SMA Bulletin 187

Supporting Music & the Arts in Schools

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the SCHOOLS MUSIC ASSOCIATION part of the Incorporated Society of Musicians

SPRING 2015 No. 187 ÂŁ2.50

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ULLETIN Hon. editor: Carole Lindsay-Douglas carole@lindsaymusic.co.uk

SMA Professional Development Weekend 24-26 October 2014

Delegates at the 76th Annual SMA Professional Development Weekend, enjoying a highly practical session with Indian musician, Bindi Sagoo.There was plenty of playing in addition to the dancing, as you can see below.

The Conference Centre of the Bull Hotel, Peterborough was alive to the beat of bhangra at the Friday evening session of the most recent SMA Professional Development Weekend (24-26 October 2014). Indian musician Bindi Sagoo showed just how easy it is to teach the rudiments of this form of music and in a very short time delegates were making a very convincing sound. Simple, though energetic, dance steps were taught as well. It was plain that this is a form of musicmaking can be a real winner in the classroom - from KS2, through transition and upwards.

If you want to know more visit www. bindisagoo.com

left: Jay Deeble (above) and Sue Mills (below): centre: l. to r. Sue Mills and Jo Vaizey right: Bindi Sagoo playing the tabla (below) and the dhol (above)

continued overleaf‌

SMA 76th Annual Professional Development Weekend continued…

The event commenced with a one-day course from Douglas Coombes, using voices and ordinary classroom instruments to evoke an understanding of the structure and flavour of a variety of music from other cultures. This included gamelan, Native American, samba, African and Inuit. Douglas also presented a variety of notations, graphic scores and approaches to improvisation. Then throughout the weekend, Douglas also led a series of conducting seminars.

Jay Jay Deeble, former Chair of Deeble SMA presented an introduction to the Voices Foundation 5-day course. Jay is an accredited Voices Foundation Practitioner

Dr. Douglas Coombes MBE

Jo McNally

Sue Beckett, Leader of the Portsmouth Music Hub spoke about how she strives for the ideal partnership with the schools in her area.

Jo McNally tackled the problem of keeping youngsters singing through the tricky transition phase, with ‘Get them Singing - Keep them Singing’, and in a second session, introduced ‘Harmony Squared’, a grid-based system for classroom music-making, including improvisation. The latter session involved lots of activity - see immediately below.

This photo features Elizabeth Gammell, who together with Beryl Foster (shown below) presented an invaluable session on the care of the voice in the classroom.

Christopher Norton introducing his new ‘ Micro-Musicals’ in a session sponsored by Corporate Members Schott Music Ltd

Some of the delegates attending the second of Jackey Birch’s two sessions: l. to r. Jay Deeble, Pam Honeyman, Cathy Batchelor and Joan Clarkson.

Recorder specialist Jackey Birch (right) presented two sessions on starting a recorder ensemble and introduced Christmas repertoire along the way.

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Jackey Birch

Members of the International Guild of Adjudicators, Festivals & Workshop Presenters

had two lively sessions under the leadership of Beryl Foster(r.) and Douglas Coombes. Also pictured (l. to r.)

Bonnie Bradley-Bailey and Janet Obi-Keller

Keynote speaker Paul Whittaker OBE of Music and the Deaf (shown left) gave us his talk entitled ‘Following Beethoven’. As always he was inspirational, demonstrating ways in which both hearing and non-hearing people can make music together. In one fascinating exercise he made delegates realise just how limited lip-reading can be. In the photo below, Catherine O’Connor (l.) and Jo Vaizey (r.) are finding out just how little can be picked up from lips alone.

Paul Harris author and composer came to the weekend to introduce his newly published book ‘Simultaneous Learning’.

Victoria Hubbard (left) presented a new assessment tool suitable for all children, though developed initially for pupils with severe learning or physical difficulties. We are grateful to the charity ‘Soundabout’ for having sponsored this session.

James Risdon, (below) virtuoso recorder player, demonstrated a whole range of instruments from within the recorder family - even playing two at the same time in one of the pieces. He is blind and works for the RNIB as its Music Officer. Of necessity, he has to commit all his pieces to memory, and discussed some of the strategies for doing so, as well as some of the problems. This was an hour of personal enrichment for delegates who were moved and amazed by James’s skill and musicianship. He is a great advocate for this humblest of instruments and demonstrated the infinite expressive possibilties when in the hands of a master. His accompanist, Trevor Hughes, also a consummate musician, produced equal skill and musicianship in his role. James also told us something of his experience as a member of the Para-Orchestra which played at the opening and closing ceremonies in the London 2012 Par-Olympics.

