, who is ready to be released from pre-dawn alarm calls after many successful years presenting
Cue more emails and social media posts from distressed or delighted listeners …
Left to right and top to bottom: BBC Radio 3 voices Donald Macleod, Elizabeth Alker, Sara Mohr-Pietsch, Hannah French, Kate Molleson, Katie Derham, Lynton Stephens, Tom McKinney, Georgia Mann, Petroc Trelawny, Andew McGregor and Tom Service Photos Courtesy BBC
Iwas dropped, or on a carousel with other subjects. The singing in all three countries was at a very high level, both in standard and in participation throughout all the generations. Estonia in particular is very proud to be
coming out of the cellars into the streets singing their folk songs to claim back their country in 1991 is extremely moving and very powerful – one I shall never forget.
teaching has produced soloists in national and international opera companies, solo singers and choirs that win prizes in national and international competitions, teachers and music leaders in communities, and a wealth of wisdom and experience that is respected and used by those in music education in the future. I look back with a real sense of pride on a lifetime’s achievements.
The features in the summer 2024 edition of about music education prompted this response from singing
am about to complete my 56th year as a peripatetic a Local Education Authority (LEA). You can imagine the seismic changes I have witnessed in that time in state school music education. Although much, but not all of my teaching has been with small groups and individuals, because singing was a new innovation in instrumental teaching, my week consisted of visits to 13 secondary schools, and also included singing-based class work in primary schools.
My own school music experience was in a girls’ grammar school, with one lesson of class singing a week. There were no instrumental lessons of any kind and if you wished to learn an instrument, lessons were privately organised and paid for by parents. While we have come a long way since then in making music much more inclusive and varied in styles, with instrumental learning being provided by local education authorities, much music education has unfortunately returned to being a subject that is ‘extra’ and paid for by parents who can afford it. Little wonder that it is classed as ‘elitist’ by many. The squeeze on curriculum time in
school, the shortening of the school day and the lack of good music education in the past has had a disastrous effect on the arts in general and music in particular, and the importance of these subjects to our general wellbeing is now obvious in today’s young people.
How interesting it is that in your latest you have positioned a feature about UK music education next to one by Clare Stevens about Estonia.
A Churchill Fellowship in 2002 enabled me to travel to Sweden, Finland and Estonia; my research topic was . All three countries have a very high standard of choral and solo singing. The conclusions I came to in my research were that all three countries are superior in their music education to the UK; and that although the language of each contributed to the overall sound a
teachers in all nursery and primary schools were trained, able and expected to teach class music, often daily; and all secondary pupils had class music right through all school years each week – it wasn’t a subject that
I no longer work for a music hub, but I am part of a singing strategy group run by our local music hub, which is soon to be combined with others for the whole of South Yorkshire – oh, how the wheels turn a full circle if given enough time! I hope the teachers of today, with whatever system they are trying to put into place, will be able to say in 56 years time, as I can now, that their
‘I am about to complete my 56th year as a peripatetic teacher of singing. You can imagine
I
If you also have a response to a feature in Music Journal, do let us know at membership@ism.org
the seismic changes
have witnessed in that time in state school music education.’
Clare Stevens takes a look at recent developments in the world of instrumental and vocal grade exams
Achieving an appropriate balance between meeting the needs of contemporary students and maintaining traditional ‘standards’ and authority is a challenge that is clearly evident from a survey of the websites of music examination boards , online discussion forums for people using them, and blogs by music educators. In a competitive marketplace, engaging in a dialogue with customers (in this case teachers, parents and sometimes students themselves) is crucial.
week of August, as this feature was in preparation, the London College of Music Exams (LCM) announced a new
Exam repertoire remains a burning issue for many teachers … do the boards offer enough choice, are the lists refreshed often enough, are the challenge
Rock, pop and jazz repertoire and playing styles can be examined by most boards.
