ISM Music Journal Winter 2022

Dignity at work 2 The Music Man Project ACE funding cuts

Season’s greetings to all ISM members. I hope you like the second edition of the new look Music Journal which covers winter, namely December, January and February.

In this issue we report on the crisis at the English National Opera (ENO) following Arts Council England’s decision to withdraw its core annual subsidy with, according to the ENO, just 24 hours’ notice of the decision. On a more positive note we meet two artists who performed at the recent London Jazz Festival, and preview Glasgow’s Celtic Connections festival of traditional and world music. We also catch up with the Mercury Prize and look at the pioneering work of The Music Man Project.

We know there are many challenges, from the continuing impact of the pandemic to the cost of living crisis to energy bills. We at the ISM are doing everything we can to support you. So make sure you are using the full range of benefits you get from your membership. In late November we launched our new, improved ISM Discount Plus scheme, which features an enhanced range of savings on everyday essentials to support you and help your money go further. There are over 200 discounts from popular retailers like Tesco, IKEA and M&S. Visit ism.org/my-ism/discount and take a look.

And of course our fabulous legal team is always there for you –contact them if a fee for work you have done has not been paid, no matter how big or small it is. We literally chase every outstanding fee relating to your work – email us at legal@ism.org and we will get your invoice paid.

It is now almost two years since Brexit came into force and we are undertaking research to understand what the effect of Brexit has been on musicians and our industry. To help us with our research do complete our survey at ism.org/campaigns/surveys

Lastly, it is now nearly two months since we changed our name. The feedback has been overwhelmingly positive. I particularly liked the feedback from past President Ronald Smith, a very longstanding member of the Society, who wrote as follows, ‘May I congratulate you on solving the conundrum of our name change. I recall when I was President in the year leading up to the centenary, we tried to find a way of ridding ourselves of the “Incorporated” bit, as many before us and no doubt many since, have attempted. Now you have found an excellent solution. Well done!’

04 News & Campaigns

07. The National Plan : Implementation and Impact

08 .Dignity at work 2 : Discrimination in the Music Sector

11. The Donne Repor t: Equality & Diversity in Global Repertoire

12 . ACE cuts funding to English National Opera*

16 . Celebrating the Best of UK and Irish Music: Mercury Prize 2022

18 . The Music Man Project

22 . Celtic Connections

26 . Blurring the Boundaries

30. Professional Development

32 .ISM Community 36 .Member Spotlight

E. deborah@ism.org

Photo: Emile Holba

Volume 89 / N umber 4

Published by: In dep en dent S o ciet y of M usicians

T: E : membership@ism org W: ism org

Independent Society of Musicians is a trading name of Incorporated Society of Musicians. A company

Editor: Deborah Annetts S ub-editors:

Proofreader:

All ISM publications are copyright Printed by:

Design: Adver tising : Develop ment T. E. Price: £7 p er copy S ubscription : ISM membership : ne cessarily those of the ISM. adver tisement does not imp ly en dorsement of the adver tiser or the p rodu ct adver tised

In September the ISM published a new report into bullying and harassment called : Dignity at work 2: Discrimination in the music sector.

The report follows on from our 2018 research, which uncovered evidence of endemic discrimination and harassment in the sector. Based on the findings from a survey of over 600 people, Dignity 2 reveals that the situation has not improved in the past four years, with 66% of respondents having experienced discrimination in some form.

The repor t ’s lead author, Dr Kathryn Williams , discusses the findings of the repor t on page 8 of this issue .

The ISM team launched our new #Dignity 2Work campaign at this year ’s DittoX: Meet The Music Industry conference and networking event in London

The ISM launched the campaign as part of our panel event on Challenging discrimination in the music sector, which discussed the findings from our new report, Dignity at work 2 The session heard from the report’s co -authors, ISM President Vick Bain and Research and Policy Of ficer Dr Kathryn Williams, our Chief E xecutive Deborah Annetts, and Roger Wilson, Director of Operations at Black Lives in Music.

#Dignity 2Work ’s first action has been to coordinate an open letter from the ISM and those in the sector to the Minister for Women and Equalities, Kemi Badenoch. The letter calls for the government to introduce legislative changes which would make the music sector safer.

As a knock- on effect of Arts Council England ’s (ACE) Let ’s Create initiative, a ten-year strategy set up in 2020 for ACE to use their budget to increase cultural investment across the country, several prominent arts organisations including Welsh National Opera, Britten Sinfonia and lately the English National Opera (ENO) face severe funding cuts.

ENO, given just 24 -hours’ notice of ACE’s decision , has been stripped of its £12. 5 million annual funding, and has instead been offered £17 million over the next three years on the condition that it agrees to relocate outside London. ACE’s new National Portfolio will see investments outside London of £43 5 million per year. While the intention of increasing inclusivity and diversity is commendable, their decision on how this is to be achieved is questionable. ENO has released statistics that show they are already achieving inclusivity : 50%

of its audience are first-time opera goers , 1 in 7 are under 35 and over half of its audience came from outside London in the 202 1-22 season. Read page 12 for more on ACE funding cuts to the ENO.

We are concerned about some of the decisions which ACE have made and will be advocating hard for an increase in funding to support music. Visit ism .org / news/ism- campaign-in-response- cuts-to-the-ar ts for more information.

No music teacher

The Department for Education (DfE ) announced increased bursaries in some subjects to help the crisis in teacher recruitment. However, music still has no bursary despite the subject being forecast by the National Foundation for Educational Research (NFER) to recruit only 57% of the DfE’s target for teacher trainees in the 2022 academic year.

M

The bursary for music was cut in 2020, but apart from a brief increase in applications after the COVID -19 pandemic, the number of music teacher trainees has been falling steadily in recent years and many teachers have been leaving the profession. Recent analysis by the NFER shows a strong correlation between cuts in bursaries and a fall in teacher trainees. The ISM believes that the DfE should reinstate the music bursary to help encourage more music students into the teaching profession.

Responding to the DfE’s announcement, Deborah Annetts said, ‘Earlier this year the government published the refreshed National Plan for Music Education , which stated that children in ever y school should have access to at least one hour of music education per week up until Key Stage 3. To achieve that target we will need more trained music teachers We urge the government to reconsider its decision .’

Above: ENO, HMS Pinafore 2021

Photo: Marc Brenner

GCSE music entries fall to new low

This year ’s GCSE results for students in England , Wales and Northern Ireland show that the uptake of music has fallen by 3.8% since 2021.

Figures from the J oint Council for Qualifications show the continued decline in arts subjects , with entries falling in art and design (2.1%), drama (6 4%) and design and technology (5 .4%) compared to last year.

The data shows that between 2012 and 2022 , entries for GCSE music have fallen 19% and a shocking 27% since 2010 and the introduction of the EBacc.

Deborah Annetts congratulated students receiving their results , but added , ‘This significant fall in music entries since 2 021 gives great cause for concern , particularly when entries have now fallen by a staggering 27% since the EBacc was introduced. Accountability measures such as the EBacc and Progress 8 must be urgently reformed or scrapped to prevent further damage to our arts subjects .’

Priorities for music

Deborah Annetts gave a speech discussing priorities for music education in England at the Westminster Education Forum policy conference on 27 September.

She emphasised the danger of further cuts to arts education funding, saying, ‘We cannot take it for granted that with so much change happening the role of music in education will not be questioned and come under threat.’ She also highlighted supporting the education work force as a priority, given the stark findings of the ISM’s recent reports , Music: A subject in peril? and The case for change, and the dramatic fall in music teacher trainee figures since the government scrapped the music teacher bursary in 2020.