PDW COMMENTS I had a wonderful weekend and took back a wealth of music ideas to use in my schools.I know that a lot of hard work, dedication and passion was put into organising the conference, so well done and thank you, it truly was an inspiring weekend from start to finish. Liz A. I felt I just had to drop you a note to say ‘Thank You’!

That was a really well-organised day (Friday 24 Oct), and I came away with a lot of food for thought.The sessions were really interesting, and purposeful - and fun.The day did what I’d hoped it would - it has given me lots of ideas.The added unexpected bonus was that I was given lots of new material for when I next take the Community choir that I just left last month (I’m filling in for my fellow conductor when she’s in India in February); and boy are they in for a treat! (So, contrary to the old adage, you CAN teach an old dog new tricks...) It was also a sheer delight to be reminded of what an excellent teacher looks like in mid-flight, (Douglas Coombes) and to look around the fascinated faces that were absolutely captivated. My heartfelt gratitude. Allan B.

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OCARINA legacy …

Ocarina Festival at St. James’s Park Newcastle-upon-Tyne Wednesday 22 October 2014

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 (SMA) on 22 October 2014.

The training of teachers in this delightful instrument and the follow-up with festivals for young players is the legacy from the World Record breaking event at the Royal Albert Hall, 5 November 2013 led by David Liggins of Ocarina Workshop with conductor Douglas Coombes, as part of a concert organised by Barnardo’s.

The year three children and their teachers who attended St. James’s Park came from nine different primary schools in Newcastle. They came together to enjoy the thrill and discipline of playing the ocarina en masse. Many of the youngsters had literally only just started the instrument after the summer holidays, but under the expert leadership of David Liggins (assisted by wife Christa), they were very quickly playing simple exercises which developed into melodies such as Twinkle, twinkle little star, Old MacDonald and Daisy, Daisy - all photos:Top left: a statue of Sir from graphic notation.

Bobby Robson at Newcastle United FC

The ocarina has an intrinsic sweetness of timbre and Above right and immediately this enables players to make a pleasing sound quite early on. below:Year 3 children from Conventional notation was also explored with good underNewcastle-upon-Tyne in Club standing by the young players. A lot of fun was had by play206 at Newcastle United.

Left: David Liggins of Ocarina ing rounds. The classics had a look in too, with Beethoven’s Workshop demonstrating the Ode to Joy. David Liggins also amazed those present when he largest practical ocarina produced and demonstrated both the smallest and largest Below:Teachers from all over ocarinas ever made. This was the perfect illustration of how Central Bedfordshire attending the ocarina training session music teaching should be – all about providing good musical held at Parkfields Middle experiences.

School,Toddington, Bedfordshire

At the end of the session, teachers were provided on 8 October 2014. with further resources to take back to their classrooms, so that music-reading, ocarina technique and ensemble work can be developed.

More to come Two further ocarina festivals are planned for March 2015 in Central Bedfordshire in partnership between the SMA and the local music hub, Inspiring Music, as a result of teachers from 14 schools having attended a teacher training session (below) at Parkfields Middle School, Toddington, Bedfordshire on 8 October this year – also organised by SMA.

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Maxwell Pryce MBE (1936-2014) former Chairman and Hon. Sec of the Schools Music Association

Born and educated in Cardiff, South Wales, Maxwell Pryce showed an early musical talent, particularly in singing.

Spurred on by an inspirational music teacher, he continued his musical studies at colleges in Cardiff and London.

His passion for music and his innate ability as a performer, led him to inspire pupils at Merrywood Grammar School and Withywood Comprehensive School in Bristol, as he had been inspired in his early life. While working in Bristol he continued his own love of singing with the BBC West of England Chorus. With the encouragement of musical colleagues who recognised his musicality and powers of leadership, he joined the advisory team in Warley and later became Music Advisor for the London Borough of Barnet. It was in this capacity that he was able to give so many amazing opportunities to teachers and pupils. While in Warley he began a collaboration with Jugendmusik Kreuzlingen. The lasting effect of this, both in terms of musical experience and Anglo-Swiss friendship is immeasurable for Warley and Barnet players alike. Concerts at the Royal Festival Hall, Royal Albert Hall and Wembley Conference Centre again furthered the musical opportunities for many hundreds of pupils, as did the music cruises which not only developed their performance skills, but afforded the opportunity to play in venues around the world. During his time in the Advisory Service he founded the Barnet A Level Music Centre, as well as evening and weekend Music Centres. The numerous tributes that have poured in from former pupils and teachers are testimony to the strong influence he had on so many lives. During this period he also found time to continue his singing, giving performances of the tenor solos in Bach’s St John Passion; Handel’s Messiah; Haydn’s Nelson Mass and Britten’s St Nicholas. He also joined the Parish Choir as a chorister in St Albans Abbey.