For the older boards this has been quite a leap, though all everyone involved – not least the cost to the planet of the thousands of airmiles that have habitually been covered by examiners travelling to destinations around the globe.
Victoria College Examinations (VCE) had been running virtual exams in some form for two decades before the pandemic, including over Skype, in order to serve areas of the world
Rock, pop and jazz repertoire and playing styles can be examined by most boards, including the Associated Board of the Royal Schools of Music (ABRSM) – who published their new Piano Syllabus for 2025-26 a few weeks ago. However, many teachers prefer to use
years and described on their website as ‘tailormade for the contemporary musician’ and ranging from introductory grades to advanced levels of study. An issue that crops examining popular styles of music fairly – should candidates be penalised or rewarded for playing exactly the notes on
common practice in performance and well-known recordings of the pieces?
Exam repertoire remains a burning issue for many teachers do the boards offer enough choice, are the lists refreshed the most able candidates? For example, TCL has taken the decision to keep repertoire from its previous syllabuses in use when new lists are introduced, so that teachers don’t have to say goodbye to favourite pieces that their students have enjoyed … conversely however, its online music store has the facility for individual pieces that suddenly become popular to be licensed and added as digital downloads for students to play as own-choice’ exam repertoire
Find out more
the most able
candidates?
brand dentit y that aimed to encapsulate that balance, maintaining the richness of the board ’s 137-year heritage while introducing a fresh, contemporar y feel that resonates with our diverse, global community of performers’ and represents their mission:
‘Empowering People Through Performance’. LCM is the only British performance exam board that is part of a universit y – the Universit y of West London in Ealing
The founders of LCM could never have dreamt of the options for taking instrumental and vocal exams that are open to today’s students. The biggest change came about as a result of the COVID-19 pandemic, one of its very rare silver linings: exam boards were forced to speed up the process of offering online exams which most had already been considering, or operating on a small scale.
reach exam centres. The board now offers three options for candidates: they can travel to a central location or teacher’s studio to take a face-to-face exam in the traditional way they can take the whole exam over a video link; or they can submit one-take recordings of themselves performing their main solo pieces for assessment, and follow up with a short video call with the examiner on a mutually agreed date to complete the remaining tests.
VCE stresses on the home page of its website that its main aim is to ENCOURAGE candidates (their capitals) and a similar philosophy underpinned the setting up of Music
inspired by the example of GCSE practical exams, which have been based on recordings for decades, and seem to be less stressful for students than the in-person experience. MTB offers Grades 1-8 in 26 instruments, with recorded and delivered through the board’s own app. The exams are carried out by the student’s teacher in their own environment, which makes them particularly suitable for SEND or neuro-diverse candidates.
Even the venerable Trinity College London (TCL) board, founded in 1872 as the external examinations Trinity College of Music, has modernised its approac meeting the needs of candidates by offering not only choices between face-to-face and digital performance options, but a ‘Repertoire Only’ pathway that dispenses with the technical exercises such as scales, exercises, aural tests an reading that put fear in the hearts of many novice performers.
Associated Board of the Royal Schools of Music abrsm.org
London College of Music Exams lcme.uwl.ac.uk
Music Teachers’ Board Exams mtbexams.com
Rockschool rslawards.com/rockschool
Trinity College London trinitycollege.com
The ISM Trust explored the theme of music and deafness in our recent webinar with Danny Lane, Artistic Director of . The webinar is available to watch online free of charge, and offers invaluable insights into fostering inclusivity in music education.
In the engaging session, Danny Lane shared his wealth of knowledge and experience, drawing from his personal journey as someone profoundly deaf since birth . As a music graduate and accomplished pianist, Danny ’s passion for breaking down barriers in accessing music and the performing arts shines through in his work with
Throughout the webinar, participants had the opportunity to explore various essential topics for educators, particularly teachers of deaf children and young people, including:
Lack of expertise and/or specialist training, increase in the number of D/ deaf children attending mainstream education and preconceived notions about accessing and achieving excellence in music are all existing barriers that D/deaf people encounter. The webinar explored solutions to dismantling these barriers, including reallife examples of inclusivit y and accessibility in music education.
impact of music-making initiatives such as providing a pathway from primary to secondary school, and using the voice to create a musical effect.