Deborah’s

The National Pl an: Implementation and impact

Over the coming months we are going to have to be very vigilant and continue to make the case for music education. We cannot take it for granted that, with so much change happening, the role of music in education will not be questioned and come under threat Cuts to funding are a real possibility, despite the government ’s three -year funding commitment at the current level (£79 million) which accompanied the release of the refreshed National Plan plus the promise of an additional £25 million for instruments. We have seen this before, unfortunately, with the disappearance of the multi-million-pound Arts Premium which was promised in the 2019 Conser vative manifesto.

The refreshed National Plan for Music Education in England was published in June 2022 , and we welcomed its broad ambition and scope. However, its implementation is gradual and therefore its impact so far is almost impossible to measure. This is due, in part, to the nonstatutory nature of the document and the ever-evolving political situation, but also to the long lead times of many of its initiatives, which are not expected to be in place until the start of the 2023 -24 academic year or beyond. There are also a number of unknowns, including the monitoring board arrangements – due to be published by the Department for Education (DfE) towards the end of this year – and, perhaps most concerningly, the details of the Music Hub investment programme which Arts Council England has said will not be published until next year. We do know that the DfE wants to see fewer Hub lead organisations, covering wider geographical areas; and there is a concern that jobs could be lost as a result of the reorganisation, something which the ISM will strongly push back on.

School budgets are currently under enormous pressure, which could lead to schools cutting non- EBacc subjects from the curriculum in order to balance their books . In

work force – both classroom teachers and peripatetic and instrumental teachers. The refreshed National Plan is ambitious , which in principle is encouraging, but there are concerns that a suf ficient music education work force does not currently exist to support it. Many music specialist undergraduate primary courses and post-graduate secondary programmes have closed; and the DfE removed the training bursary for music in 2020, limiting the opportunities to pursue a career in music teaching. The National Foundation for Educational Research (NFER) forecasts that just 57% of the 2022 /23 target for music will be recruited.

The situation in Wales and Scotland is perhaps a little more stable The Welsh Government ’s investment in music education continues , with a bespoke, bilingual version of Charanga being made free to all schools in Wales. In addition to its lessons , which support the E xpressive Arts Area of the Curriculum for Wales , it includes training and professional development for teachers. Although there was some concern in September over funding being paused for the Youth Music Initiative in Scotland , potentially impacting hundreds of jobs and music programmes in local authorities , the Scottish Government confirmed that the funding is ‘secure’ and programmes could resume.

Visit ism .org /npme-national-plan-for-music-education for more information

addition to funding there are challenges surrounding the

The political sands have continued to shift since the publication of the refreshed National Plan for Music Education in England, and the Department for Education now has its fifth Education Secretary of the year and the fourth since July. Dr Jodie Underhill, ISM’s Research Associate, discusses what this means for the refreshed plan

The ISM has produced a number of resources relating to the refreshed National Plan.

Dignity at work 2: Discrimination in the music sector

(EDI) ficer from the on the music w our current Preside

W ms, ISM’s Research & Of cer, presents the findings report discrimination within sector which she co-wrote with President, Vick Bain

September report, g ty ion in the music sector. It was a follow- up to the ISM’s 2018 reports , Dignity at work and Dignity in study, which investigated the prevalence of discriminatory behaviours experienced by those working or studying in the music sector.

ISeptemmbe b r 2022 , th t e ISM publisshed it i s latest repor o t, Di i ni at work 2: Dis i criminnatio i n

a

Studio and live music event workers both showed the highest at 76% Comments included:

Arranger/composer/ producer/song writer

Animateur/conductor/ musical director

Educator

E

Live music (crew, event /festival staff, promoter, stage manager, sound engineer, venue staff )

Professional ensemble assistant / manager/staff

Group performer (band , chamber music , choir, musical theatre , orchestra, opera companies) Not currently working (including retired)

Music executive (artist manager, music agent, music publisher, record label)

Individual performer (accompanist, church musician , DJ, instrumentalist, singer)

Studio (assistant, session musician , sound engineer)

Other

Comments detailed some of the locations where discrimination , or worse , had occurred: on stage, in rehearsals , on tour buses , teaching in schools , at networking events , during performances and in unwanted social media messages. No area of work reported levels below 6 2% .

‘Being offered career breaks that turned out to require quid pro quo: he was expecting me to sleep with him . ’ ‘Sexist behaviour has been a constant throughout my career. ’ ‘

Our research showed that 88% of self-employed people didn’t report their experiences of discrimination. 94% of them had no one to report it to. 69% feared losing work or victimisation. Respondent comments included:

Often, the fear of being subjected to reprisals stops those who have suffered discrimination from making a complaint Most musicians are freelancers and will not have access to the type of HR functions found in more traditional workplaces. The sur vey data suggests that discriminatory behaviour is not recognised as being unlawful at the time, because it is so common and therefore just an accepted part of the culture of working in music. For too long, harassment and discrimination have been accepted as part of the culture; 55% in our sur vey said, ‘ it’s just the culture here’

Our research provides evidence that confirms the scandalously unsafe culture of the music sector. The largely unregulated music workforce is left to suffer in silence with a culture of acceptance and fear, fuelled by power imbalances and an inadequate legislative framework

‘

1. Amend the Equality Act 2010 to extend protections to freelancers

2

. Reintroduce rights around third-party harassment, and extend the time limit for bringing discrimination cases from three months to six months

3. Implement a mandatory duty on employers to protect workers from harassment and victimisation, as recommended by the Women and Equalities Select Committee

4

5

. Music membership organisations to incorporate a members’ code of practice within their governance structure that will allow removal of offending member

. Funding bodies to require that all supported organisations commit to training on discrimination and harassment, alongside written procedures on how complaints will be upheld, and provide a mechanism for individuals to raise complaints anonymously directly to the funding body

6

. All organisations such as orchestras, studios, venues and labels to promote a written policy clearly defining all types of discriminatory behaviour and provide safe, anonymous mechanisms to raise complaints.

The brave testimonies from hundreds of people paint a picture of unsafe workplaces where perpetrators face no repercussions and there is a scandalous lack of action by venues, contractors and employers. Solutions that will be effective in tackling these unsafe workplaces are urgently needed. We have launched a new campaign, #Dignity2Work, to drive these changes for ward.

Visit ism.org/news/reports to read the report. If you suffer from discrimination don’t delay in contacting and taking advice from the ISM legal team (legal@ism. org) Timescales are short for claims under the Equality Act 2010; they have to be presented within three months of any discriminatory act or omission.

The report makes 10 recommendations: six to government and four to the music sector. They include:

Hard to prove anything, would get a bad reputation.’

‘Your life is over if you were to say anything publicly. ’

‘Didn’t want to appear dif ficult to work with . ’

The Donne Report: Equality & Diversity in Global Repertoire

Dr Kathryn

The charitable foundation Donne –Women in Music launched a new research report, Equality & Diversity in Global Repertoire, at an event held at the Royal Albert Hall in London and livestreamed on 3 0 September 2022. The results were determined through in - depth analysis of composers’ works scheduled for the 202 1-2022 season by 111 orchestras across 31 countries. The report provides evidence that progress in gender equalit y is slow in the world of classical music and even slower when it comes to diversit y.

The findings include:

• Of the 20,400 compositions scheduled, 87.7% were written by white men , and only 7.7% of the works were written by women , of whom 5 . 5% were white women.

• Almost one-third of all compositions were by 10 white, historical and wellknown European men.

