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January/February 2015 Make Music Work for composers and performers Paul Harris on Simultaneous Learning Spotlight on PPL Multi-media music at Middlesex University
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Supported by the Maria Callas estate. Photo © Victoria and Albert Museum, London.
She left a legacy to music. Will you?
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Maria Callas said, “When music fails to soothe the ear, the heart and the senses, then it has missed the point.” Her stunning voice and passion may never be equalled but will live forever. You too could leave a lasting contribution to music with a gift in your will. Help Musicians UK has been supporting musicians since 1921, from starting out, to coping with illness or retirement. Show your love for music and contact us today.
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helpmusicians.org.uk/legacy legacy@helpmusicians.org.uk 0207 239 9114
Help Musicians UK is the working name of the Musicians Benevolent Fund. Registered charity 228089.
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Welcome
Above: Deborah Annetts Photo: Mark Thompson
I am very fortunate in my role at the ISM because I am invited to all kinds of different concerts and events. Just before Christmas I was lucky enough to attend the Magic Flute at the Royal College of Music and Lady Windermere’s Fan at the Royal Central School of Speech and Drama. Both productions were, as one might expect of two well respected UK conservatories, of a very high standard. I was struck by the remarkable depth of talent in these young performers. And how fortunate we are as a nation to have such precious institutions, supporting, educating and training the next generation of emerging artists. We must not be complacent about this good fortune – it is vital that the next generation of musicians and actors also have access to these great institutions. Perhaps a worthy resolution for the New Year to come.
Contents 2 4 6 7 8 9
News & campaigns Make Music Work Legal help Business advice Your letters What’s your ISM?
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Simultaneous Learning – upgraded Spotlight on PPL Multi-media music at Middlesex University, London
Emerging artists is also the theme of the event Make Music Work which the ISM has curated and will be held on 31 March 2015 at the Guildhall School of Music and Drama. The event will be focusing on how to build a sustainable career for performers and composers and there will be both expert panels and live performances from emerging and more established performers and composers. To book your ticket (£15 student, £25 full price) please go to www.ism.org/makemusicwork. Members Day is also just around the corner and will be taking place at the Royal Overseas League in Central London on 23 April 2015.
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Do look out for the full range of professional development which is available to ISM members. There have been expert webinars and seminars on portfolio career skills, updating yourself on the National Curriculum and the basics of both PPL and PRS membership, and round tables covering a whole range of issues facing composers and performers. The ISM remains ready to support you in all aspects of your career and professional development is an important part of this. With this in mind, I am delighted that Paul Harris will be giving his next Virtuoso Teacher seminar for us on Friday 27 February at The Forge in Camden. Please see www.ism.org/training for further details.
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Lastly, please do read the enclosed flyer which gives full details of the upcoming vacancies at Board level from April 2015. May I wish you all a very happy and prosperous new year.
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News from our members Classified advertising News from our corporate members Local events listings Ask me a question
Volume 81 / Number 5 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: www.ism.org Editor: Deborah Annetts Sub-editor and Production: Kim Davenport Gee All ISM publications are copyright Printed by Optichrome, Maybury Road, Woking GU21 5HX
Front Cover Cellist Gabriella Swallow who will be speaking and performing at Make Music Work on 31 March. See pages 4-5.
ISSN 0951 5135
deborah@ism.org
Design: Cog Design www.cogdesign.com Typography: Marc Marazzi marazzidesign.co.uk Advertising: Cabbell Publishing Ltd, Wimbledon Studios 12 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 2 February for March/April issue Price: £6 per copy Subscription: £30 per year Circulation: 6,700 named recipients Views expressed in MJ are not necessarily those of the ISM. The publication of any advertisement does not imply endorsement of the advertiser or the product advertised.
Photo: Philip Gatward philipgatward.com
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
News & campaigns Ulster Orchestra
Henry Vann, Head of External Affairs, ISM
Pay and status number one issue at Performers’ Round Table
Many of you contacted us expressing concerns about the threat to the Ulster Orchestra, which was facing First ever Performers’ Round Table serious financial challenges as a result of cuts over the takes place past three years to its budget, including a 4% in-year The Performers’ Special Interest Group held its cut recently announced. first Performers’ Round Table on 20 November at We backed the calls of Sir James Galway, Dame Evelyn Inverness Mews. Glennie, Elaine Agnew and many other leading Performers present raised issues such as the continued musicians for a rescue package to be put together to low status of musicians – held in great respect but keep the orchestra afloat. assumed to work for free or little pay. In particular, As we go to print, we are still waiting for news on the undercutting of professional rates of pay by less the £100,000 rescue package being put together by experienced musicians was highlighted as an area Belfast City Council. of concern.
Prime minister backs Intellectual Property education The Prime Minister has backed Mike Weatherley MP’s Intellectual Property (IP) education report. Mike Weatherley, MP for Hove & Portslade and Vice-Chair of the All-Party Parliamentary Group for Music Education, published Copyright Education and Awareness in October. The Prime Minister has responded saying that the report ‘highlights the key issues we must tackle to raise the understanding of copyright amongst future generations.’ Recommendations from the report include better coordination of IP awareness programmes, led by the Government’s Intellectual Property Officer (IPO) and incorporating IP education in the school curriculum.
The transparency of PPL – the collecting society which pays performers on commercial recordings royalties and the status of professional musicians were both raised as key areas of concern. ‘If you undercut the status and fees of other musicians you will very quickly find that you have no friends and no pay.’
ISM speaks at The Composer’s Seminar In mid-November, our Head of Legal David Abrahams spoke on Getting Money from your Art at the PRS for Music’s and Trinity Laban’s The Composer’s Seminar at the Southbank Centre. In a discussion chaired by composer and percussionist Dominic Murcott, David – alongside notable composers Michael Price (who co-created the soundtrack to Sherlock) and Chris Mayo and Catherine Manners of Manners McDade Artist Management – discussed how composers can make money from their work. Discussion focussed on the lengthy process of earning money from compositions, the need for flexibility around writing for different genres and the need for composers to ensure that they keep hold of rights when working.
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Leave a gift to your Society and help us continue our strong support of the music profession You’ve shared with us the importance of many of our services and support, from our dedicated and specialist legal guidance that helps members through choppy waters, to the advice and professional development that helps members to reach their full potential as professional musicians. We constantly strive to offer the very best and support our members as much as possible, and we thank all our members who have given us wonderful feedback regarding how our services have helped to make a difference to their lives. We know that in this modern age, the support for your profession is even more vital than ever before. Cuts to funding across the music sector including orchestras, higher education or schools and the continued exploitation of musicians’ rights without proper remuneration are just some of the issues we tackle on behalf of members. We are also continuing to develop the support and guidance we provide to musicians so that you get the advice you need through every step of your career. Please help us to continue to do more to safeguard professional musicians by leaving a gift to your Society. You can find out more at ism.org/giving or call Natalia on 020 7313 9318. Thank you.
Music education top of the political agenda again
The ISM responded to the implication of this speech highlighting the value of music education to children and people of all ages, as well as the economic value of music making. Music graduates are just as important On 28 October a debate took place in the House of to the British economy as other career paths. We have Lords on the value of music education. Members of – as requested by many members – written to the the House of Lords led by Lord Aberdare spoke at length on the importance of music education funding, Education Secretary seeking clarification. A further debate took place in the House of Lords on school league tables, the role of school inspections, 27 November. the importance of Conservatoires and the need for opportunities for progression and excellence to be available to young people. Unfortunately, shortly after this excellent debate, on 10 November, the new Education Secretary, Nicky Morgan MP, gave a speech suggesting that students would be ‘held back’ should they choose to study arts and humanities subjects instead of science and maths. Nicky Morgan said: ‘If you wanted to do something, or even if you didn’t know what you wanted to do, then the arts and humanities were what you chose because they were useful for all kinds of jobs. Of course, we know now that couldn’t be further from the truth – that the subjects that keep young people’s options open and unlock the door to all sorts of careers are the STEM subjects (science, technology, engineering and maths).’
‘I might remind noble Lords that the Trinity Laban Conservatoire of Music and Dance is ranked third of 154 higher education institutions in the country for employment, with 98.8% of UK-domiciled students in jobs or further study six months after graduating. Of the two institutions ahead of that one, both with a score of 100%, one is the Royal College of Music. So much for arts and humanities not helping to enhance employability.’ Lord Aberdare, House of Lords, Thursday 27 November 2014
Henry Vann, Head of External Affairs, ISM 020 7313 9327, henry.vann@ism.org
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Make Music Work In the last issue of Music Journal, we announced the new format for conference for 2015 and we have now opened booking for Make Music Work, an important event the ISM is curating for composers and performers. It will take place at the Guildhall School of Music & Drama’s fabulous new venue, Milton Court on Tuesday 31 March 2015. The challenges facing ambitious performers and composers have never been greater and this event aims to lift the lid on the myths and mysteries of the professional music world with a view to empowering and inspiring performers and composers across all musical genres. In four main sessions, interspersed with live music, panels of prominent music leaders and young professionals will discuss how to: • encourage creative initiative and artistic conviction • develop a distinctive ‘voice’ in the profession • build confidence and mitigate risk • avoid common pitfalls and exploitation • hone entrepreneurial skills • understand the underlying dynamics of the profession – how things really work.
Above: Milton Court Photo: Hugo Glendinning
Members’ Day and AGM 2015 Following last year’s inaugural Members’ Day, we will be holding the next Members’ Day on 23 April 2015 at the Royal Overseas League in London. The day will include the AGM, as well as sessions for members to get involved and offer suggestions about the work of the ISM. Attendance at Members’ Day will be free of charge and includes refreshments and lunch. A Presidential reception at the end of the day will be open to members and their guests at a cost of £20 per head. Further details will be available in due course.
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There will be the opportunity for questions and answers at the end of each of the sessions and we hope that attendees will have the opportunity to ask the experts to share their experiences and tricks of the trade to help forge, develop and continue a successful career in the ever changing music sector. We have a number of high profile and international speakers and panellists already confirmed; including Richard Morrison, Ivan Hewett, James Brown (Hazard Chase), Gabriel Prokofiev, Ruby Hughes (soprano), Vanessa Reed (PRS for Music Foundation), Richard Paine (Faber Music), Roderick Lakin (ROSL Arts), Mark Messenger (RCM), Michelle Wright (Cause 4), Igor Toronyi-Lalic (London Contemporary Music Festival), Claire Wilkinson, Helena Gaunt (Guildhall School of Music and Drama), John Slack (Berkeley Ensemble), Samantha Ward (pianist), Rebecca Driver (Rebecca Driver PR), Justin Pearson (Royal Society of Musicians) Ronan O’Hora (Guidlhall School of Music and Drama) and Toby Young.