The webinar explored solutions to dismantling barriers, including real-life examples of inclusivity and accessibility in music education .
Collaboration is a powerful tool for enriching musical opportunities and creating lasting impact. During the webinar we discussed the many successful partnerships that facilitate high-quality and meaning ful musical experiences for D/deaf individuals, including local hearing-impaired services and D/deaf organisations, schools , Music Education Hubs and Music and the Deaf.
There is compelling evidence of the transformative power of music in the lives of D/deaf individuals. In the webinar Danny highlighted two projects: West Yorkshire Music Programme and Vocalise, which showcase the
The D/deaf communit y is diverse. Individuals have different backgrounds, themselves, parents and schools. The webinar explored effective strategies for locating D/deaf individuals within schools and communities and how to ensure opportunities for music-making are extended to all
There is compelling evidence of the transformative power of music in the lives of D/deaf individuals.
The webinar provides valuable signposting to training opportunities and relevant support networks including Signature, the National Registers of Communication Professionals working with Deaf and Deafblind people, Stage Captions, various deaf organisations and useful further reading
For those eager to embark on their journey towards inclusive music-making or seeking to deepen their understanding of the subject, the webinar recording is now available to watch online free of charge. Don’t miss this opportunity to gain valuable insights on how to create a more inclusive musical landscape.
Find out more
The ‘Reaching and engaging d/deaf people in musicmaking activities’ webinar is available to watch back free of charge at: shor turl at /n 6rlZ shorturl.at/n6rlZ
For more information on music and deafness, you can also view the ISM Trust’s ‘Managing hearing loss as a musician’ webinar, also free of charge at: shor turl . at /ahv vj shorturl.at/ahvvj
The ISM Trust The ISM is the Independent Society of Musicians’ sister charity, whose work includes offering high quality professional development to everyone working in music.
For all community news, visit ism.org/professional-community
piano accompanist and instrumental teacher David Barton composed a piece of music , to mark his 40th birthday in a way which might bring joy, hope, and awareness to others. The piece is scored for unison voices and piano, with optional SATB parts, but can be freely arranged to suit any vocal or instrumental ensemble. The sheet music is freely available to download as a PDF on David ’s website (davidbartonmusic.co.uk/be-a-voice-of-hope) and in return for this, he would like people to make a donation, via his website, to The Separated Child Foundation, a charit y that offers emotional, social and practical support to lone refugee children when they arrive in the UK. To raise awareness of the foundation’s work, David is encouraging as many people as possible to join in performing t piece. he says, ‘we can all
TEAHOUSE BAROQUE is a personal initiative of HSH Dr Donatus, Prince of Hohenzollern to bring established or advanced players and singers together to play compositions from the Baroque, Renaissance and other periods. The rehearsals take place in a private venue near Guildford.
There is an abundance of organisations, charities, and projects offering concerts for young musicians. Senior musicians, often busy in the music industr y or retired , miss contacts and opportunities to make the music they love, outside business and concert obl gations. Joining an ensemble of the non- commercial TEAHOUSE BAROQUE network is cost-free
Whether you are a professional, retired or ver y advanced musician, you can join an existing ensemble or help create a chamber music group, such as a trio or a quartet. The TEAHOUSE BAROQUE network can provide contacts for external projects.
Additionally, students can receive assistance in connecting with experienced teachers and have free access to a Steinway Grand piano for practice prior to examinations.
Find out more: teahouse-baroque.uk
This is an opportunit y for musicians who have a real interest in training to be excellent teachers The course works with Kodaly and Eur y thmics principles and a teaching method based on play. It will equip you to be a well-prepared music teacher who puts enjoyment at the heart of every lesson.