The music organisations with which he was associated is indicative of the respect in which he was held by music educators around the country. He served as an adviser to Young Choirs, to Jazz Services’ Education Panel, on the council of Incorporated Society of Musicians, as validator and member of the project team on the Arts Council’s Artsmark scheme and for 35 years as an eminent adjudicator of the national Youth Makes Music. However, it was his work with the Schools Music Association where he devoted time and energy to improve the

Max pictured here at Buckingham Palace on the occasion of the ceremony awarding him the MBE for Services to Music Education

music education and give yet more opportunities for all pupils around the country. In this capacity, he organised SMA’s residential annual conferences, its concerts in the Royal Festival Hall and numerous day courses for teachers. His last initiative was SMA’s Cathedrals Festivals which provided the opportunity for primary school classes to join other schools from their area to sing in their local great cathedral, to hear the organ and to learn something of the history of the building. This was a culmination of Maxwell’s firm belief that music was not elite, was not competitive, but was for every child, young person and adult to enjoy.

He is survived by his wife Eira, his children Huw and Helen and his grandchildren Finnian and Isabelle.

Christine Newman Max, as he was affectionately known, will be greatly missed by all who knew him, especially within the Schools Music Association.

Our sincerest coldolences go to his family. Ed.

OCARINA training sessions in Central Beds …

Thank you for the wonderful training. My staff are really enthusiastic about ocarinas and are planning to include them in the Christmas Production! We will gradually be introducing them over the term as we are already having ukulele and recorders, but we have plans for later. We will be delighted to join in a festival at some point in the future!

It was a great CPD opportunity for staff. I am really glad that we included it as part of our staff meetings and the staff appreciated it too. We can now all play the ocarina [at beginner level!] but we also have the skills to help the children to learn how to play. Thank you for providing this opportunity for our staff.

A big thank you to the Schools Music Association as we were not expecting to receive the ocarinas – it was a wonderful surprise and very generous. A great asset to the school to help with the delivery of music.

Our gift was amazing and much appreciated - cheered me up after a rather rubbishy day. Looking forward to using them to continue our music making after your lessons have finished.

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SMA Music Awards spin-offs ‌ Schools that send in entries for the SMA School Music Awards are given the oppotunity for a choir/orchestra workshop with Douglas Coombes and Carole Lindsay-Douglas. One school which took up the offer was Brabins CE Endowed Primary from Chipping, Lancs. This workshop, followed by a teachers’ conducting twilight INSET, took place on 30 September 2014.

Thanks from Brabins CE Endowed Primary School We enjoyed your visit. Thanks again for travelling so far to work with us. It is great that the SMA can offer such a fantastic opportunity to schools for free, and that you and Douglas offer your time.

Amy Hamer,Teacher & Choir Leader A lighter moment (left) during the twilight INSET, as Douglas helps one of the teachers who attended, to find her sense of space.

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Phil Brown, Director of Nationwide Music Exams explains how new music exams are meeting the needs of today’s students and teachers Recently, reports have illustrated the changing expectations and needs of aspiring musicians, confirming contemporary instruments have become more popular than many traditional alternatives. This comes as little surprise to Nationwide Music Examinations (NME), who first saw the light of day in 1990 as a direct response in recognition of the rapid decline in popularity of traditional piano study in favour of electronic keyboards.

Fast forward 20 years and NME are still recognising new trends by introducing a new and exciting range for; Ukulele, Keyboard, Contemporary Flute, Singing, Guitar, Play and Sing, plus many more options (see Nationwide Music Exams website for further listings).

applicable alternatives which NME have included in their syllabi.

Along with others NME consider that sung aural tests should not be part of the process used to test and measure a candidate’s playing ability.

Nationwide Music Exams aims to provide students and teachers with an acceptable useful alternative to traditional, formal examinations, and the new 2014 syllabi provide evidence of the commitment to this aim.

Find Nationwide Music Exams online…

Website: www.nationwidemusicexams.co.uk Twitter: @musicexams Facebook: nationwidemusicexams We would be interested to know if any readers have tried these exams. Please contact the editor on carole@lindsaymusic.co.uk Ed.