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
The schedule 9:00
Registration and coffee
10:00
Performance by Westcombe Brass
10.10
Opening address – Professor Barry Ife, Principal of Guildhall School of Music and Drama, and special guest
10.20
The jury’s out This panel discussion lifts the lid on the world of music competitions and schemes, explaining how they work, considering their impact, and helping you decide whether there’s something in it for you.
11.20
Performance by Ben Baker
11.30
Refreshments
11.50
Performance by Juice Vocal Ensemble
12.00
Making something from nothing No funds, no venue, no audience? A familiar story. But there are ways of making things happen at little or no cost. Hear from the experts to help you make your dream into a reality.
13.00
Lunch and networking
14.15
Getting it straight You know your crotchets from your quavers, but can you spot a loophole in a contract, exploit your intellectual property and differentiate between a supporter and a shark? Industry professionals help you identify allies, make the most of your talent and stay on the right side of the law.
15.15
Comfort break
15.30
Performances by Gabriella Swallow and Ksenija Sidorova
15.50
The idea’s the thing Be inspired by musicians who started with a simple idea and grew it into an original and rewarding career.
17.00
Closing remarks – Professor Barry Ife
17.15
Networking drinks
18.30
End
There will also be several musical performances throughout the day from Westcombe Brass, Ben Baker, Juice Vocal Ensemble, Gabriella Swallow and Ksenija Sidorova. This is a day not to be missed for those starting out in their career in music or for those who are already doing it and would like to learn more. It will provide ample opportunities for musicians to meet one another and hopefully forge relationships that will produce exciting and dynamic musical performances, compositions and partnerships. Tickets: £25; £15 (students) including refreshments, lunch and drinks reception. For further details and to book your place, visit www.ism.org/makemusicwork
Top: Benjamin Baker Photo: Kaupo Kikkas Above: Juice Vocal Ensemble Photo: Dannie Price
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
helpline 24-hour legal ell as tax advice
Legal help Would you like to be an ‘ISM Ambassador’? We would like to hear from any ISM members who wish to volunteer to take on the new role of ‘ISM Ambassador’.
David Abrahams, Head of Legal, ISM
The ISM is a member-led organisation and it is therefore important that the views of our members are heard and their concerns acted upon. To help us spread our message and respond more effectively to developments in the profession we want to set up, maintain and develop a network of ISM Ambassadors. We anticipate that the main role of an ISM Ambassador will be to: 1. Act as an advocate for the ISM, disseminating
information about our work and the benefits of ISM membership to colleagues in the music profession;
2. Recruit new ISM members; Peter Lappin, Legal Adviser, ISM
3. Feedback information to the ISM staff team about
the issues facing professional musicians – helping us to ensure that we are meeting the needs of our members, in whatever setting or role they work.
Volunteers will be given full training and support by the ISM staff team. Ambassadors will also be offered a £20 discount off their next ISM subscription for each new member they recruit. If you think you would like to become more involved with the ISM by becoming an ISM Ambassador then please contact Peter Lappin on 020 7313 9328 or peter.lappin@ism.org to discuss this further.
Recent webinars – PRS Explained and An Introduction to PPL now available to view on our website In November our Head of Legal, David Abrahams, jointly presented a webinar PRS Explained with Naomi Belshaw, Classical Account Manager at the PRS. This webinar gives composers and arrangers an introduction to the role of the PRS and an explanation of how composers can register their works and report live performances. A recording of the webinar plus copies of the slide presentation can be viewed on our
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s of law as w Covering all area 01206 368994
website (ism.org/webinars). We would encourage our composer members to view the webinar, especially if your work is being performed regularly in public, broadcast on radio or TV, or is available to download or stream online. In December David was once again involved in a joint webinar, this time introducing PPL, the organisation that ensures that equitable remuneration is paid to performers when recordings in which they were involved are played in public or broadcast on radio or TV. The right to ‘equitable remuneration’ extends to session musicians as well as featured artists. The webinar provides an introduction to the work of PPL, explaining why performers should join PPL and how they can help ensure that they receive all the income they are entitled to.
Holiday pay ruling In November there was considerable press coverage about a recent Employment Appeal Tribunal decision that overtime payments should be included in the calculation of holiday pay for workers. This was widely reported as good news for the workforce. However, another aspect of the decision (which received very little publicity in the press) was a wholly new approach to the rules around back-dated claims for holiday pay. For many years it has been widely accepted that, provided there was a continuous failure on the part of the employer to pay holiday pay correctly, claims could be backdated many years (potentially as far back as 1998 when the right to holiday pay was first introduced). Under the new ruling, however, it will be very difficult to make a holiday pay claim backdated for more than a year. This could have serious implications for some of our members, who have holiday pay claims which (under the previous understanding of the law) could have been backdated for a substantial period of time. We believe that the new decision is wrong on this particular point and are considering how best to challenge it in the courts and tribunals. Any members who think that they may have a backdated claim for holiday pay are strongly advised to contact the ISM legal team for advice. David Abrahams, Head of Legal, ISM
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Business advice ‘I used LB Group’s Tax Form Completion Service this year. I found it almost completely painless, kindly and personal, and one-third the price of what I’ve been paying an accountant over many years. Thank you.’ Professor George Pratt
Financial health tips for musicians
eligible for the Personal Independence Payment regardless of your income.
Draw up a personal budget statement
Control your expenditure
There are a number of online budget calculators you can use but we will shortly be putting up on our website our own calculator designed specifically with freelance musicians in mind.
Plan ahead for large expenditure items. Tax payments can take a sizeable chunk out of your income in the payment months if you have not been saving up ahead of the payment date. Remember also that holiday breaks often come at a time when your earnings are below-average.
If you have any concerns about your financial health, think about preparing a personal budget statement. To do so will probably be worth the time it takes. It may produce a pleasant surprise by showing you that your income covers your expenditure. Alternatively, it will help you focus on where the problems and remedies lie.
The main remedies fall under three headings: • maximise income • reduce expenditure • tackle debts
Maximise your income
Know your worth in the marketplace (You may find it helpful to look at the findings of the ISM’s fees surveys in the ‘advice’ section of our website). Be prepared to negotiate for a higher rate if the fee being offered is below the going market rate. Make sure you have written contracts for all your work which include cancellation or termination provisions. This means you should receive a fee if a performance is cancelled or if a pupil stops lessons without giving you proper notice. Make sure you collect all the fees you are owed, including royalties. Efficient record-keeping will help you to keep track of outstanding bills. Our in-house legal team can help you out if you encounter problems. Claim any statutory holiday pay you are entitled to. Again our in-house legal team can help you. Claim all the state welfare benefits you are entitled to. Self-employed, as well as employed, people are eligible for working tax credit if they work for 30 or more hours per week and their income is sufficiently low. For musicians, ‘working hours’ includes time spent in rehearsal, private practice, lesson preparation, administration and marketing etc. If you have young children, you may be entitled to state help with childcare costs. If you have a disability you may be
Make sure to include all your tax-deductible expenses on your tax return to keep your tax liability to a minimum. There is a list of the main allowable expenses which apply to musicians in the advice section of our website. You may be surprised how extensive this list is.
In general, look carefully at all your everyday expenditure to see if there is scope to make economies. You can do online price comparisons to find the cheapest supplier of energy and other items, such as insurance. You may be able to reduce your energy bills by other measures, such as insulation and turning down the thermostat. Shop around for the best-value mobile phone contract. Consider whether you really need all that life insurance. At the supermarket, don’t buy more perishable food than you are able to eat and take advantage of special offers. The list is endless. Take advantage of ISM members’ discounts, especially on instrument insurance.
Tackling debts
Don’t bury your head in the sand in the hope that problems will simply go away. If you find yourself unable to meet all your debt payments out of your income you should take prompt action to sort out the problem. If you make them fully aware of your circumstances, your creditors may agree to easier repayment terms or to a repayment freeze until your circumstances improve. Our partners StepChange, the free money advice service, has debt advisers who can negotiate with your creditors on your behalf.
And finally
If you are in financial hardship, you could apply to the ISM Members Fund. You can download an application form from our website. Caroline Aldred, Business Support Officer and Head of Members Fund Operations, ISM
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Your letters Central funding for music education #ProtectMusicWales I am writing in response to the ‘Protect Music Wales’ campaign mentioned in the last edition. This, like so many campaigns (musical and otherwise), leaves me immensely frustrated that the campaign is directed at the wrong people. Whilst music services may be partially dependent on local authorities for funding, as I understand it the vast majority of their funding is from central government. Not only is central funding being cut but local authorities up and down the country are being forced by central government to make cuts year on year. Councils have to make very difficult decisions such as whether to cut the care budget, music services, make social workers redundant or not maintain roads or to raise the unpopular council tax which could affect poorer people disproportionately. Whilst there perhaps was some room for small cuts in previous years the amount authorities are being driven to make is far beyond this now. It has got to the stage that reversing cuts for example to music services could have a negative impact on even more vital services (and that is not to say I don’t think it’s vital that we provide free instrumental tuition for everyone, idealistic though that may be). This campaign must be directed fairly and squarely at central government, which chooses to make cuts year on year both to central funding pots and local authorities. Rachel Fryer
Currently, only the Scottish and English Governments fund music services with central ring-fenced grants (£75m in England and £9.8m in Scotland); if music services in Wales were funded to the equivalent level per child, then we would expect the Welsh Assembly Government to pledge £4.5m or more. You can find out more about #ProtectMusicWales at www.protectmusiceducation.org and if you have any issue you think we need to be aware of, you can email me at henry.vann@ism.org or phone on 020 7313 9327.