Set up in 2018 by multi-award-winning soprano Gabriella Di Laccio, the Donne Foundation is dedicated to achieving gender equality in the music industry. Its research publications aim to help raise awareness and bring more people into vital conversations around inclusivity, and to find ways to generate faster change. Previous reports include Equality & Diversity in Concert Halls (2020 -202 1) and Equality & Diversity in the Studio (2020) Donne has a wealth of resources that are freely available to all , such as the Big List of Women Composers , an ever- expanding list featuring more than 5,000 women composers , a database of over 5 00 orchestral works by women composers , and a podcast series.

At the launch event for its latest report, the panel sessions focused on how we can move beyond tokenism and aim for comprehensive and genuine inclusivity, from the artists that audiences see on stage to the repertoire programmed in concerts and in educational settings. Panellists included composers , programme managers , researchers , and organisation leaders.

Composer Nicola LeFanu noted that as a young woman she faced fewer barriers entering the profession than most women of her generation did , because she had a role model in her own mother, composer Elizabeth Maconchy. She also spoke about brief periods throughout her own career when it became fleetingly fashionable to promote women composers. Composer Bushra El-Turk added that she receives waves of commissions when festivals temporarily want to focus on diversity. Emma Gait, Programming Manager at the Barbican , and Elena Dubinets , Artistic Director of the London Philharmonic Orchestra, provided examples of ongoing work that will ensure this is not a passing trend , such as diversity requirements in programming and in commissioning women composers to write new pieces that are more substantial than just a short overture to tick a box .

The full report can be downloaded by visiting donne-uk org

nch report

ACE cuts funding English National Oper a

ISM’s Senior Policy & Campaigns Of ficer Naomi McCarthy looks at the rationale behind Arts Council England’s recent controversial funding cuts to its National Portfolio Organisations, and their potentially disastrous impact, particularly on ENO

or over 9 0 years English National Opera (ENO) has been working to ‘bring opera to everyone’ The company was set up as Sadlers Wells Opera in 1931 by the philanthropist Lilian Baylis , who was passionate about providing audiences with the best opera at modest prices. Based at the London Coliseum since 196 8 and renamed ENO in 1974, it is today one of the capital’s flagship opera companies and remains close to its founder ’s vision , offering affordable and accessible productions , all sung in English. Its stage has helped to launch the careers of stars such as Dame Sarah Connolly, Allan Clayton and Nick y Spence, and its conductors have included Sir Colin Davis , Sir Charles Mackerras and Sir Mark Elder. It has also enlarged the opera canon with numerous commissions , perhaps the most famous being Britten’s Peter Grimes from 1945

Yet despite this enormous contribution to the world of classical music, Arts Council England (ACE ) has decided to strip ENO of its £12. 5 million annual funding, removing it from the National Portfolio of arts organisations announced on 4 November. Other opera companies had their funding significantly reduced , including the Royal Opera House, Welsh National Opera and Glyndebourne, but ENO was by far the worst affected. Instead , it was offered £17 million over the next three years on the condition that it agreed to relocate outside London , possibly to Manchester. ACE stated , ‘We require English National Opera to move to another part of England if they wish to continue to receive support from us .’

Arts Council England has decided to strip ENO of its £12 .5 million annual funding

Photo: Clive Barda

The decision is part of ACE’s Let ’s Create initiative, a ten-year strategy set up in 2020 with the aim of using its budget to increase cultural investment across the country. The Let ’s Create vision includes a Creative People and Places programme that targets areas of the country where cultural engagement is low By supporting community projects they aim to increase engagement. Overall , the new National Portfolio will see investments outside London of £4 3 5 million per year. However, Let ’s Create has been strongly criticised for moving too far away from artistic excellence in favour of inclusion and diversity. As a result, arts organisations renowned internationally for their high - quality performances are under threat simply for appearing too middle - class in their appeal. As Richard Morrison writes in The Times, ‘ACE has not so much shifted the goalposts as moved the entire game onto a different pitch, with different rules and inbuilt bias against previous winners’ It is a disastrous trajectory for the country ’s arts sector, which has long been one of our proudest exports.

ACE was clearly pressured by government to move funding away from London. At a What Next? arts meeting on 9 November, the CEO of ACE Darren Henley revealed that in February his organisation was instructed by Nadine Dorries , at the time the Secretary of State for the Department of Culture, Media and Sport (DCMS), to ‘ move investment out of the capital’ Sir Nicholas Serota , Chair of ACE , told The Times that they had to follow the government ’s request to remove tens of millions of pounds from London-based arts organisations as part of the levelling- up agenda. Speaking on BBC Radio 4’s Front Row programme he said , ‘the Arts Council was faced with some ver y difficult choices . We decided that we should not spread the miser y across ever y company in the countr y … We should actually identify those companies that we thought could sur vive a withdrawal of their funding and in which we had faith that they had the ability to respond, and I think that’s the position that English National Opera is in .’

The announcement of the new National Portfolio was delayed at the last minute by ACE , apparently because it had to work around other government announcements and changes in government, but Henley stressed this had no implications on the funding decisions. However, according to ENO, it was given just 24-hours’ notice of the decision.

It seems particularly per verse to cut ENO’s funding in the light of its work to appeal to new audiences and build its reach beyond London. In a statement released in response to the decision , ENO said : ‘Whether increasing diversity on and off stage, in the pit and in our audiences , supporting important national institutions such as the NHS in their COVID response with ENO Breathe and increasing our presence on broadcast and digital platforms … ENO has repeatedly been at the forefront of innovation for the entire opera industr y.’ It also released statistics in support of its efforts to make opera more accessible, including that 50% of its audience are first-time opera goers , 1 in 7 are under 3 5 and over half of its audience came from outside London in the 202 1-22 season.

ENO is also one of the cheapest cultural nights out in the city, with a £10 ticket price and free tickets for under-2 1s. ACE itself had praised the company for successfully broadening its appeal. ‘We were told we were absolutely on track ,’ ENO’s CEO Stuart Murphy told The Guardian

There may be an argument for rebalancing funding between London and the regions and making opera more accessible to those living outside the capital. However, relocating a company as large and well established as ENO, which has over 6 00 skilled employees including musicians , technical and support staff, requires serious long-term planning, not the 20 weeks’ notice that ACE has given before its funding will be removed. The proposal that ENO could move to Manchester seems arbitrary and ill- conceived , given that Opera North already ser ves that region regularly and there is no

‘

An absolute travesty, we are bemused and baf fled and shocked. ’

Stuar t Murphy, ENO, CEO

suitable venue for a permanent opera house in the city. Moreover, ENO states that no one in Manchester, including the Greater Manchester mayor Andy Burnham , was consulted about the proposal. To cut ENO’s funding at such short notice, without proper consideration to its future or any consultation with ENO itself is extraordinary. Stuart Murphy described it as ‘ an absolute travesty,’ adding, ‘we are bemused and baffled and shocked.’

Similarly bizarre are ACE’s decisions to cut the Britten Sinfonia’s entire £4 0 6,000 grant, even though it is East Anglia’s finest orchestra and carries out a wide range of educational and outreach work, and to slash the grant to the English Folk Dance and Song Society, which tweeted its bewilderment at the news: ‘We are the only national organisation that champions folk music and dance for all – grass-roots amateurs , community groups , professionals , educators , young people, etc .’

Leading figures across the arts world have voiced their shock at the ENO decision. In a letter to The Times, Sir David Pountney, a former ENO director of productions , called it ‘brutal and irresponsible’, while Sue Spence of Askonas Holt artist agency described her ‘ sadness and frustration’ at the news , saying : ‘I have rarely seen such young and diverse audiences in any other venue.’ Operatic tenor Nick y Spence told the ISM: ‘I and countless other homegrown talents would simply not have a career if it weren’t for the training and opportunities ENO have afforded us Making opera is hard work at the best of times and ever y department at ENO is so much more than the sum of their parts . The irreparable damage done to the cultural fabric of the UK in these recent cuts beggars belief and my heart breaks for all of the individuals who make opera happen .’