O ne year placement One year placement
with an offer of an ongoing teaching position on the pay scale on successful completion of the DaCapo Initial
Creative United has relaunched the
is bringing music-making to the masses. We are excited to share the launch of new brand identit y with you.
With the belief that music-making is more the many, and not just the few, enables players and performers of any age and ability to own their own instrument – or pay for tuition, equipment and
£2,100 bursar y available for the academic year For more information please contact Michelle: jam@dacapo.co.uk
start making music, or take your music-making to the next level, Take it will help you own it.
With support from Arts Council England, and a focus on inclusivity, Take works with music retailers to make this happen – for parents,
inclusivity. Their spirit is possibility. Their promise is opportunity.
So, look out for the new branding in music shops up and down the country and head over to the about this incredible scheme: takeitaway.org.uk
is a private, non-commercial, cost-free network that brings established or advanced players and singers together to play compositions from the Baroque, Renaissance, and other periods.
The present groups include cantata ensembles, woodwind consorts, trios and quartets. Whether you are a professional, retired or very advanced musician, you can join an existing ensemble or help create a new chamber music group.
The ensembles are unsuitable for beginners. However, there is a preparatory circle for recorder players wishing to improve and gain experience before joining the recorder consort and other chamber music ensembles.
The rehearsals take place at a private venue near Guildford. The music library holds a comprehensive collection of around a thousand works. The project is an initiative of HSH Dr Donatus, Prince of Hohenzollern.
If you miss making music and can contribute to fine chamber music, please get in contact: teahouse-baroque.uk
A network of established or advanced players and singers in South England to rehearse chamber music. Located in Guildford
How did you originally get into music?
My father’s love for classical music was infectious. Every Sunday, he would immerse us in the beautiful melodies of Beethoven’s symphonies, sparking a deep love for music within me. Our family’s involvement in the church choir and our mandatory piano lessons further fuelled our musical journey. I chose the horn, while my siblings picked up the trombone, violin, and clarinet. This shared passion and the joy we found in playing together was the foundation of my musical career.
What or who inspires you?
My initial inspiration came from my music teacher at secondary school, Vivian Brooks; with her support and guidance at the beginning of my musical journey, I am here now. Along
fabulous players but also excellent human beings. Finally, I’m inspired by my students. Watching them grow and develop is a great privilege, encouraging me to keep growing and developing.
What piece of advice has helped you the most in your career?
I was once told that I was not a horn player but a musician who plays the horn. It changed my mind set about playing and helped me become a more rounded musician.
What has been the most rewarding project so far in your career and why?
The most rewarding project in my career was a collaboration between an orchestra from Music Education Islington and the Open Orchestra, which included severely disabled children. We performed a world premiere of a piece specially composed for clarion and orchestra at Milton Court in London. The experience was not just moving and brilliant, but it also showcased the transformative power of music, demonstrating how it can bridge gaps and connect people in the most profound ways.
What advice would you give to someone wanting to succeed in the music industry?
To succeed in the music industry, resilience is key. Rejections are inevitable, but they should never deter you from your passion. Remember, music is meant to be fun. It’s easy to get caught up in the pressures and expectations, but always keep in mind that the joy of playing is what brought
If you could work in another industry, what would it be?
I love sports, so if I wasn’t working in music, I would like to be involved in sports coaching.
If you could change one thing about the music sector, what would it be and why?
If there’s one thing I could change about the music sector, it would be the perception that music education children should have free access to instrumental lessons until 18. instrument are well documented, creative arts bring to this country are immense.
What are your future plans?
research into under-represented composers, and continue teaching and inspiring the next generation of musicians.
Finally, what does your ISM membership mean to you?
It gives me access to a vast network of practitioners, resources and upto-date news on the music industry; personally, the ISM provided legal expenses for me in a case of racial discrimination against my employers. I won my case, and the membership of the organisation covered my costs. This would not have been possible without the support of the ISM.