With thanks I wish to express my sincere thanks for the prompt legal assistance I was able to access through my ISM membership. The assistance required was not directly relating to my music career. Having worried myself for a long time, I contacted the ISM legal helpline one evening and by approximately 2pm the following day, a Scottish based solicitor with expertise in the relevant field, was in contact with me. Throughout the telephone conversation I was able to ask detailed questions regarding the issue in hand and was given first class advice. I have since been able to carry on teaching music and performing without the worry I had previously been under. Many thanks for the support available both professionally and personally that comes as part of my ISM Membership. James Conquer ISM member
ISM member, East Sussex Henry Vann, Head of External Affairs writes: You are absolutely right; with such dramatic cuts to local government (the biggest cuts to any area of spending in this Parliament), many councils across the whole of the UK are faced with deeply challenging decisions. We are supporting local campaigns to protect music services under imminent threat of cuts (Denbighshire and Rhondda to name two). However, the primary focus of Protect Music Wales will be to secure ringfenced central funding for music education in Wales.
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ISM Webinars ISM webinars offer members the chance to access key professional development opportunities at work, home or on the move. If you can’t join us for the live broadcasts, you can catch-up by watching recordings of the sessions on our website at www.ism.org/webinars. Take a look now at our recordings of recent webinars on PRS Explained and An introduction to PPL.
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
What’s your ISM? Share your stories, feedback, knowledge or ISM word with us. Over the years we have heard some wonderful stories from you about the life-long friendships and collaborations that have flourished through members meeting each other at our local groups, our annual conference or the many events we run which also double up as opportunities for members to meet, connect and share ideas.
If you would like to share your story, feedback, knowledge or even a word that you feel sums up the ISM for you, then here are the various ways you can do this: • Write us a letter and send it to Freepost RTHK-YYEJ-YCLB, Incorporated Society of Musicians, 4-5 Inverness Mews, London W2 3JQ
It’s also a real boost when we get great feedback from • Send us an email to membership@ism.org with the title ‘My ISM is’ you about an ISM service you’ve just used that has helped you in your work as a professional musician. • Share at facebook.com/myismis The feedback we receive from you is incredibly • Share your word Twitter #myismis important as it helps us to shape the Society for our members. What also helps us is the knowledge you are gathering at grassroots level, those issues or concerns has me anda ort for about the wider music sector or concerns that have The ISM is a huge supp the important issues a real influence on s. ician mus e lanc direct impact on your work. The intelligence affecting today’s free you are gathering in your work as a professional musician or music teacher may be something the ISM could support as the collective voice for other musicians and teachers.
# my ism is ismis facebook.com/my
ism.org
Your expertise and specialist knowledge matters In the last few years, we have secured or supported a number of significant changes for the better for musicians. None of this – and the countless more small victories for music professionals – would have been possible without you letting us know what was going on in the music profession. Achievements in 2014: • Following the work of our Composers’ Special Interest Group and Composers’ Round Table, PRS for Music appointed Naomi Belshaw as a dedicated Classical Account Manager to help contemporary composers. • We challenged the culture of insecurity facing performers through the work of your Performers’ Special Interest Group and using the results of the performers’ survey.
My ISM is
My ISM is
When protesting abo ut the wid ley toCorbish Nicola mus ic in schools, my own er changes Soprano voice may be heard, but as part of the ISM I can be represented along with is when my voice grow many others. This s ever stronger. ISM member since
2008
Stephanie Reeve Peripatetic Music Teacher
ISM member since
2004
# my ism is facebook.com/my ismis rship Join our growing membe ns. of professional musicia Make us your ISM.
ism.org
Join our growing membe of professional musicia rship ns. Make us your ISM.
• We secured more engagement from PPL with recorded performers. • We won a successful campaign to guarantee £18m extra for music services from 2015-16, bringing levels of funding for music education almost up to pre-2012 levels. • The publication of a National Curriculum Progression and Assessment Framework in partnership with music educators across the UK, including SoundCity (the Brighton music education hub) and corporate member Birmingham City University. This was promoted by the Department for Education. Help us to make the life of musicians better in 2015 as well! To find out more about being a member of a Special Interest Group please email Henry Vann at henry.vann@ism.org or call 020 7313 9327. Or you could simply attend one of our regular Composers’ or Performers’ Round Tables, or Members Day on Thursday 23 April.
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Simultaneous Learning – upgraded Paul Harris shares his latest thoughts on teaching It distresses me more than I can say that so many children so often entertain thoughts like ‘I can’t do it’, ‘I’m no good’, ‘I’m not as good as my friend’, ‘I’ll enjoy it when I’m good at it’, or just simply ‘I’m not good enough’.
Paul Harris
‘We may not be able to change the world, but, by adopting this kind of teaching, we may begin to set in motion the potential for a much brighter, happier and more musical future.’
Why do they have these dark thoughts? I’m afraid it’s very much to do with the kind of ‘tell and test’, reacting-to-mistakes style education to which so many of them are subjected.
The problem is that a significant number of these children grow up to become unhappy and disappointed adults who don’t fulfil their potential or achieve in the way they could. They end up, in the words of great educationalist Ken Robinson, ‘enduring’ rather than ‘enjoying’ their lives. As modest music teachers we’re not going to change the world, but we can change it a bit. We can ensure that all those who we teach never have those negative feelings when it comes to the music education we provide. When they enter our world, they enter a world of positive thinking and positive doing – of achievement and satisfaction. Our pupils will always be progressing, constructively and confidently.
So how do we do this? Certainly not by retaining the often dull, frustrating and (in most cases) ultimately destructive ‘reacting-to-mistakes’ style of teaching that is so often the conventional way. This is teaching that concentrates on the negative, on where pupils are going wrong. It’s teaching that often uses short-term, short-cut solutions to enable pupils to get by, thereby not giving them the opportunity to apply knowledge and skill, as they don’t really understand what they are doing. It frequently creates anxious, needy and dependent pupils, and all too often simply leads to the pupil giving up. It creates, for example, pianists who may have attained a (sometimes quite high) grade, but can’t play a piece at the drop of hat, or who can’t deliver
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a spontaneous rendition of Happy Birthday, or don’t feel confident enough to accompany their friends. Or instrumentalists who might join an ensemble or orchestra but don’t because they feel embarrassed and confused by their struggle to sight-read simple pieces.
The style of teaching I’ve been developing is based on generating logical and sequential activities that always cause our pupils to achieve within a positive and energetic environment. In fact, it’s a lot more than a philosophy – it’s a way a life! A way of life that not only creates enthusiastic pupils but keeps us, the teachers, in an upbeat and enthusiastic place too. Demotivated students distress me, but so too do unhappy and frustrated teachers. Unhappy because their teaching tools are limited simply to correcting mistakes most of the time; frustrated because their pupils never quite rise to their expectations.
I last wrote about Simultaneous Learning in the ISM Journal exactly two years ago – that article set out the basic concepts behind the philosophy. Now, two years down the line, I’d like to share with you how my thoughts have developed. I want to describe a short segment of what I call a learning journey (we have perhaps 3 or 4 of them in a typical lesson), where things simply move forward as we and our pupil (or pupils), collaboratively, go on an exciting journey that is teaching and learning.
Alice, our relatively new pupil, arrives for her lesson – we’re going to begin a new piece. The music is out of sight but we (as the teacher) know the piece. We begin by clapping an appropriate pulse. Alice joins in and continues to clap the pulse while we make up some music based on the piece’s musical ingredients (notes and rhythms and perhaps character too). Alice enjoys the clapping, which she does musically. She is smiling and relaxed and so we move on and ask her to internalize every other bar – we continue making up appropriate music. She does this (she’s done it
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
before) and her body language tells us that she is engaged, learning and enjoying herself. Then we get her to play (or sing) the appropriate notes and we work on technique for a few moments. We listen, comment and refine the sound quality. Then we play some call and response – we play, Alice copies. We’re exploring those ingredients of the piece that she knows well by now – rhythm, notes and perhaps character – through short one- or maybe two-bar phrases. She enjoys this activity, and she achieves. We move on to some musical ‘question and answer’: we play and she answers, but with some music that is slightly different (a different note or a slightly different rhythm). In other words, a little bit of improvisation. We’ve done this before – in each lesson since the very first one in fact, so she knows what to do. Now, depending on how things have gone up to this point, and how our pupil has responded to the activities, we make a decision. To open the music or leave it until next time… in this particular lesson, and for Alice, taking into account how she has responded to each activity, we decide this is the right time to open the book and look at the new piece. So, together, we look at the notation. ‘Can you hear the music in your head?’ we ask her. Yes, she can, she has done this before. In fact she’s done it in every lesson since we first introduced notation: she’s familiar with this sequence of activities… she feels safe and confident. It’s not unexpected or a problem for her. Perhaps we ask her to sing it next, and finally we ask if she is ready to play it. ‘Yes’ she replies confidently. She knows exactly what it’s all about, she knows what it’s going to sound like and she knows how to play it. She understands the music. For singers we may start by singing the whole song and then deconstructing it – but the general principles are the same.
That lesson journey may have progressed differently. It wasn’t a universal template for a lesson. The way the activities developed were dependent on Alice’s responses. But the manner in which the lesson unfolded – allowing each positive, successfullyachieved activity to lead into the next – will always be the same. In that short lesson journey we’ve made connections with aural, pulse, rhythm, technique, sound, improvising, memory and theory. We’ve taught effectively and creatively and Alice has therefore learnt effectively and creatively. Most importantly, what she has learnt, she has understood. The sequence of activities has developed her confidence and it’s been an entirely positive experience. This is at the heart of Simultaneous Learning. It’s a way of teaching that is based on four powerful principles. We have taught pro-actively, not reactively (of
course we do react – all the time – but not to poor, misunderstood or mistake–filled work). We’ve taught through the ingredients of the piece and we’ve made lots of connections with many areas of music. And we’ve done it in an empowering and nonjudgemental way.
Through a series of imaginative, logical and sequential activities we have created fertile ground for our pupil to learn, achieve and really understand. And we can personalise and adapt this style of teaching for any pupil, in any teaching situation, whether we teach individually, in groups or in the classroom, whether our pupils are slow learners or fast learners, beginners or more advanced pupils, or whether they are instrumentalists or singers.