The Welsh bass-baritone Sir Bryn Terfel J ones has launched a petition calling for ACE to reinstate ENO’s funding immediately, which had been signed by nearly 59,000 people at the time of writing. To add your signature visit eno.org /about /love-eno ENO is urging supporters to share the petition on social media channels using the hashtag #loveENO and to contact the Chair of the DCMS Select Committee J ulian Knight, the DCMS Secretary of State Michelle Donelan and their own MP asking for the decision to be reversed.

In a statement released on Twitter, ENO wrote: ‘We want to work with DCMS and ACE to aid the levelling- up agenda but it has become clear to us that their proposal needs urgent revision so we can continue to be a world- class opera company in London and per form more regularly in all parts of the countr y, including Manchester.’

The ISM is running its own campaign focused on ACE’s cuts to the music sector. Visit ism .org /news/ ism- campaign-in-response- cuts-to-the-ar ts for more information and to find out how you can support the cause.

Images: ENO Productions Photos: Clive Barda, Donald Cooper, Lloyd Winters, Tristram Kenton

It may have been my imagination , but the shortlisted artists for the 2022 Mercury Prize who were not chosen as the overall winner seemed to be applauding particularly warmly as the T V cameras swept round the auditorium of the Eventim Hammersmith Apollo, capturing reactions to the announcement that rapper, singer and actor Little Simz had scooped the top prize for her album Sometimes I Might be Introvert The lyrics of the track she had performed live at the ceremony, entitled ‘How the hell did I get here? ’, must have resonated with many of her fellow performers.

‘I ’m the version of me I always imagined when I was younger,’ she rapped, ‘I improvised my way here, no rules handin’ mixtapes out in my school , all I had was my brain and my hunger, had to use that as tools . ’ The song goes on to recall shooting videos in a friend ’s garden with no budget, being rebuffed and told she would never get any where, or that she would have to work twice as hard as anyone else because she was black, but sticking with it, having faith in her goals , studying other people’s albums, learning ‘about flow and cadence’ until suddenly, in the words of a memorable line, ‘Many dreams I’m sitting on I’m made up of the same stars that I wish upon …’

No doubt many of the other musicians in the room could relate to the ‘studio runs on foot, trekking through the rain’ that she described, and were also wondering ‘How did you believe you would get here? ’

The celebration took place on 18 October, postponed from 8 September, the day of HM The Queen’s death. Remarkably, only Harry Styles , in the middle of a major US tour, was unable to make the new date and had to acknowledge his award , for his chart-topping third studio album Harr y’s House, on a pre -recorded video.

The Mercury Prize promotes the best of UK and Irish music and the artists who produce it. It has no categories , and all genres of music are represented in the shortlist of 12 Albums of the Year, selected by an independent panel of judges who then meet on the day of the ceremony to choose the overall winner of the £25,000 cash prize and Album of the Year trophy. This year saw the Mobility Super App FREE NOW take over as the headline sponsor, as part of a commitment to supporting British music. The shortlisted albums were made available as a playlist on Amazon Music and the awards ceremony was broadcast on BBC Four and BBC Radio 6

Guest presenter Jamz Supernova announced the winner on behalf of the judging panel. ‘In a year that has , to put it mildly, presented rather a lot of challenges , British and Irish music has thrived more than ever,’ she said. ‘When it came down to it, the judges were so impressed by Sometimes I Might Be Introvert by Little Simz that ever yone could get behind it. This accomplished and complex, yet entirely accessible album is the work of someone striving

constantly to push herself. It deals with themes both personal and political while putting them against music that is as sophisticated as it is varied. The Mercur y Prize is all about shining a light on albums of lasting value and real artistr y. Sometimes I Might Be Introvert has both.’

Little Simz – Simbiatu Abisola Abiola Ajikawo – is 28 and comes from a British Nigerian family and grew up on a council estate in Islington , North London. She studied at Highbury Fields School and began her career as a child actor before focusing on music at the University of West London.

Sometimes I Might be Introvert is her fourth album , and the second to be nominated for the Mercury Prize. Produced by her long-time collaborator Inflo, it received a Brit Award nomination and was named by BBC Radio 6 Music as the best album of 202 1 Many of the 19 tracks , which can be loosely described as orchestral hip -hop, were written in lockdown , hence their reflective nature and the theme of excavating elements from her past that Simz would prefer to bury, such as her dif ficult relationship with her absent father, the death of a cousin , or the conflict between her naturally quiet personality and her desire to be a performer.

Simz cannot be alone in experiencing that contradiction. Similar themes to do with dealing with past trauma, the dif ficulty of negotiating modern life or how it feels to be suddenly famous certainly keep cropping up in the Mercury-shortlisted albums.

Rebecca Lucy Taylor, who performs Self Esteem, writes about social awkwardness , guilt and memory on her album Prioritise Pleasure, using an upbeat idiom that she is happy to define as ‘art-pop’ to speak up for women who, like her, may have been told to ’stop showing off, you’re a good girl, you’re a good sturdy girl’ Hip -hop artist Kojey Radical took ten years to develop his debut studio album Reason to Smile, which explores both his Black British identity and his complex relationship with his father.

The shortlisted acts are hugely varied in style but two questions seem to run through their current work, questions perhaps that many other performers are currently asking themselves: Who are we, and why are we here?

The Music Man Project

The Music Man Project is an award-winning music education and performance ser vice for children and adults with learning disabilities. Its founder, teacher and song writer David Stanley BEM, explains more

Run by volunteers , the charity gives grants for accessible arts education , promotes equal access to performance, carries out research and raises awareness of the achievements disadvantaged people in the arts. David Stanley BEM explains more about how the project began , what they are now up to and how you can become involved.

Twenty-two years ago, I met a young adult with Down’s Syndrome called Tony. I voluntarily took him to the gym , football and swimming as part of a community shared-leisure scheme. As a musician who had studied at J unior Guildhall , the Royal Academy and Kings College London , it seemed logical that I should explore how Tony might respond to my music.

I started with ‘I am the Music Man’. But Tony soon requested I played his favourite Christmas song ‘The 12 Days of Christmas’ Some 14 renditions later both collapsed in fits of laughter. It was the middle of J uly after all!

His reaction changed my life forever.

The transformative effect of my music on Tony led me to teach a small group of people with learning disabilities, supported by local charity Southend Mencap. I promised my students that one day they would play the Royal Albert all. It was a joke that became a dream, that became an ambition and then my obsession. Twenty years later, I presented 200 children and adults with learning disabilities from across the UK in a ground-breaking concert at the Royal Albert Hall.

I taught the students , produced the show and composed the music. It was the UK’s largest ever celebration of accessible music-making and featured a symphony orchestra, massed choirs and celebrity guests , all supporting my students. We performed to an audience of over 3 ,000 people. It took two decades to fulfil my promise and I battled prejudice, ignorance and barriers to opportunity on behalf of this once -forgotten society.