Spotlight on the Ukulele…

No one can ignore the gaining popularity of this instrument – and why not - it’s inexpensive, small, portable and more hygienic than sharing recorders! These wonderful instruments have the added advantage of being both melodic and chordal and as such are ideal for groups and ensembles. The Ukulele can also be used to perform, promote and encourage singing as well as being a perfect instrument for classroom use. Combine this with the speed and convenience of learning from Tab (and standard notation) and you have an instrument that is today very attractive to the young learner.

To this end, Nationwide Music Exams have created a Ukulele syllabus for students to build their playing skills, being described by teachers, as “beautifully progressive and delivering the diet of music children want to play”. Unlike some other boards, Nationwide Music Exams encourage and offer students a perfect platform for encouraging creativity. Their Play and Sing exams have been developed to compliment and provide a framework for teaching singing skills as well as instrumental skills. With Keyboard, Ukulele, Flute and Electric Guitar Foundation grades being ideal for Primary and Junior pupils, accompanied by prices starting from £23 for graded exams and £14.95 for Play and Sing levels. Plus, a 10% commission gets paid back to the school (see website NME for more details!)

It is well documented that learning any instrument at an early age can be beneficial and compliment a pupil’s other learning.

Enjoyment and inspiration has a lot to do with it! Nationwide Music Exams aim to provide a proven logical enjoyable and stimulating range of exams. ‘Own Choice’ means that the candidate can be involved in choosing to play something they enjoy (see website for more details). The exams promote a practical outlet for all skills required to the musician of all levels and ability. Friendly approachable examiners and an emphasis on convenience are also of upmost importance to the board.

It might surprise you to know that Nationwide Music Exams do not include scales and sung aural tests. But there is good reason for this because there are some truly relevant and

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SNIPPETS Received from Iris Minard of Southampton Schools Music Association Dear Jay, Thank you so much for the lovely trinket box you presented to me at the Proms* last week. It was such a surprise. I have enjoyed every minute of the 50 years I have served one way and another for the SMA. I am so pleased that my hard work over the years has been rewarded by a very flourishing Southampton SMA. Long may it continue!

Thank you once again for the gift and also the lovely card.

Both were much appreciated.

Look forward to seeing you again at the Christmas concerts.

Kindest regards.

Iris *This refers to the Summer Proms organised annually by the Southampton Schools Music Association.The presentation was made

by Jay Deeble on behalf of the Council of the Schools Music Association in recognition of Iris’s long service.

Musical Futures (MF) is pleased to announce that it now has an approach for primary music in development.

MF believes that the process of creating music for its own sake isn’t valued highly enough by schools and communities. The aim is to change that. Musical Futures has 11 years of knowledge, expertise, tried and tested methods in how people best learn music. MF trainers are experienced music teachers and the ‘by teachers for teachers’ approach remains at the heart of MF’s values.

Musical Futures Primary MF representatives have travelled over the past year, to see Musical Futures operating overseas in a number of different schools and with different age groups. They have met and talked to teachers, academics, children and parents about school music and what has been learned is now embedded into the plans for MF primary.

What has been observed?

A highly successful organisation in the USA that has buy-in from 1000s of elementary schools for training, support and resources because they want to be part of a movement. Bringing parents into the classroom to see their children creating music in lessons is the most powerful way of engaging parents with the value of music education. That primary schools in Australia and Canada have successfully adapted and embedded Musical Futures methods into their practice. In Australia two-thirds of MF Australia schools are primary – it does work with younger children.

Music is a second language and there are clear correlations between the way that people naturally learn music and the way that people naturally learn language - this approach underpins the work of Little Kids Rock (www.littlekidsrock.org) which was observed in October.

MF acknowledges that many generalist primary teachers don’t feel confident with delivering the statutory aspects of the national curriculum and as a result we often underestimate what young children can achieve with music learning.

MF is pulling together these observations, and is testing ideas with primary experts, beginning with a ‘pre-pilot’ to run from Jan-Feb 2015. MF is working with partners in the USA and Australia to define what the elements of a successful programme of

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IGAFWP Two induction days for potential members of the International Guild of Adjudicators, Festivals and Workshop Presenters (IGAFWP) were held during last term on Saturdays 20 September and 11 October, at the Consultation Institute in Biggleswade. As a result we are able to welcome four new Adjudicators and Workshop Presenters to the IGAFWP. Full details of each of them are on the 2015 supplement inserted in the Bulletin.

Andrew Cleary

Janet Obi-Keller

Robin Harrison

Jeffrey Williams

primary/elementary school engagement could look like and in September 2015 Musical Futures Primary will be launched as an action research pilot programme. If you would like to be part of this go to www.musicalfutures.org

Two youngsters spotted by the editor busking in the town centre of Gorinchem, Holland during the Christmas holidays