As human beings we tend to resist change. But we do have the potential to change, especially when we know that putting the effort in really does make a difference. This style of teaching is wholly positive and will literally change your life – it all suddenly becomes so much more interesting. And it will change the lives of your pupils, too. Today’s young learners are, on the whole, very different from young learners of even five years ago. We need to move with the times. If we want to sustain this great art we do need to think more about the way we teach. We may not be able to change the world, but, by adopting this kind of teaching, we may begin to set in motion the potential for a much brighter, happier and more musical future. Paul Harris Paul Harris is one of our most respected music educationalists, known for his innovative Simultaneous Learning approach. He has over 600 publications to his name, including the highly acclaimed Improve your sight-reading! and Improve your teaching! series. His most recent publication, Simultaneous Learning: the definitive guide, is published by Faber Music.
g our next seminar, Paul Harris will be leadin Friday 27 February at The Virtuoso Teacher, on don. Don’t miss this The Forge in Camden, Lon explore a range of amazing opportunity to ng techniques that will innovative music teachi gence and practicality. embrace imagination, dili mbers (£10 for ISM Tickets are £45 for ISM me 0 for non-members. £6 student members) and for further details or call Go to ism.org/training ok your place. us on 020 7221 3499 to bo
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Spotlight on PPL Have you performed on commercially-released recordings? If so, you need to know about PPL. Peter Leathem, PPL’s Chief Executive, tells us what they do and how you can join. PPL is the music licensing company which works on behalf of over 90,000 record companies and performers to license recorded music played in public places such as pubs, nightclubs offices and many other business types and broadcast (on TV, radio and online) across the UK. The company also operates an international royalty collection service which helps members to get paid when their repertoire is played internationally.
the industry, as music consumption habits continue to change in a digital age. From collecting £1 million in its first full decade of business to over £176 million a year in 2013, PPL is managing more rights for more members than ever before as revenues continually increase.
In the last ten years, PPL has actively enhanced its global presence and branched out to collect royalties internationally sometimes known as Since being formed in 1934 by the record companies Neighbouring Rights. The company now has 71 reciprocal agreements in place in 35 countries with EMI and Decca, PPL’s membership has grown to other international collecting societies or Collective become large and diverse, including major record Management Organisations (CMOS) as they are labels, globally successful performers and record sometimes referred to. These deals currently exist producers, as well as many independent labels, session musicians and more – all of whom are entitled in places such as the USA, most of Europe, and to be fairly paid for the use of their sound recordings. various Asian and South American countries, In this time the company has also seen a number of including Japan and Brazil. This means that changes in the music industry; performance rights internationally mandated PPL members can receive monies when their repertoire is used in those have become a major revenue stream for countries. PPL has also been granted Qualified Intermediary (QI) status by the US tax authorities – meaning that royalties collected from the US need not be subject to withholding tax of 30%. Given that the UK is one of three major net exporters of music – the other two being the USA and Sweden – international collections are a growing revenue stream for PPL and in 2013, the company collected £34.4m in international royalties. PPL’s international collections for performers now account for over half the market for global collections, which is no small achievement, particularly in what is an extremely competitive environment. PPL is also at the forefront of driving technological change to help make licensing much more comprehensive and efficient. Given that PPL now licences over 350,000 public performance sites and over 3.8 billion seconds of airplay, it is imperative that the technology is in place to enable the company to process this information in the most effective way possible. Additionally PPL is working hard on improving the quality of data held on its systems to help enhance the accuracy of payments Continued overleaf È
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Images from PPL’s 2013/2014 Annual Performer Review
to members. For example, in 2013 following research by PPL staff, over 600,000 updates were made to performer line up information on recordings. In excess of 436,000 online claims were also accepted from performers asking to be linked to recordings. Those numbers give a glimpse into some of the volumes of data that PPL processes on a daily basis, and continued investments in systems over the years will continue to help PPL drive revenue growth for members. Internationally, PPL has been working to improve the efficiency and accuracy of the collections process around the world, and is looked to by a range of industry stakeholders to play a lead role in delivering solutions that are increasingly critical to the continued success of the sector. The ongoing evolution of this market is giving rise to considerable opportunities for joint working between CMOs. Given the size, popularity and success worldwide of their recorded music repertoire, PPL’s members should benefit significantly from more efficiency and accuracy across the global community of CMOs if that can be achieved. This will therefore be an important strategic priority for PPL going forwards. In the past few years, PPL has also worked to increase performer representation on the PPL
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main Board and Performer Board to represent the needs of both record companies and performers even better. The most recent change took effect at the Annual Performer Meeting in 2013, where the total number of PPL Performer Directors was increased to five.
PPL is actively involved in working with and educating its performer community on how they can better maximise their royalties, attending numerous events during the course of the year to do so, with a Director of Performer Affairs dedicated to this role. PPL also hosts monthly member open days (PPL in Session) where members can learn more about what the company does, discuss their account with staff, and network with other performers.
How to join If you are a musician who has performed on a recorded piece of music and / or if you hold the rights in any tracks that have been broadcast, you may well be entitled to royalties from PPL.
1. First of all, make sure that you are registered. PPL is free to join and members receive all of the money that is collected for them (less running costs). Visit ppluk.com for further information on how to sign up.
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
2. Register to join PPL’s International service – which is also free to join - so if your track is played in a different country with whom PPL has an agreement, you’ll still earn the money you deserve.
3. Make a claim – if as a performer, you find a recording in PPL’s database on which you performed and which does not have you listed, you are eligible to submit a claim for your royalties. If your claim is accepted, you could receive up to six years’ worth of royalties.
4. Make sure you provide correct bank details – if any of these details are incorrect, PPL is unable to make payments until the details are updated.
•
•
Over 800 broadcasters licensed by PPL, including commercial radio, TV channels, BBC radio stations and hospital radio stations
90% of the total value of the global performance rights market collected by PPL via reciprocal deals with international CMOs
Peter Leathem, Chief Executive, PPL To find out more about how PPL can help you to maximise your royalties both in the UK and internationally, visit: www.ppluk.com / @PPLUK #becauseitsyours. To view the ISM’s recent webinar, An introduction to PPL, visit ism.org/webinars
PPL – 2013 key achievements • •
• • •
Total collections of £176.9m (+4% on 2012)
Income from three revenue streams: Broadcast & Online (£73m); Public Performance (£69.5m); International (£34.4m)
90,000 performer and record company members 18,000 sound recording details registered on average a week 350,000 business premises licensed
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Multi-media music at Middlesex University, London Dr François Evans describes the evolution and running of the university’s new multimedia music courses. As a teacher, the engaging courses we have been able to set up and develop from student feedback, put so-called ‘Z’-generation (digital age) students, into a very different environment. The curriculum gives undergraduates a first year to hone historically-informed composition skills: notation, instrumentation, orchestration, Lecturing on the soundtracks of Bernard Herrmann, harmony, counterpoint, analysis, cultural studies, musicianship and a consolidation of 21st century to a class of third year composers in film and electronic music techniques. television music composition, I was reminded of Students learn by having their music continuously the extent to which music’s function to enhance moving images, invariably depends on subliminal realized. We are lucky to be supported here with a metaphorical relationships between compositional generous grant from the Radcliffe Trust, enabling visits from the Allegri String Quartet and sections design and film story. How can one convey these of the London Firebird Orchestra. These ensembles fruitful ties practically, to talented, intelligent and ‘workshop’ new compositions by charmingly enthusiastic students? hesitant, but imaginative, bright young composers. As an undergraduate, I remembered the days when it was wearying to find a decent film to score. Confident students emerge, freed from cliché. Concerned that there could not be an orchestra in the middle of the ocean, Alfred Hitchcock questioned the feasibility of having music in his 1944 film Lifeboat. Hired composer David Raksin retorted: ‘Ask Mr Hitchcock to explain where the cameras come from, and I’ll explain where the music comes from’.
Pockets bulging with fresh calling cards, ambition spurred me to sneak into the staircase of the London International Film School in Covent Garden, to pin self-advertisements onto every notice board in sight, before dashing out. The ‘phone soon rang. Over the years, media music composition and performance as a discipline at Middlesex University, London, has grown dramatically. In 2012, the Department of Performing Arts (comprising Dance, Music and Theatre Arts), moved from its green base at the gorgeous Trent Park campus, to a new HQ in Hendon. Formerly, Trent Park was country home to George III, the Sassoon family, Churchill’s retreat, POW camp and a back-drop for 1982 episodes of Dr Who. From lush greenery, we found ourselves relocated to a modernist, glass-and-steel locale, facing new neighbours: the departments of Animation, Computer Games Design, Television Production and Film.
In 2009, staff at Middlesex Music were invited to the KM Music Conservatoire in Chennai, India. This is a school set up and funded by the doubleOscar™-winning composer A R Rahman, who wrote the music for director Danny Boyle’s feature film: Slumdog Millionaire. The brief, was to set up a Foundation and Diploma course, to match the first two years of the BA (Hons) Music programme running at Middlesex. Graduates of the Diploma could then travel to London to complete a UK-style degree. The scheme was validated as ‘a model of good practice’ and is run in India by Indian and European staff. The programme is monitored continuously and validated by Middlesex University. A R Rahman’s original vision was to enable young Indian musicians to fuse for themselves the best aspects of a Western musical education (harmony, polyphony, the orchestra, western repertoires), with the pre-eminent aspects of a Hindustani musical education: raag and taal theory, Indian rhythm, Hindustani vocal
Continued overleaf È
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Images: Animations by students at Middlesex University, London
studies (including Qawwali), instrumentation, heterophony and improvisation. The students have the best of both worlds. To date, a small but influential cohort of Indian undergraduates arrive annually for direct-entry into year three of our degree programme. Most having never stepped outside of India, are faced with the seemingly-arctic conditions of Great Britain. (One was frightened by the size of our mosquitos, until I explained to him what a European daddy-long-legs was.) Through their unique composition and performance, they bring with them a music of great warmth, sharing exotic creative processes.