I initially established a weekly music school and then , in 2012 , I gave up my job as a deputy head teacher in a mainstream secondary school to start the fulltime accessible music education and performance ser vice I lead today. The decision was enormously risk y for the security of my young family, but I felt called to make this my life’s work . I knew that I would be solely responsible for either my failure or my success and this felt incredibly empowering. I was inspired by these words from the mother of a severely autistic child I had taught:

‘Without David, my daughter would still be sitting in the corner of the lounge getting more fearful and frustrated with life, leading me into a deeper and darker place wondering if there was ever going to be any good come into hers or my life.’ (Parent, 2012)

I felt a deep sense of responsibility to extend this impact to more people, to free the constraints placed on people with a learning disability across the world. I established regional Music Man Projects across the UK and travelled to South Africa, India, Nepal , the Philippines and the USA to help other communities start their own versions of my ser vice, providing original music, resources and performance opportunities for free. I was joining this remarkable community together through song, country by country, and my original act of compassion with Tony in 1999 was multiplied infinitely, every day.

Reversing perceptions of people with learning disabilities is a key societal benefit of my work This begins in schools where our musicians have delivered performance workshops to over 12 ,000 mainstream Primary School pupils. The children learn about disability diversity awareness and acceptance through singing, signing and playing with The Music Man Project Student Ambassadors.

The Music Man Project is not just an award-winning international music ser vice, it is a great big musical family, capable of extraordinary achievements. My students have performed at the London Palladium (2015, 2017 ) and the Royal Albert Hall (2019) They broke a Guinness World Record , performed to members of the Royal Family, opened a National Lottery T V advert and regularly feature on T V and radio, including singing Christmas Carols live on IT V’s Good Morning Britain and receiving a standing ovation and four yes votes from celebrity judges on Britain’s Got Talent. We have released albums and published songbooks and I tell the stories of our families through my podcasts and blogs. During the pandemic we reached thousands more people through online teaching, videos and even doorstep visits to help families trapped at home.

The Music Man Project is a global beacon of accessible Arts and Culture, and our musicians with learning disabilities are role models for their community, capable of entertaining audiences in their thousands at the world ’s most prestigious performance venues. They herald a step - change from consumers of culture to talented creative artists who show what they can do rather than what they need.

Future Ambitions

The Music Man Project collaborates with His Majest y ’s Bands of the Royal Marines to connect elite military musicians and people with learning disabilities through the universal language of music. The par tnership is suppor ted by Music Man Project Patron Rt Hon . Penny Mordaunt MP and global PR company TEAM LE WIS. Earlier this year we recorded together a charit y single called ‘Music is Magic’, which will be released this Christmas . We will also perform in concert with the Royal Marines , including a special guest appearance at the Mountbatten Festival at the Royal Albert Hall next March , and the band will accompany The Music Man Project in our own return concert at the Royal Albert Hall in April 2024 My next major ambition is for The Music Man Project to perform with The Royal Marines on Broadway, New York

Twenty years in this industry have given me more professional satisfaction than I could ever have imagined.

I ’m currently the government ’s Disability and Access Ambassador for Arts and Culture and in 2019 I researched best practice in New York, courtesy of a Churchill Fellowship. I now share my expertise and experience for the benefit of the whole country. My work was also presented to the United Nations in New York by the Minister for Disabled People. I represented children with SEND as a specialist advisor for the new National Plan for Music Education. It was my honour to receive the British Empire Medal in the Queen’s 202 1 New Year ’s Honours List for ser vices to people with Special Needs.

I have been professionally and emotionally immersed within this community ever since I met Tony. I ’m extremely close to my students , and their families trust me with their lives. I have a deep understanding of the challenges they face just to exist, such as isolation and loneliness , poverty, physical and mental health problems , dementia, Hate Crime, prejudice, inequality and ignorance. I feel a responsibility to use my music to help them thrive. The Music Man Project is my life’s work and I have the best job in the world.

The Music Man Project oversees a network of regional projects around the UK under a not-forprofit franchise arrangement. Please contact musicmanprojectuk@outlook.com to register interest in setting up your own accessible music education service.

We also welcome volunteers to support our musicians and invite performers and creatives to collaborate on future ventures.

You can help The Music Man Project fulfil more dreams, such as a performance on Broadway, a purpose-built headquarters and further expansion across the UK and around the world by donating to our charity. For further information please visit linktr.ee/MusicManProject

Celtic

Connections

As Glasgow’s annual festival of traditional and world music celebrates a big birthday, we look back at its history and forward to what you can expect to see and hear at Celtic Connections 2023

Words: Clare Stevens

It is 3 0 years since music producer Colin Hynd founded Celtic Connections , a wide -ranging festival embracing both Scottish traditional music and other more youth -focused genres , to fill a gap in the post- Christmas schedules of Glasgow Royal Concert Hall (GRCH) It will never work, scoffed the city ’s arts commentators – but it did. Promoted by BBC Radio Scotland , the first festival attracted 33 ,000 people to the concert hall , which had been opened in 199 0 in time for Glasgow’s year as European City of Culture and is one of the largest in the UK

The event quickly outgrew GRCH, and by 2008 festival attendances reached 120,000 over 19 days across 14 venues throughout the city. The last pre - COVID edition , in 2020, included more than 3 00 events in 29 venues with a reported attendance of 13 0,000. A year later, Celtic Connections was one of the first organisations in Scotland to stage a completely digital-first festival , with unique content curated from specially projects and performances , filmed Glasgow’s much -loved venues. More 000 tickets and passes were sold and from more than 6 0 countries tuned 2022 festival did include in -person ents , but with many restrictions and -minute cancellations due to the Omicron variant.

The expectation for 2023 , however, is that Celtic Connections will be back to normal , and an ambitious and eclectic programme has been planned to celebrate its 3 0th anniversary, and acknowledge the resilience of the Scottish music scene and the live entertainment industry in the face of adversity.

The aim since the start has been to offer as wide a range of events as possible, in order to attract different audiences , since no one group of music fans is likely to be able attend performances every night for nearly three weeks.

A controversial issue in the early years was how traditional folk and world music is defined – Hynd attracted criticism for his refusal to allow what he called ‘tartan shortbread artists’ or ‘Scottish folk karaoke’ to be included. ‘I like music to be authentic , based on the roots . It has to be good,’ he told the Irish Times in 2002. ‘The quality has to be good, the singing has to be heartfelt. Or I’ll go the opposite way, with artists who have taken the music and developed something entirely ground-breaking, different and new.’

Hynd ’s successor as artistic director, taking the helm in 200 6, was performer and composer Donald Shaw, one of the founding members of the hugely successful band Capercaillie. For 12 years he took the lead in planning an increasingly ambitious programme, but in 2018 a significant shake - up of the event ’s organisation was announced , in response to the realisation that resources and funding were stretched.

The festival didn’t need to become any bigger, Shaw told The Scotsman newspaper at the time, but the nature of performances had changed. ‘It’s often no longer a straightfor ward situation of a stage with a few musicians on it. A lot of artists want to connect with film , spoken word, visuals and theatre in their shows . ’

To facilitate this process , Shaw’s role/title has changed to Creative Producer, and he works with festival manager Jade Hewat and a team of guest directors to coordinate the various strands of the festival. It is delivered with funding from Glasgow City Council through the charity Glasgow Life, with support from Creative Scotland and The Scottish Government Festivals E xpo Fund.

It’s often no longer a straightforward situation of a stage with a few musicians on it. A lot of artists want to connect with film, spoken word, visuals and theatre in their shows.

Celtic Connections prides itself on its international relationships and this year it will once again extend a hand of musical friendship to artists and audiences across the world. Visitors will include Rokia Koné from Mali, known for her explosive performances with Les Amazones D’Afrique and performing from her awardwinning new album with producer Jacknife Lee. One of Africa’s most successful and popular musical exports Amadou & Mariam will return to the festival with their all-star band and the Moroccan -French outfit Bab L’Bluz will perform a brew of folk, rock and blues.