Taking one of these multi-media ‘modules’, it’s interesting to see the different ways in which putting students from different disciplines together, results in a profitable educational experience…
The department of Animation were approached to see if their students would be interested in collaborating with the Music department. Speed-crewing sessions were set up (like speeddating, but for professional ends). Delighted at having been approached, the animation students would stand up one by one and describe to the assembled party the synopses of their animated projects; show still, colour slides of characters, locales and scenes from their animations and try Inevitably in the curriculum, a point of conflict to summarise what kind of music they wanted arises between Western notions of the apparent dichotomy between composition and performance; for their planned work. In turn, composers would introduce themselves, play examples of their music and Indian perceptions of the two as being and share with the animators the kinds of story inseparable: compositions emanating live from that interested them. In 2013-14, there were many a mastery of improvisation. more animators than composers, which resulted in Post-1992, it has sometimes been challenging composition students having to write and record to compete with UK music conservatoires, music for several projects. This academic year, the who are best placed to serve the specific needs numbers are more evenly balanced. At the sessions, of performers who may be on a concert platform it is fun to see non-musicians grappling with language, career. Entering its six-yearly review, and perhaps to try to describe what they want from a bespoke influenced by recent intercontinental experience, score. (I am reminded of a time when a film director Middlesex’s BA (Hons) Music programme is once asked me for ‘more octaves’ in a piece of music.) evolving to give students the opportunity to There is a danger that in the competitive world engage both in composition and performance. of music for media, a composition student can Assessments can be weighted in either direction, receive an unrealistic experience of the working according to student preference. world, if she or he is being chased by producers for The proposed new programme design also offers a diversification of year three provision, to include music. More often, many composers will compete to secure paid opportunities through friendships new course designs in ‘Music for Dance’, ‘Music for Theatre’, ‘Music for Animation, Film & TV’ and struck, negotiation, astute marketing or the dreaded ‘writing on spec.’, (composing on the off-chance ‘Community Music & Education’. All three are bolstered by direct contact with specialist students that one’s music might be accepted). This is something one of my own composition teachers, from the extra-musical departments. The courses the late Wilfred Josephs, made me vow I would are preceded and accompanied by mandatory never do. classes in music histories and cultural studies.
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Collaboration with the excellent department of Television Production began with the offer of a two-hour, illustrated lecture for their students, about the different ways in which music can work with moving picture. While animation students tend to work alone, TV production students work in crews. Speed-crewing sessions arose as a result of questions such as ‘This music is great; could I have a composed score to my programme, rather than using library music?’ Instead of forming creative pairs, composers found themselves absorbed into professionally-formed teams, where each specialist has their role.
Whatever the visual medium, the experience young composers and performers receive in terms of scheduling and sticking to deadlines, is very real indeed. Undergraduates from media and from music, share a common end-of-year deadline. More often than not, the music has to be written, recorded and mixed after the film has been edited. This obliges composers to plan ahead as much as possible. Pre-composing, booking musicians and recording facilities, factoring-in time for editing and mixing – all have to be scheduled. Devoted academic and technical staff, many of whom remain active in industry, support undergraduate projects. Students learn the ‘Ready-Fire-Aim’ principle! While perhaps not ideal in scheduling terms, this arrangement does reflect the very tight schedules professional composers are often obliged to work to, in audiovisual scoring.
are astonishing and revealing. Dancers sense music kinaesthetically. Musicians tend to conceive in terms of metrical division, syncopation, ametrical rhythms – concepts often related to an engagement solely with the score page. While notation caused paradigmatic shifts for musicians, dancers conserve a direct, corporeal sensitivity to music. Associating students from these distinct, but in many ways similar disciplines, enables found and forgotten responses to music to be (re)discovered, shared and then exploited through high-quality practical projects. I am reminded of a wonderful moment when teaching with the choreographer Kate Flatt. She wanted musicians to understand the syncopated rhythms of polka and ragtime, not from its look on the notated page, nor from its reception from playback or piano performance, but physically. Originally, I was sceptical, until music students were obliged themselves to dance to particular choreographies associated historically with these styles. One gains an extraordinary dalcrozian insight, that transforms the ways in which our composition and performance students picture and use rhythm. It is a conception which taps into the original, expressive purposes of music. Since then, there continue to be diverse and fulfilling interactions between dance and music at Middlesex. Times are exciting as these are formalised into the University’s curricula. Dr François Evans, Associate Professor in Music, Middlesex University, London. f.evans@mdx.ac.uk.
Likewise, Music’s association with the Dance department, emerged from offers to share our different conceptions of music. Lecture-seminars Middlesex University is an ISM corporate member. have brought music and dance students together. A dance lecturer will describe how a dancer perceives and responds to rhythm. A music lecturer will then do the same. The differences in conception
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and good photographs. Please email mj@ism.org. The next deadline for copy is 2 February for March/April issue
Right: Janet Way Far right: Robin Walker Below: Kay Tucker
New Stringbabies viola tutor book
Robin Walker
Young musicians can now learn the viola with a new edition of the highly acclaimed Stringbabies music teaching method by Kay Tucker. Kay created the Stringbabies approach 10 years ago, initially for cello and two years later completed a version for violin; now she has added an edition for the viola. Her unique method, which employs the use of shaped notation and soft toys for the youngest students, has gained a strong reputation for enabling budding Grade by Grade – new musicians from as young as 3 years publications for young to be able to read and comprehend musical notation at the same time as wind players learning to play a stringed instrument Janet Way has collaborated with and compose. Boosey and Hawkes to produce The viola has been in steady decline a new series of books for young because fewer young people are instrumentalists, entitled Grade by taught to play it; Kay is hoping her Grade. The books are designed to new teaching method will help be a complete resource for a well reverse this trend. rounded musical education and exam preparation for all the major The innovative Stringbabies approach examination boards. Pieces were has twice been a finalist for the chosen from the Boosey and Hawkes Rhinegold Music Teacher Award for catalogue, interspersed with sections excellence in Music Education. for improvisation, sight reading, scales www.stringbabies.com and aural awareness. Every piece has a short introduction placing the music in context, with suggestions to encourage a musical interpretation. Books from grade 1 to grade 5 for flute, oboe, clarinet, saxophone and trumpet come with piano score and a CD which includes a complete performance, an accompaniment-only track and some aural awareness exercises. The books form a key part of the Boosey and Hawkes educational series, joining the popular Learn As You Play and First Repertoire titles.
The world premiere of Monologue for solo organ by Nimrod Borenstein will be one of the highlights of a short series of Friday evening concerts in January 2015. Nimrod wrote the piece for organist Robin Walker, who will perform the work in the second of three concerts at St George’s, Hanover Square in London on 23 January. The first concert will be with Soprano Gillian Keith, and the closing date with violinist Philippa Mo. Concerts are at 6.10pm–7pm, are free and followed by light refreshments. More details at www.theorganist.co.uk
Canon Peter Gould Canon Peter Gould will be retiring from his post as Master of the Music at Derby Cathedral early next year having been in the post for 32 years. He has recently finished a two-year organ pilgrimage, playing every organ in the diocese of Derby. His last service as conductor of the cathedral choir will be on the Feast of Epiphany (6 January) at 7pm. All who have known him are invited to come. He intends to move to the Portsmouth area along with his wife where he intends to continue examining for ABRSM and being available for organ playing deputising work. Continued overleaf È
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Above: John McCabe Photo: Gareth Arnold Far Right: Leo Turner Below: Muriel Levin
Holiday Music
Leo Turner
Holiday Music, residential piano and chamber music courses, celebrates its 25th season in 2015 with courses on 30 March-2 April and 27-30 August at the Yehudi Menuhin School.
Guitarist Leo Turner performs extensively throughout the UK and performs frequently at the Birmingham Museum and Art Gallery.
Founded in 1990 by Muriel Levin, the courses welcome pianists both solo and in ensemble, as well as other instrumentalists including singers, making music in any combination.
John McCabe Two works by John McCabe – Joybox, a BBC orchestral commission for the 2013 Proms and Sonata After William Byrd’s ‘Haec Dies’, a large-scale work for trumpet and piano, composed especially for Simon Desbruslais (trumpet) and Clare Hammond (piano) – appear in the shortlist for BASCA’s Classical British Composer Awards. Amazingly both of them were written while John was suffering from the worst and most aggressive form of brain tumour. Two stunning CDs featuring John’s music were released in November and December.
In 2015, Muriel (director/piano) will be joined by guest tutor Danielle Salamon (piano) and Robyn Koh (harpsichord, piano) as well as versatile musician John Sharp (cello, voice, creative group work) and the Colourstrings Director Rachel Erdos (violin, Alexander Technique). Special events include a masterclass and recital with the distinguished violinist and chamber musician Michael Bochmann (spring course) and Jazz & Improvisation for the Classical Musician, presented by the uniquely gifted jazz pianist Dominic Alldis (summer course). For further details, please call 020 8947 5538.
The first, entitled Psalm, is on Signum www.holidaymusiccourses.com Classics SIGCD403, and includes John’s Trumpet Concerto called Primavera, written for and performed by trumpeter Simon Desbruslais, together with The Orchestra of The Swan. The second is a fascinating compendium on Naxos (8.571370), concentrating on McCabe as composer, pianist, and surprisingly, conductor! The contents of this CD are the result of enthusiasm and tenacious detective work by the music writer and composer Robert MatthewWalker, together with Martin Cotton and others, the first-fruits of an arrangement between the British Music Society and Naxos.
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On 27 February at the Elgar School of Music Worcester, Leo will be performing in a guitar concert featuring Remi Harris who is widely regarded as one of the UK’s top jazz guitarists. Classical guitarist Leo will play a selection of music from South America and Spain featuring composers Villa Lobos, Maximo Pujol and Albeniz. Leo will also be playing guitar duets with Frances Griffin at the Elgar School on 24 April. For further info regarding tickets contact 01905 28613.
Obituaries With regret, we report the deaths of: Mary Baron of Malvern Helen Fraser of Matlock Ivey Dickson OBE of Worcester Park
Do you have a musical instrument that you could lend to the Benslow Instrument Loan Scheme? Contact us and help to inspire the next generation of young musicians.
Tel: 01462 420748 Registered Charity No. 313755 www.benslow-musical-instrument-hire.org.uk
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Our new members
We offer a warm welcome to the following members who joined before 26 November Full members
Lea Valley
London – West
Birmingham
Lorna Allen LRAM LTCL Richard Brain MA(RAM) George Larkey DipEdOxon
Alistair Bankier BMus Sarah Levin LTCL(Horn) Karen Miles LRAM ProfCertRAM PGCertTCL
Liverpool
Manchester
Daniel Townley BMusHonsSheff
Claire Chalk BMusHonsHuddersfield Yelian He MMusRNCM Rachel Jacobs PGCE(music) Clare O’Neill GRNCM Yasmin Rowe PGDip(RNCM) Jinny Shaw
Tim Harding BADurham MABirm PGDipRWCMD Diane Hiley BMusHonsBirm
Bournemouth Susan Ogden
Brighton Andrew Cleary Helen Wharmby BMusHonsBirm
Bristol Paloma Horlor BMus David Knowles GRNCM Michael Leat BAHonsBathSpa Emma Richards BMusHonsRNCM Fiona Thompson MA(PerfArtsMusic)RWCMD Eliza Wylie
Cambridge Trevor Barlow BAHonsColchester Susan Bolt BAHonsLeeds PGCE(music)
Croydon Sarah Moffatt BAHons DipMusRIAM
Devon & Cornwall Nicola Farris GRSM Jacqueline Palmer LTCL
Eastbourne & Hastings Diana Gilchrist BMusCarleton Jacob Willoughby BSc(Hons)
Guildford Helen Hienkens-Lewis BAHonsKent Thomas Marshall BAHonsLiverpool
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London – North James Baillieu Joshua Brandler BAWestminsterColl Laura Campbell Charis Hanning MMusRCM Eva Hurt BA Sam Miles BMusHonsRAM Melissa Parmar MMus(RCM) Katerina Perdikomati MMusGoldsmiths Rowan Perkins BAHonsLCM Schay Wickham
Norfolk Naomi Fry BMusSheff Frances Gothard AGSM(VT)
North of England
London – South East
Emma Clinch BAHonsLancaster Robin Harrison BMusHonsRNCM PhD
Jiva Housden BMusHonsGSMD Andrea Kmecova MMusTrinityLaban(CityUni) Samantha Reagan Evgenia Startseva Trevor Wharton GMusColchester PGCE
Melanie Johnston BABelfast LLCM MABelfast PGCE(music) Sheena Mullan Natalie Ward BACantab PGDip(CityUniv/ GSMD)
London – South West Barnaby Adams Claire Brookes BA(Open) Ben Comeau BACantab Graham Fitch Marc Hermans DipMuzDocerend MusicusVoorSlagwerk Renata Kemp DiplomStaatliche Hochschuke Genevieve O’Driscoll BMusGoldsmiths Christina Petrou BMusHons(CityUniv/GSMD) Julia Raeburn ARCM BMusDurham
Northern Ireland
Nottingham Ruth Ayres Harris MALond DipGSM Kate Jackson BAHonsBathSpa
Oxford
Scotland – Highlands & Islands Catherine O’Rourke
Scotland – South East Carlo Madden ALCM LGSM
Scotland – South West Felicity A Randoll GRSM ARCM DipMusCCAT
Sheffield Ruth Milsom BMusSheff
Southampton Amanda Smallbone MASoton GRSM
South Wales Eleanor Stowe BMusHonsRWCMD Simone Willis BMusHonsRWCMD
St Albans Nandita Bhatia BMusHonsKings Angela Farquhar Susan Fellows
Suffolk Antony David Watson BAHonsColchester Gabriel Elizabeth Maud Watson BAColchesterInstitute
Warwickshire & Northamptonshire John Howes
West Yorkshire Katy Kelly PGDip Helen Shillito
Wiltshire
Polly Jeffries Margaret Smith Robert Tucker LTCL(MusEd)
Rachel G Hind DipLCM Clare Roberts
Portsmouth
Karen Lenormand
Jessica Lawless BAHonsSoton
Reading Simon Davie GGSM PGCE(music)
Overseas
Student members
Bournemouth Jack Bond
Brighton Nicholas Chalk
Cambridge Ciaran Corr Will Crosby Tom Hiom
Eastbourne & Hastings Gareth Victor Battell John Eady BMusHonsLond MMus FRCO LRAM LTCL PGDM AKC
Guildford Emma Delany
Kent Hannah Caroline Firmin Eleonora Rosca
Liverpool Wei Wee
London – North Daniel De Souza Alasdair Macaskill Emily Beth Moxon Sophie Poteratchi Vahan Salorian
London – South East Gianni Bruno Christiana Campbell Hilary Cronin Stephanie Dykes Livia Frankish Jessica Wei Zhu
London – South West Salim Palekar Georgina Sherriff
London – West Patrick Rutland Maksim Stsura Gen Tomuro
Manchester Jo Yee Cheung Edward Gaffney David Hamilton Jason Lam
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Our new members (continued) Northern Ireland
Corporate members
Clare McEvoy
Kent Academy of Music Graeme Vinall E: music@kentacademyofmusic.co.uk W: www.kentacademyofmusic.co.uk University of Reading Institute of Education Mary Stakelum E: ugadmissions@reading. ac.uk T: 0118 3788372 W: www.reading.ac.uk/ education Wiltshire Music Service Richard Parsons E: music@wiltshire.gov.uk W: www.wiltshire.gov.uk
Nottingham Frances Storer
South Wales Sophie Silverstone
Staffordshire George Lawton
e Letters after your nam
are As a member of ISM you use letters automatically entitled to ember of the (M after your name: MISM mber of the Me ISM) or SMISM (Student tinuous con ISM). If you have been in re, you mo or rs membership for 15 yea tus. sta ) ISM gain FISM (Fellow of the m the fro o log ate Download the appropri d to ad to te bsi members’ area of our we d an ry ne tio sta your website, personal marketing materials.
Classified advertising
How to Book: Please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7221 3499 with credit card details) to the ISM, 4–5 Inverness Mews, London W2 3JQ or email mj@ism.org by 2 February for the March/April issue.
Private and Trade 50p per word, minimum £5. Advertisements from ISM members are half-price (ie, 25p per word, minimum £2.50). Name, address and contact details must be paid for if included. Box numbers £2 extra. Prices include VAT. A series of six or more identical insertions qualifies for 10% discount.
NEED TO MAKE A RECORDING? Chantry Sound offers comprehensive and affordable recording services throughout Southern England and Wales. 10% discount for ISM members. www. chantrysound.co.uk or phone 01954 231117
PERFORMANCE Nerves? Stage fright? Call Rosemary Wiseman Tel: 020 8958 8083 www. rosemarywiseman.com
COR ANGLAIS: B&H. Blackwood, Conservatoire, Low E, Serviced. £1550 ONO. 07974 412269
NEED AN ACCOUNTANT? 15% discount for ISM members. Tel: (01373) 302468. www. fromeaccountant.co.uk
FRENCH HORNS. Several from £150. 01747 828552
SW FRANCE: Beautiful gites for rent in the most idyllic surroundings. ISM members discount and use of Steinway B possible. Full details: www.frenchconnections. co.uk property 157289 or tel. 07860238733 moira_ hayward@yahoo.co.uk
BASSOONS several good student instruments from FLEMISH SINGLE MANUAL £600, 07974 412269 HARPSICHORD. 5 Octaves, F-F. Padded Cover, £2,250 ALL YOUR MUSIC ONO, Tel: 0208 505 3631 PUBLISHING NEEDS CAN BE MET. Professional typesetting by experienced musician – digital realisations of your music, arrangements etc. – all to the highest standards and at a very reasonable cost. Phone 01234 822703 or e-mail muserv@globalnet.co.uk
A NEW DICTIONARY OF COMPOSERS is a chronological and alphabetical listing of over sixteen hundred composers including nationalities. A good way to establish composer anniversaries. Only $5.95 (approximately four pounds) as a eBook download - go to: www. MUSIC COPYING SERVICE. lenrhodesmusic.com Quality printed music produced at reasonable NEED AN ORCHESTRATOR prices. For further details OR ARRANGER? contact David Turner, Experienced orchestrator computer based music and arranger available copyist, at 23 Overbrook, for hire - competitive Hythe, Southampton rates. Please visit SO45 5BE, Tel: 02380 www.anthonyesland. 848146, email: dfturner@ com or email info@ waitrose.com anthonyesland.com for more information.
VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/or rental. Tel: 07974 412269. TRUMPETS! Bach700 (several) Excellent condition. All serviced. £100 each. 07974412269
STUDENT CELLOS, mostly German, various sizes, from £120. Tel: 07974 412269
SPINETT WITTMAYER (German) 4 octaves, C-D, light walnut. BGC needs tuning, hence £695 for a quick sale. Tel: 07974 412269
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 200 words for Platinum and Gold members, max. 150 words for Silver members) and good photographs. Please email mj@ism.org. The next deadline for copy is 2 February for March/April issue.
Schools Music Association (part of the ISM) An internationally famous football stadium is not the first place you might think of for holding a musical event, but Club 206 at St James’s Park in Newcastle-upon-Tyne proved the ideal venue for the latest of the Ocarina Festivals organised by the Schools Music Association (part of the ISM). The training of teachers in this instrument and the festivals for young players is the legacy from the World Record-breaking event at the Royal Albert Hall in November 2013 in a concert organised by Barnardo’s.
Above: The SMA Ocarina Festival at St James’s Park in Newcastle-upon-Tyne
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The year three children and their teachers came from nine different primary schools in Newcastle. Many of the youngsters had only just started the instrument, but under the expert direction of David Liggins (assisted by wife Christa), they were very quickly playing simple exercises which developed into melodies – all from graphic notation. Conventional notation was also explored with a good level of understanding achieved by the young players in a short time. A lot of fun was had by playing rounds and the classics had a look-in too,
with Beethoven’s Ode to Joy. At the end of the session, teachers were provided with further resources to take back to their classrooms, so that music-reading, ocarina technique and ensemble work can be extended. Two further ocarina festivals are planned for March 2015 in Central Bedfordshire.
ABRSM ABRSM is celebrating four years of Speedshifter by launching version four of its free practice application for PC/ Mac and releasing major updates to the accompanying mobile apps!