Americana will feature strongly, with visiting artists from across the pond including singer-song writer and multi-instrumentalist Sierra Hull from Tennessee, sharing a bill with Nashville’s singer-song writer and fiddler extraordinaire Rachel Baiman; triple Grammywinner Lucinda Williams; and newcomers Sammy Rae & The Friends. Canada’s Lonesome Ace Stringband will showcase their blend of bluegrass , folk and country, and Glasgow’s Theatre Royal will host a Song Circle show that will include the vocals of Mary Chapin Carpenter, Karine Polwart, Julie Fowlis and Robert Vincent.

Firm festival favourite Transatlantic Sessions will celebrate its 20th Anniversary with an all-star lineup including Martha Wainwright, Hothouse Flowers frontman Liam Ó Maonlai, Capercaillie’s Karen Matheson and Amethyst Kiah. As ever, the show’s house band will be the crème - de -la- crème of Celtic and Americana roots talent, including Phil Cunningham , John Doyle, Michael McGoldrick, John McCusker, Donald Shaw, James Mackintosh and Daniel Kimbro, with joint masters of ceremonies Aly Bain and Jerry Douglas.

Each year since 2000, Celtic Connections has partnered with a different country to create new international industry links and advance opportunities for their musicians through Showcase Scotland. In 2023 the festival will celebrate the folk traditions of two of Scotland ’s closest Celtic cousins , Brittany and Wales.

But of course Scottish musicians are at the heart of the programme. Highlights include the world premiere of Moving Cloud – an exciting collaboration of contemporary dance and traditional music created by Celtic Connections and Scottish Dance Theatre, with a new score performed by a 14-piece folk ensemble featuring the musicians of TRIP and Sian , along with Greg Lawson and Alice Allen.

The Scottish Chamber Orchestra returns for a unique collaboration with two of Scotland ’s most internationally celebrated traditional musicians , Chris Stout (fiddle) and Catriona McKay (clarsach) in a marriage of contemporary folk and classical music. Fiddle player and composer Duncan Chisholm has performed at almost every Celtic Connections festival since the start, and will return this year with the premiere of his new album Black Cuillin. Also returning this year are Ross Ainslie but on this occasion as part of Trio Da Kali & Special Guests; singer Hannah Rarity, this time performing with ex-frontman Colin Hay of the Grammy award winning Men at Work, and Orchestral Qawwali Project who combine together Sufi poetry, Indian classical dance and orchestral arrangements in their performance.

Since 1999 over 200,000 children , from 70% of Glasgow’s schools , have taken part in Celtic Connections’ education events – often their first ever experience of live music. Strands: 3 0th Anniversary Youth Concert will be a joint celebration of Celtic Connections’ 3 0th edition and this pioneering programme. Young musicians will come together from regions across Scotland , showcasing their home traditions before premiering a brand new ensemble composition from Treacherous Orchestra co -founder John Somer ville.

The Opening Concert in the Royal Concert Hall will celebrate the history of the festival , with a panoply of artists who’ve featured prominently over the years taking part, alongside those emerging from the vibrant folk scene, reflecting Celtic Connections’ multi-generational breadth , its Internationalism and collaborative, cross-genre spirit.

‘Our 30th anniversar y is a hugely important moment for the festival, especially considering the last couple of years , which have been incredibly tough for so many musicians and the live entertainment industr y in general,’ says Donald Shaw. ‘Celtic Connections 2023 is an opportunity to commemorate how far the festival and the Scottish music scene has come, and to also celebrate the fact that we are still here.’

Celtic Connections 2023 runs from Thursday 19 January to Sunday 5 February.

Celticconnections .com

Left: Orchestral Qawwali Project & SCO @ GRCH Right: Tim Edey @ GRCH Photo: Gaelle Beri

Each ye Conne a diff new int and for t S

h year since 2000, Celtic ctions has partnered with ferent country to create ternational industr y links advance oppor tunities heir musicians through howcase Scotland

Blurring the boundaries

Two musicians noted for their ability to switch between styles and genres, both featured at the EFG London Jazz Festival in November, talk to Clare Stevens about how their careers have developed abou o e a e de eloped

I’m in this space because I want to bring music that moves people and helps people to feel closer to each other as human beings.

Ayanna Witter-Johnson

Ayanna Witter-Johnson

Singer – Cellist – Composer

Ayanna Witter-J ohnson and her cello – which is called Reuben – seem equally at home performing and being filmed in a skateboard park in the middle of a London housing estate, on stage at the Wigmore Hall , at the Amsterdam Concertgebouw, or even on a windswept beach in Aberdeen , promoting the True North Music Festival. They sing, they dance – yes , Reuben dances too – and they play an extraordinary range of music, from highly individual versions of standards such as Gershwin’s ‘Someone to watch over me’, Erroll Garner ’s ‘Misty ’, Sting ’s ‘Roxanne’ and the Abyssinians’ ‘Declaration of Rights’(which Witter-J ohnson has recorded with the jazz singer Cleveland Watkiss), to her own songs and works for orchestra or instrumental ensemble, some of them written when she participated in the London Symphony Orchestra’s Panufnik Composers’ Scheme.

Witter-J ohnson is of Jamaican heritage, but was born in North London , and says her introduction to music was fairly conventional , through one -to - one piano lessons from an early age. Her secondary school head of music encouraged her to take up another instrument in order to challenge herself and broaden her musical understanding, and when her mother ruled out wind , brass and percussion as ‘ too stressful’ she was forced to choose a string instrument. ‘The violin seemed a bit too small, as I had large hands; the double bass a bit too big to carr y around, and at that stage I didn’t really know what a viola was , so that left the cello. I loved it from the beginning.’

Weekends were focused on acting and musical theatre; Witter-J ohnson didn’t attend junior conser vatoire, her school didn’t offer A-level Music and it wasn’t until her gap year was approaching that a friend suggested she should come along to a jam session and she was introduced to another world of creative music-making.

‘As a classical musician I didn’t really know how to jump into that space, but I wrote something in order to be able to per form it, and that was the turning point for me,’ she says . ‘That led to me applying to Trinity Laban on a whim, really, initially to do their foundation course because I thought I didn’t really have the credentials for the degree course. But lo and behold they invited me to be on the composition course, so I ended up doing a four-year degree.’

Asked if the conser vatoire helped her to develop the three strands that now comprise her career, Witter-J ohnson admits that it was dif ficult not to be pigeon -holed as a composer. ‘I did take second study jazz piano in my first year, and second study classical cello for the other three years; those skills definitely helped me to form my voice. But it was getting a gig outside college where I was singing and playing cello that really set me on my path – all the things I did in and around my degree course, the concerts I went to, the friends I made, the opportunities I created for myself, the occasions when I felt inspired by my peers .’

As a Trustee of Awards for Young Musicians and an Ambassador for the London Music Fund, Witter-Johnson now has the opportunity to be a role model for young people who are beginning to develop their love of music. Would she encourage them to take advantage of every possible opportunity?

‘Yes – make friends , collaborate, and get involved as much as possible in and around your studies . Those experiences , those relationships were the building blocks of my career, really.’ In her work with these charities , she adds , ‘I’m tr ying to just be visible. All the experiences you may have are going to help you form your own unique voice; you may choose to do things in a certain way, but you also have the option to do things in another way. I think I could be helpful in the sense of being an example of doing things differently.

Doesn’t mean it’s better, doesn’t mean it’s worse, just means there are options .’