Speedshifter is a tool that allows users to change the speed of audio without altering the pitch, making it perfect for musical slow practice to accompaniment Royal Central School of recordings. In a recent survey of Speech and Drama Speedshifter users, 83% of respondents indicated that the tool featured in their The Royal Central School of Speech routine practice. Its practicality whilst and Drama is pleased to announce learning an instrument, or a new that, with generous support from the piece of music, is key to its popularity Andrew Lloyd Webber Foundation, amongst music teachers and students Zach Flis has been appointed as the new Andrew Lloyd Webber Foundation in the UK and globally. Associate Musical Director for the These fourth anniversary releases current academic year. are a milestone in Speedshifter’s continual development, incorporating Flis, originally from Regina, a contemporary new design and Saskatchewan in Canada, significant enhancements to the user received his MA in Musical Theatre interface and experience for tablet (Musical Directing) from the Royal and mobile users. Conservatoire of Scotland before taking up the Associate Musical www.abrsm.org/speedshifter Director post. Throughout the course of the 2014/15 year, he will have access Royal Northern College to Central’s facilities and network of industry contacts, whilst in turn of Music enhancing the collaborative learning The RNCM opened the doors to its experience of the students with whom newly refurbished Concert Hall in he will closely work. Flis’s appointment November following the completion marks the second year of the scheme, of a £7.1m redevelopment project. which last year hosted University of Oxford and Royal Academy of Music Designed by architect Ian Palmer and graduate, Benjamin Holder. undertaken by Styles&Wood, the work included a complete overhaul of the Speaking of his appointment, Flis said 40-year-old Concert Hall, incorporating ‘I consider myself to be extremely new air-conditioning and heating fortunate to have been selected for system, new flooring and seating, such a prestigious position, and I am advanced technical facilities and looking forward to both what I can lighting, and a new balcony and raised learn from Central as well as what floor area to considerably increase I can offer as a Musical Director’. capacity. The revamp also welcomed the addition of the Oglesby Balcony, generously supported by The Oglesby Charitable Trust.
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
We are very grateful to all our corporate members for their support. PLATINUM CORPORATE MEMBERS
GOLD CORPORATE MEMBERS
ABRSM
NMC Recordings
Bath and North East Somerset Music Hub
The Royal Central School Of Speech & Drama
Charanga
The Royal Philharmonic Society
Leeds College of Music
The Opera Awards
Make Music Swindon
Trinity College London
MSST – The Andrew Lloyd Webber Programme
Yamaha Music Europe
Birmingham Conservatoire Colchester Institute Forwoods Drums for Schools J&A Beare London College of Music National Preparatory School Orchestra Oxford University Press Paritor For further information about our different levels of corporate membership and a full list of over 160 corporate members, visit ism.org
Musicguard
Trinity Laban
Right: The RNCM’s newly refurbished concert hall
Trinity Laban Chair, Lord Lipsey, and Principal, Professor Anthony Bowne, joined other senior music arts and education figures in a call for more music education for the country’s young people.
Starting in January, the venue refurbishment formed part of a larger redevelopment project that reconfigured the backstage areas of the RNCM Concert Hall and Theatre to include new changing rooms and ensuite dressing rooms alongside new wardrobe and laundry rooms. A student deck, seminar room and new practice pods were also created,
and capacity for the RNCM Lecture Theatre (newly named the Forman Lecture Theatre in honour of Sir Denis Forman) increased, all to support higher student numbers and provide a professional learning environment at industry standard.
An open letter printed in the Sunday Telegraph (Sunday 23 November 2014) says significant problems with teacher training, funding and progression opportunities are hampering access to music education. The letter goes on to say: ‘Music has proven benefits for children – building confidence, teamwork and discipline, and encouraging improvements in literacy and numeracy. But music can easily be undervalued in an already crowded curriculum – a situation worsened by the lack of attention paid to it in regular Ofsted inspections.’ www.telegraph.co.uk/comment/ letters/11246561/All-childrenneed-access-to-a-good-musiceducation.html Continued overleaf È
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Right: The RWCMD’s performance of Britten’s War Requiem Photo: Kiran Ridley
Trinity Laban piano student, Jenna Sung, has won acclaim for her London recital debut at the Wigmore Hall on 16 November, with a programme of Haydn, Scriabin, Chopin and new works by Stephen Montague and Gwyn Pritchard. Jenna’s recital was part of her first prize at the annual Jaques Samuel Intercollegiate Piano Competition in March 2014, as well as a CD recording of her Wigmore Hall performance and a recital at the Fazioli concert hall in Italy (May 2014). Classics Today journalist Jed Distler noted how Jenna’s ‘artistry has ripened and evolved…she continues to command a masterful and effortless technique on all levels’. Currently doing an advanced Independent Study Programme at Trinity Laban, Jenna will be performing in the Trinity Laban Gold Medal concert at Kings Place on Friday 16 January 2015. Tickets can be booked through the Kings Place website: www.kingsplace.co.uk
Royal Welsh College of Music & Drama As part of its Commemorate Season, and in its most ambitious project to date, The Royal Welsh College of Music & Drama performed one of the most iconic pieces of the 20th century: Britten’s War Requiem. This defining masterpiece, exploring man’s inhumanity to man, was staged at St David’s Hall on Remembrance Sunday. Conducted by Carlo Rizzi and with a stellar cast including Alwyn Mellor, Adrian Thompson, who sang in the original Britten’s Children’s Choir, and Simon Keenlyside, it also featured the College’s entire music cohort, placing them at the centre of the carnage and confronting the horror of the war to end all wars. This performance fulfilled a longstanding ambition of conductor Carlo Rizzi. Talking before the performance he said, ‘This War Requiem speaks of the relationship between Man and God in front of death, but also of the relationship between Man and Man in war. I first heard it when I was 14
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and decided that one day I wanted to conduct it. That day has now come, and I can’t express how privileged I feel to explore this masterpiece with the students of the Royal Welsh College.’
Chetham’s School of Music Chetham’s Symphony Orchestra presents a reflective World War I themed programme at the Royal Northern College of Music in Manchester (www.rncm.ac.uk) this February. On Thursday 19 February at 2.30pm, a unique Family Matinée Concert features a performance of Vaughan Williams’s Symphony No 3, A Pastoral Symphony. The following evening, Friday 20 February at 7.30pm, the programme will also include Butterworth’s rhapsody A Shropshire Lad and Beethoven’s Third Piano Concerto with pianist Eudald Buch, conducted by Stephen Threlfall. Author and illustrator James Mayhew will be at both concerts drawing and projecting live images, expressing emotions evoked by World War I. www.chethams.com
Concerts from Scratch/ The Really Big Chorus Marianne Barton writes: The Really Big Chorus has just celebrated the 40th anniversary of Messiah from Scratch at the Royal Albert Hall, including an ‘auctioned conducting’ of the Hallelujah Chorus which raised £2,600 for the British Heart Foundation. Our Scratch Youth Messiah in the afternoon directed by Suzi Digby OBE supported Water Aid: Bredon School Choir from Tewkesbury won the £500 prize from ChoraLine.com for raising the most money by filling water bottles with loose change. In March we’re off to India – our Rendezvous with Rajasthan (25 March –2 April) sees Manvinder Rattan conduct Schubert’s Mass in G in Delhi. ISM President-Elect Jeremy Jackman will conduct John Rutter’s Requiem for us at the RAH on 10 May, so come and sing with us and experience one of our leading choral directors in action! Our Summer Singday on 12 July will feature Jenkins’s The Armed Man. For more information visit www.trbc.co.uk, where you can also join our mailing list.
Royal College of Organists Simon Williams writes: The Royal College of Organists’ 150 for 150 Recital Challenge drew to a magnificent close in December with a flurry of international recitals and a grand finale recital at Royal Festival Hall by Martin Baker.
ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
The challenge was an integral part of the College’s 150th anniversary celebrations throughout 2014, with organists everywhere being invited to join in by registering their own recital.
Making Music
Making Music’s prestigious Award for Young Concert Artists has launched for its 55th year. The scheme, which has helped start the careers of artists Events ranged from those featuring including Steven Isserlis and Craig international recitalists at major Ogden, provides up-and-coming venues to a host of local but equally classical musicians with performing inspirational performances – including, opportunities with Making Music’s for example, one by a College 3,000 member groups. In return, these Member playing her first ever recital voluntary music groups are able to to an invited audience of family and book top-flight soloists at reduced friends. Venues large and small and rates, with Making Music paying a an astonishing breadth of instruments subsidy for every engagement. were pressed into service across the UK and abroad. The Award for Young Concert Artists is open to both vocalists and We were delighted to reach the instrumentalists, with six winning original target of 150 recitals as early places available on the scheme. as September, and by the end of the Applicants must be aged between year had pushed on past the 200 mark. 21 and 27 on or before 1 April 2015. Only the first 50 instrumentalists and Music Education Solutions 25 vocal applicants will be invited for audition. Following the success of their recent Singing Strategy Symposium, Music Education Solutions Ltd will be hosting a First Access Forum event for First Access leaders and instrumental teachers from music education hubs on Tuesday 30 June 2015 in Birmingham.
Right: Eileen Field at the AOTOS conference
Applications for the 2015 scheme are now open. The deadline for applications is Friday 20 February 2015. To find out more, visit www. makingmusic.org.uk/ayca.
The event will draw on the MES Association of Teachers team’s extensive experience of of Singing supporting and developing First Access programmes, and in particular on the expertise of four former members of the leadership team of the KS2 Music CPD Programme (the government’s national CPD programme for teachers involved in Wider Opportunities, which ran from 2007-2011). The event will feature a mixed programme of debates, seminars and workshops, designed to inspire hub leaders and teachers in the development and Our conference on 2 November at St delivery of their First Access and Small Paul’s Girls’ School, Let Me Tell You a Group teaching programmes. Story, focussed on the importance of text. Moira Little reminded us of the Places cost £75 per person, which muscles that we need to use for clear includes lunch and refreshments articulation, then Barbara Houseman and booking is now open demonstrated the importance via the MES website: http:// of allying clarity to meaning and musiceducationsolutions.co.uk. emotional intent. Over 60 delegates enjoyed singing songs in the authentic folk style with Kathryn Davidson and we ended the day considering the assessment of folk songs with Eileen Field working with pupils.
As we mark our 40th year in 2015, our Chairman, Penelope Price Jones, has introduced Pathways, a mentoring scheme for aspiring singing teachers. The first Access Day is 31 January 2015 at Burton-upon-Trent. Our Spring Development Days will include a day with Janice Chapman at Chetham’s School of Music, Manchester (19 April), Pamela Rudge and Lynette Erving at Kingswood School, Bath (26 April) and Stuart Barr in Worthing (2 May). All events are open to non-members. www.aotos.org.uk
British Voice Association The next two conferences organised by the British Voice Association are testament to the unique multidisciplinary ethos of this organisation. On 25 January in London, Collaborative Working will explore the interaction between different but complementary approaches to the voice. Speech Language Therapy and Cognitive Behaviour Therapy will form the morning sessions, and then the singer/ singing teacher Sally Burgess will demonstrate her collaboration with an Alexander Technique teacher. A completely contrasting event on 19 April in the Royal Academy of Music, Rock the Stage will focus on rock music inspired Music Theatre, with input from leading figures in this genre. www.britishvoiceassociation.org.uk
Hampstead Music Club The first of our weekday evening concerts, hosted by the club, was a huge success featuring Without Words Trio with Dorian Ford (piano) Dominic Ashworth (guitar) and Lydian B Dhami (double bass). This Trio often makes the crossover between jazz and classical audiences and the programming attracted a large and very appreciative audience at Burgh House. Our next weekday evening concert will be given by Demelza Stafford (soprano) and Yoko Hirao (piano) on 26 February at Burgh House.
Continued overleaf È
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
Also coming up will be a masterclass for singers given by Roderick Williams on 20 January at 8.05pm at Burgh House and a vocal and instrumental Baroque Evening on Tuesday 3 March at Rosslyn Hill Chapel. Please contact Anna Slavina (anna. slavina@orange.net) for information on joining the club. www.hampstead-music-club.co.uk
The English Folk Dance and Song Society The English Folk Dance and Song Society project, The Full English, has been nominated for a top education award for its work with schools. It has been shortlisted for the Best Musical Initiative category in the 2015 Music Teacher Awards for Excellence.
Right: The AESS Catherine Lambert Junior Recital Prize (l to r) Sarah Leonard, Rowena Ashby, Emily Christian, Stephanie Edwards, Jonathan Courage, Georgia Odette and Jane Roberson.
communication. The runner –up was Stephanie Edwards and third was Rowena Ashby. The Marian Lines Speech Prize was presented Graham Trew writes: The final of the by Graham Lines to Emily Christian. AESS Catherine Lambert Junior Recital The AESS would like to thank Catherine Prize was held at the Purcell School Lambert, Coral Gould MBE and Graham in November. Judy Hildesley and Lines for their continued support. Jonathan Courage selected the finalists at a preliminary round. Jonathan was The next event in the calendar will be joined by Sarah Leonard and Jane the AESS Courtney Kenny Award, to be Roberson for the final. held at Tonbridge School on Sunday
Association of English Singers and Speakers
The winner of the first prize this year was Georgia Odette, a student at the Purcell School. Her recital was carefully devised and both speech and song were delivered with confidence, variety of tone and colour and a real sense of involvement and
15 March. This will be followed on Sunday 12 April by the AGM and Annual Dinner at the Royal Overseas League where I shall be standing down as Chairman of the AESS after ten years and Sarah Leonard will be taking over.
The programme involved 19 schools across England taking part in creative projects involving traditional song, dance, drama, storytelling and other folk arts, inspired by The Full English digital archive launched in 2013. www.efdss.org
ISM meeting room We now have a fantastic meeting room available for hire at our new home at 4–5 Inverness Mews, London W2 3JQ. Members can hire the space at the special members’ rate of £100 for a half day or £190 for the full day. Included in your hire rate is free use of tea and coffee, internet facilities and flat screen TV. The room takes up to 16 people board room style, with 25 theatre style. For further details and bookings, please contact Rebecca Mair at roombooking@ism.org or 020 7313 9321.
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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2015
LOCAL EVENTS LISTINGS Full listings can be found on our website, ism.org
ISM Representatives We are currently looking for members to act as local group representatives for the following areas: Norfolk: Deadline for applications is 15 January 2015 Devon & Cornwall: Deadline for applications is 5 February 2015 For more information or an application form please call 020 7221 3499 or email membership@ism.org.
Sunday 11 January
Sunday 8 February
SOUTH EAST LONDON New Year’s Brunch
BRISTOL Pupils’ Concert, Grade 6 standard and above
10am–12 noon, Chapters of Blackheath, 43-45 Montpelier Vale, Blackheath, London SE3 0TJ Come and join us to celebrate the start of 2015. Have some excellent brunch or just pop along for a coffee at this fine restaurant in the heart of Blackheath. An informal gathering to welcome new members into the local group and to give the opportunity to existing members for a catch up. Short walk from Blackheath train station, free parking on the heath on Sundays. Please confirm attendance by 4 January. Contact Janet Munro, janetmunro59@mac.com, 07796 716237
Sunday 1 February BRISTOL Pupils’ Concert, Grade 1–5 standard 3pm, Joseph Cooper Music School, Clifton College, Bristol BS8 3EZ Entries have now closed but please come along and support what promises to be a great event. Cost: £5 adults, £2.50 children of school age, £10 family ticket (two adults with two children) Contact Margaret Thomas, margaret.t.diva1@btinternet.com, 0117 924 3777
3pm, Joseph Cooper Music School, Clifton College, Bristol BS8 3EZ Entries have now closed but please come along and support what promises to be a great event. Cost: £5 adults, £2.50 children of school age, £10 family ticket (two adults with two children) Contact Margaret Thomas, margaret.t.diva1@btinternet.com, 0117 924 3777
Sunday 22 February 2015 OXFORD Spring Pupils’ Concert 3pm, St Nicolas’ Church, Market Place, Abingdon OX14 3HF Any instrument or voice up to grade 8. A good baby grand piano is available. The concert will be followed by refreshments. Cost: £5 members and concessions; £7 non-members; performers and accompanists free Contact Carolyn King, carolyn2king@btinternet.com, 01235 522774
The newly formed South West London local group has enjoyed a few Sunday brunch meetings arising from musical occasions, including an afternoon with Harold Lester and his Cristofori piano. The Norfolk local group completed the year with its Annual Meeting, held in the Kett’s Oak Room at Park Farm Country Hotel in Hethersett, Norwich, followed by dinner with a speech by ISM President Professor Barry Ife. This meeting concluded the six year terms for the Chairman, Beverley Downes, the Treasurer, Tony Bailey and the Secretary, Henry Macey, for which we thank them for their hard work and commitment. The Guildford local group held a Come and Sing to mark the centenary of World War St Nicholas church in Guildford. Profits went to the Royal British Legion. To see all of our event reports, please go to the Local Group section in the members’ area of the website at www.ism.org
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Ask me a question
Amy Swallow Trumpeter and teacher
Tell us a little about yourself I am a recent graduate of Birmingham Conservatoire and I am now working as a freelance trumpet player and a peripatetic/private teacher in and around the West Midlands. Who (or what has most influenced you and your career) That is a very difficult question! So many people have influenced me... from my parents, teachers and friends to musicians I love to listen to. My first trumpet teacher, Mr Hext and his wife Mrs Hext (who was my classroom music teacher) both inspired and encouraged me from the very beginning. Up until starting trumpet lessons, I had a habit of giving up hobbies very quickly – their input had a huge influence on my enjoyment and drive. What would you say is your greatest achievement to date? Passing my driving test – I have very little common sense so this was a great achievement for me!
Who is your all-time favourite artist and why? This is also a very difficult question. If I was to pick one I would have to say Miles Davis. He was a real innovator and has had such a huge influence in so many developments in jazz music. What was the last CD/music download that you purchased? Arve Henriksen – The Nature of Connections. Arve is a trumpet player from Norway who has a very distinctive sound that has a real flute-like quality. This is a beautiful album of his own compositions, recorded with strings and has influences of Nordic folk. What are your plans for the future? To be honest I don’t really know, as long as I continue to have a career in music I will be happy. Finally, what is your ISM membership to you? My membership is security, which is absolutely essential when starting your career.
Recommend a friend and get £10 off your membership Tell your musician friends and colleagues about the ISM and encourage them to become part of our thriving community of music professionals. We’ll give you £10 off your next year’s membership fee every time someone you recommend joins the ISM as a full member (includes graduate rate membership).
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Simply email membership@ism.org with the name and email address of the friend(s) you are recommending and ask them to use promo code ISM12HF when joining. If they join at the full rate we’ll give them £10 off their membership fee too. If you’d prefer to receive a £10 voucher for iTunes, Amazon, or M&S, or donate your £10 reward to the ISM Members Fund, just let us know in your email and we’ll organise it. Please note: the number of rewards you can redeem is limited to the value of your subscription upon renewal.
ISM survey of organists’ fees We are asking all organists and directors of music to participate in our new survey of what organists were paid in the second half of 2014. The survey questionnaire is now ready for you to complete online. Participants have to answer only a few straightforward questions about their rates. Your input is essential, even if you do only a small amount of this type of work. The more organists who complete the survey the more the survey results will be a truly authoritative statement of fees they have been charging. You can access the questionnaire at http://bit.ly/OrganistsSurvey. The password you will need is organists. The deadline for you to complete the survey questionnaire is 28 February. We will publish the results in April.
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Sound-isolating practice rooms
EDUCATION > HOME > RECORDING
Having enough space to practise is often an issue in music departments; our modular, relocatable Music Practice Rooms provide an excellent solution to this problem. Each module offers an individual space for solo or ensemble practice, whilst providing an effective acoustic barrier to avoid disturbing other classrooms. Head of Music at Lancaster and Morecambe College, Pete French, was delighted with the new sound-isolating practice rooms installed by Black Cat Music: “The facility used to be a lecture theatre. It was just one space we could use; now we’ve got three spaces. The modules are being used every day with all three year groups time tabled in, so they are getting maximum use.” The rooms, from MusicPracticeRooms.com, use a prefabricated panel design that is affordable, easy to install and allows rooms to be custom configured to suit available space. “We are very happy having them here,” continued Pete French. “The music practice rooms have changed the whole nature of the course, because they are so sound-proofed. The students love them and yes, they work very effectively.”
To watch the video of this interview scan here or go to youtube.com/musicpracticerooms Pete French - Head of Music, Lancaster and Morecambe College
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“The Music Practice Rooms have changed the whole nature of the course, because they are so sound-proofed. The students love them and yes, they work very effectively.”
Get in touch
Telephone: 0844 846 9740 www.musicpracticerooms.com
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Yamaha’s expanding Music Education Partner initiative is performing an increasingly vital role in supporting the musical activities of schools and institutions. We offer a range of guaranteed benefits and an opportunity to significantly enhance the value of students’ musical experience while creating valuable media opportunities for participating establishments. To find out what we can achieve together, contact our Education Business Manager, David Halford, on 07967 708765 or email david_halford@gmx.yamaha.com.