While Witter-J ohnson can see the positive results of initiatives such as the Chineke! Orchestra and the #BlackLivesMatter movement, she says her real hope is to see more of an integration; more people of colour behind the scenes as well as on stage, ‘ and ultimately, we want to get to a place where there are black musicians in all kinds of orchestras , not just one separate set- up. But progress takes time and you’ve got to start somewhere.

‘I’m in this space because I want to bring music that moves people and helps people to feel closer to each other as human beings That’s my intention for being here, so I just ride the waves as they come.’

Focusing on the jazz world , does she think there are fewer boundaries now than there were 50 years ago?

‘It’s probably a little more open now, but saying that, I don’t know, 50 years ago there were all kinds of discoveries being made, embracing new aspects of being a jazz musician . Now there are clearer lanes that you can slot into, and each lane has its own culture. I have such a great respect for jazz music as a whole and I am inspired by it. I wouldn’t say that I am a full- on jazz musician , but I definitely embrace the histor y and the legacy of jazz music and I play with aspects of it in my music .’

‘So I basically bought a few instruments and started listening to records of blues harmonica and trying to copy what I heard’

Grégoire Maret

Grégoire Maret

Musician – Vir tuoso harmonica player – composer

A‘melting pot of musical cultures unfolding note by note,’ is how the concert listing described Harp vs Harp, the programme by harpist Edmar Castañeda and harmonicist Grégoire Maret that was showcased at the EFG London Jazz Festival. The two performers , it declared , have ‘rewritten the rulebooks for their respective instruments’

The title of their duo recital might seem misleading until you remember that the harmonica is also known as the French harp or blues harp. It is not a common solo instrument; speaking to MJ ahead of a masterclass in his native S witzerland, Maret recalls that when he fell in love with the sound after hearing it played in a blues concert in his home town , there was nobody to teach him to play the harmonica himself. ‘So I basically bought a few instruments and started listening to records of blues harmonica and tr ying to copy what I heard’.

Photo: Neutro

‘Once I got started, there was no going back; it became a passion . The blues harp is ver y small, it has just ten holes and only plays in one key, but you can bend the notes and get all kinds of expression , and I loved it so much I just couldn’t stop playing it. I had to take up the chromatic harmonica as well in order to be allowed to major in it at high school. It has a little slide on the side that enables it to switch keys , it’s like having the black and white notes on the piano, so you can play anything.’

Early inspiration came from blues players like Sonny Boy Wilson and J unior Wells , but when he was 17 Maret was luck y enough to meet the Belgian jazz harmonica player Toots Thielemans. ‘He gave me the best advice – he said “if you really like what I do you shouldn’t just copy me or tr y to be me, you should take it as an example and tr y to find your own path and your own route”. That really helped me to get my head in the right space and see which direction I should go.’

This meant moving to America to study at The New School in New York, where the harmonica was welcomed instead of being laughed at as it had been in S witzerland. ‘The attitude was so different it was crazy. But also, in terms of jazz New York is the place to be. I just tried to be a sponge, listen to as much music as I could and absorb as much as I could.’

Influential figures included the saxophonists Arnie Lawrence and George Garzone, the bassist Reggie Workman , and the pianist Gary Dow B ut soon Maret himself began to be recognised for his skill and inventiveness on the harmonica. Major artists such as Herbie Hancock (who has called him ‘ one of the most creative musicians around ’ ), Pat Metheny, Cassandra Wilson and Marcus Miller invited him to tour with them. Over the past couple of decades he has established himself as a unique and compelling voice across the spectrum of modern jazz , with guest appearances in performance and on record with the likes of Prince, Sting, Terri Lyne Carrington and his original mentor Toots Thielemans as well as with his own quartet.

to hard rock , it doesn’t matter for me. If it touches me emotionally I’m all in , and I really enjoy the challenge of learning something new.

‘But it’s true that jazz has changed a lot. Younger players are really excited about mixing jazz and, say, world music or R&B or hip hop and it sounds amazing, and you hear less of the traditional form of jazz where it was just straight ahead. When you can hear amazing players who play straight ahead it’s incredible, but it’s also great when you hear players who mix, say, folkloric music with jazz, I think that’s fresh and exciting, I embrace it all.’

The Harp vs Harp project is a perfect example of how Maret ’s music -making has been inspired by people he has played with and relationships he has developed; he and Castañeda met when they were both guests of Marcus Miller at Monaco Jazz Festival. ‘We weren’t supposed to play in the set at the same time, but during the sound check we both started playing and we thought we’ve got to do something together

‘Edmar comes from Colombia , where they have a ver y strong tradition shared with Venezuela of using the harp in a ver y, ver y original way, totally different from what we’re used to hearing in European classical music or in folk music – it’s all about the rhythms Sometimes , when Edmar plays , you feel the instrument is not going to be able to is , he goes so far, but no, that’s the way meant to be played, it’s gorgeous

Photo: Aline Muller

‘I played with his band a few times but eventually we would always break it down to just the two of us playing together, it felt so special.’ The result was Harp vs Harp, released as a recording on the ACT label in 2019 and toured round the world. ‘Originally it’s a mix between Colombian traditional music and jazz, we do all kinds of stuff from the radition and then expand it using our nowledge that comes from being jazz sicians . We complement one another n we play together it feels kind of like an orchestra , it’s really full; and if one of us decides to change an arrangement there’s no problem, because we really listen to each other and respond. The possibilities are almost endless – we never get bored because it’s always different.’

Asked if there is more blurring of musical styles and genres now than in the past, Maret says that for him , ‘ it is really just about music , I just love music , from classical

gregoiremaret.com edmarcastaneda .com

‘

But it ’s true that jazz has changed a lot.

Younger players are really excited about mixing jazz and, say, world music or R&B or hip hop and it sounds amazing’ Grégoire Maret

Money management for musicians can come down to a matter of strong contracts, following up payments and knowing your rights

PROFESSIONAL D E V E L O P M E N T Managing your money as a freelancer

Beyond that , there are other steps you can take to manage the money you earn effectively, which is particularly important if your income comes from several different sources. This feature offers some helpful guidance.

Getting to grips with money, improving confidence in dealing with financial choices and options and having the knowledge you need to manage money well are all valuable skills to develop. Personal financial management also requires self-awareness , so that you can understand your own attitude and behaviour towards money.

Having strong financial skills plays a foundational role in our overall wellbeing. Taking the following five steps should help you get on top of your money.

The idea of putting together a budget or spending plan might make you want to run for the hills , but having a robust, well-thought-through budget means you’ll be able to understand and control your spending and be better placed to manage unexpected circumstances , which is particularly important if your income fluctuates.

Use the ISM budget calculator to get yourself started. Be completely honest and look at what you have coming in and going out and how you can affect those. Next, start consistently tracking your spending. Apps such as B udget B uilder, online budgeting tools from banks or a simple E xcel spreadsheet can all do the job.

3

.

Get ahead

of tax and National Insurance

Plotting your income as a musician in a regular way can initially seem trick y but it is possible.

Try to get ahead of yourself by aiming to start each month with enough funds in the bank to cover all your essential expenses. Getting to this cushioned point may take time, but it ’s a great goal to work towards and will help smooth out any bumps in your income.

Next, aim to create an emergency fund. Two months’ essential expenses would be a solid goal. Making this part of your monthly spending plan will also help. You might also want to create other ‘pots’ for named purposes , eg ‘ the car pot ’, ‘ the Christmas fund ’

You might find it helpful to set up separate bank accounts to cover different types of spending (eg bills , rent, subscriptions etc) and then set up standing orders to transfer money into these accounts from your main account and direct debits for each of the bills from each of the accounts. Alternatively, there are jam jar bank accounts designed to let you divide your money into different ‘pots’ within your main account. When money comes into your account, the amounts you’ve agreed are set aside in the pots for your essential bills and then these are paid via direct debit or standing order. It is important to check the terms of and conditions of these types of accounts.

Lastly, whichever of these options you use, or even something else, take it all step -by-step. Make your steps realistic , achievable and scalable. It ’s not easy and some weeks and months you’ll slip up, but persist and keep going.

Try putting some money away towards your tax and NI bill every time you get paid. Look at transferring it into a separate account so you’re not tempted to spend it. There are online calculators such as TaxScouts (taxscouts .com/calculator/national-insurance) or HMRC ’s Ready Reckoner (gov.uk /self-assessmentready-reckoner) to help you calculate how much tax you are likely to owe. The government ’s MoneyHelper (moneyhelper org uk /en) site also offers help for selfemployed people and members can direct any tax questions to the Tax Helpline (01275 376 038)

This might seem like a counter-intuitive suggestion if making ends meet is a challenge , but engaging with savings is a key piece of the puzzle. Savings help you plan for special events , build a cushion for emergencies and lessen your need to borrow

There are plenty of small ways to start saving, from using your bank app, or ‘rounding up’ pennies from your payments into a side account, to setting up a payment to a savings account as soon as any income comes in. If you lock that money away before you ‘see’ it, you’ll be less tempted to use it elsewhere.

Help is always out there. Don’t fight the tide trying to fix it all yourself. The ISM website has debt advice and resources , and members can also access the 24-hour personal support and advice line for emotional and wellbeing support. Visit ism .org for more information.

The University of Winchester has awarded an honorary doctorate of music to composer and ISM member Philip Herbert. Emeritus Chancellor Alan Titchmarsh and Vice - Chancellor Professor Sarah Greer presented the award during a ceremony in Winchester Cathedral on 2 1 October.

RWCMD announces new Sir Geraint Evans

As part of the Royal Welsh College of Music & Drama’s continuing focus on supporting students in financial need, it has announced a significant new full scholarship to mark the centenary of the birth of the Welsh opera singer Sir Geraint Evans, who was President of the College when he died in 1992.

To inspire future singers through his example, a £150,000 fund will provide this new scholarship at the College’s David Seligman Opera School to one student per year for the next ten years.

The first Sir Geraint Evans Centenary Scholar is South Korean baritone Edward Kim.

Sound Festival 2022

This year ’s Sound Festival in north - east Scotland had a strong showing from ISM members , with new works from Sonia Allori, Daniel Kidane and Thomas Metcalf as well as performances from Pete Stollery and Dr Roger B Williams.

Cellist Mimi Harmer collaborated with dancer and choreographer Mansi Dabral in a creative exploration of Kathak dance and western classical music. After a week of intensive training from renowned dancer and choreographer Balbir Singh , Harmer and Dabral produced the collaborative piece, ‘Kanyaa - The Daughter ’ The piece was inspired by the different stages of a woman’s life. Kanyaa - The Daughter was hosted at Kala Sangam Arts Centre in Bradford and was funded through Arts Council England ’s Develop Your Creative Practice programme.

Mimi Harmer x Mansi Dabral collaboration

Highlights of some of our members’ activities across the UK

AOTOS announces new Chair

The Association of Teachers of Singing (AOTOS) has announced Edwin Pitt-Mansfield as its new Chair, succeeding Nick y-Jane Kemp. It has also released details of its programme for the year which will see a mix of conference, free zooms for members and Area Days which take place across the country and are looked after by representatives across five regions , including Scotland.

Save the date! AOTOS has also announced a two - day conference in collaboration with US colleagues NATS , who will travel to London to join the event on 3 & 4 J une at the Voces8 Centre in London. This event is unique, with presentations and papers from both the States and the U K on all things singing teaching.

For more details on all AOTOS’s upcoming events please visit aotos .org.uk

Members’

ISM member Anna Tams and her folk-jazz group Coracle are embarking on a nationwide tour with Broomdasher and local church choirs and organists to bring to life the musical journey of folk songs collected by RV W in From Pub to Pulpit One of many projects and concerts marking the 150th anniversary of Ralph Vaughan Williams , it coincides with the launch of the Vaughan Williams Foundation , a new funding organisation in the sector which brings together the two charities originally founded by the composer (the RV W Trust) and his wife Ursula (the Vaughan Williams Charitable Trust) and is funded by the royalties earned from RV W ’s music.

vaughanwilliamsfoundation org

NEW TRINITY FLUTE & CLARINET PUBLICATIONS

Trinity’s flute and clarinet graded books now feature 12 pieces, up from nine, and include detailed performance notes that offer technical direction and stylistic context. These new books showcase a diverse range of repertoire, including stage and screen through to Latin, with a series of unique commissions by a growing network of internationally-based composers.

Whether you’re an aspiring musician taking that first step, or a conservatoire-level performer, Trinity’s publications offer a fantastic route for musical discovery.

Explore our books now: trinitycollege.com/shop-music

Member spotlight spotlight

Composer Angela Slater shares her passion for contemporary classical music

How did you originally get into music?

I grew up in a large village –Cotgrave, Nottinghamshire. Thinking back to my childhood, I can’t really remember a time when I didn’t know about music. Even before I was at an age where I could have piano lessons, I was always drawn to playing on the piano and would mess around, probably disturbing my brother’s practice. Later, I would write little pastiche-type pieces, which then transformed into popsongs in my teenage years and then melded back to classical music.

What or who inspires you?

Music itself, the natural world and other artforms particularly poetry, dance, and visual arts. When composing, I find engaging with extra-musical sources whether this be visual art, poetry, the natural world, or a scientific concept to be an extremely useful way to stimulate and structure my composition thoughts in the writing process. This helps me to map out the form of the piece, and to think about colour and texture.

What piece of advice has helped you most in your career?

To stay true to the intentionality of your idea, don’t let it be watered down or compromised. That doesn’t mean not thinking about practicalities or idiomatic writing,

but don’t shy away from writing the ideas in their fullest and most clear form.

What has been the most rewarding project so far in your career and why?

There have been many, but being on London Philharmonic’s Young Composer programme working with Brett Dean and Richard Waters on my viola concerto Through the Fading Hour was a wonderful combination of time, space, and mentorship, with the highest levels of musicianship and dedication. It led me to write what I think may be one of my best works and have an amazing performance of it.

What advice would you give someone wanting to succeed in the music industry?

Make sure to value your generation of friends and colleagues as they will grow with you through your career, you can help each other grow and create opportunities together.

If you could work in another area of the music industry, where would it be and why?

I can’t imagine not being a composer and would not want to work in another part of the music industry. Through being a composer, I end up dipping my toe into other areas any way such as concert curation,

musicology, education, music admin and project management. I feel like I experience many different areas through my composition career.

If you could change one thing about the music sector, what would it be and why?

That it was more open to those from state school or working class backgrounds. I have always felt like I am catching up, and still do, and there is no financial safety net to allow for certain opportunities to be taken up.

What are your future plans?

On 4 November, I will be having my piano concerto Tautening Skies performed at the Royal Birmingham Conser vatoire in the Bradshaw Hall by pianist Laura Farré Rozada and I will be working on a commission for the City of Birmingham Symphony Orchestra’s centenary celebrations which will premiere in January 2023 .

Finally, what does your ISM membership mean to you?

It is a consistent and reliable source of information and guidance. I feel I can reach out to enquire about things I am unsure of, and ISM will give me unbiased advice to help navigate my career.

ismusi