Ken Burton, Class of 1988

Ken arrived at Trinity on a music scholarship in 1981. He went on to study music at Goldsmith’s University, where he made history by becoming the first music student to gain 100% in an aural examination, which won him a prize. He works as a choral and orchestral conductor, composer, performer, producer, presenter, arranger, and judge, and is widely known for his appearances on UK television programmes, particularly BBC1 Songs of Praise.

He has conducted and directed choirs for major films, including the multi Oscar-winning and Grammy-winning Marvel film Black Panther and Black Panther 2: Wakanda Forever.

Can you share with us your journey into the world of music, from your school days to now? How did your experiences shape your career path?

Music was a tripartite experience for me, involving home, school, and church. Each played its part not only in my musical development, but in my passion for music.

I went through the formal route of piano lessons, grades, music degree, and ongoing professional development. From an early age, I have been regularly active in my church, playing piano and organ, and I have directed my church choir since 1985 - a year before doing my O Levels.

I am from a rather small family - there were only ten of us! Being the “baby” of the family, I was exposed to a lot of sounds as many family members learnt instruments. An essential part of my upbringing in a West Indian Christian home was morning and evening family worship, where singing featured strongly. We had our mini choir, with lots of harmonies, and spontaneity, and a real sense of joy. I maintain that this helped instil my passion for music, as well as skills such as improvising.

Throughout your musical journey, who were the teachers or mentors that had the most significant impact on you, and what lessons did you learn from them that you carry with you today?

My first main piano teacher, the late Margaret Carr Singh, gave me a solid education, in the true sense of the word, meaning “drawing out of”. One memory is her musical doorbell. She would change its tune every week, and before allowing me into her house I had to identify the tune’s key. Fortunately, I was never left out in the cold.

The music staff, and experience, at Trinity School were excellent. I had the privilege of learning under David Squibb (classroom music), John Shepherd (organ), Stewart Robertson (violin), David De Warrenne (piano and classroom music), Simon Marriott (A Level) and Stephen Johns (A Level). If I’ve missed anyone, blame the head and not the heart! They truly helped shape me academically. Mr De Warrenne had his own choir, which did lighter music, and he used to get me to play for it. His arrangements were incredible, and I still use some of his harmonic progressions. One of my greatest university influences was the conductor Mark Shanahan.

As a conductor, composer, performer, producer, and presenter, you wear many hats in the music industry. How do you balance these distinct roles, and what do you find most fulfilling about each of them?

I did some secondary school teaching. I enjoyed it, but realised my mind is too restless for routine. I prefer a life where no two days are the same. I see all I do as spontaneous creativity, I always like to be present in the moment, and I treat whatever I’m doing as an holistic experience.

Your work spans various mediums, from television programmes like BBC1 Songs of Praise to major films like Black Panther. How do you approach adapting your musical style and direction to suit different projects and audiences?

As human beings, we can be quite obsessed with labels. Over the years I have learnt to see music as music. My approach, my work ethic, even my corny Dad-joke humour, follow me wherever I go. I do not look at the size and scope of a project. I will pour myself into something I am doing on a voluntary basis as much as a big job. I simply immerse myself in whatever I am doing.

Could you tell us about your involvement in projects like Black Panther, Candy Cane Lane, and Jingle Jangle? What were some of the unique challenges and rewards?

I contracted a 40-piece choir and played the role of choirmaster on the first film, and conductor on the second. Word of mouth is important in the music world, and I was subsequently introduced to other production teams for other movies, for which I have conducted, arranged, and contributed vocally.

Among the challenges of this work is the fact that a number of recordings are produced from LA. It is our job to keep those who are listening to the session in a remote studio in California, and watching through a camera, happy, and to get through a lot of music - with an eight-hour time difference to consider. Recording sessions are expensive, and there’s always pressure to make sure you are delivering.

For me, the biggest reward is hearing the music in a movie theatre with the big speakers, surround sound, and that feeling of “that’s us!” The success of the first Black Panther soundtrack with its Grammy and Oscar wins was a special moment. A fellow singer (who is a Trinity parent) told me how she can change the dynamic of a lesson when she shares with a student some of the projects she is working on. I have witnessed that when doing a workshop where students are less than engaged: do a little name-dropping and, suddenly, you’ve got them. That is one of the unusual “rewards”.

As a Trinity alumnus, how did your education contribute to your musical development and career success? Are there any experiences or opportunities from your time here that stand out for you?

I really loved the breadth of experiences on offer to us, which made for an enriching and comprehensive educational experience. I particularly enjoyed the music competitions, an opportunity for collaboration and teamwork.

Apart from music, I loved learning languages, a useful tool in the music world. The solid method of my language education from such wonderful teachers as the late Paul Wright gave me a love for etymology and, of course - as many of my Facebook friends would attest while inwardly cringing - my lexophilic proclivities, otherwise known as wit more cheesy than Camembert.

In your opinion, why is music such a vital part of human culture and society? What are the most significant benefits that music brings to individuals and communities?

At birth we made sound, lots of it. We grew up and became self-conscious. Interestingly, when I am teaching someone singing, I am getting them to go back to day one. I’ve travelled and seen communities making music from early on and it is like a part of their souls. Scientific research is confirming the benefits of learning and performing music. Music is essential to life.

As someone who has worked extensively in both classical and contemporary music, what do you see as the common threads that connect these disparate genres? How do you navigate between them in your own work?

I operate in a borderless way. Much of what I do involves analysing and having an overview of music, seeing what is going on underneath the bonnet, and there are so many similarities between genres. The saying about music being a universal language is so true. I like to see myself as a musical “bridge builder”.

With your diverse expertise, what advice would you give to aspiring musicians who are looking to carve out their own paths in the industry? Are there any key principles or strategies that you believe are essential for success?

Know the industry; think about what you might uniquely have to offer. Never stop learning.

Be humble and a nice person to be around. You are not too important to leave your dressing room in a clean state; show appreciation; have multiple disciplines. Never lose touch with your art. Remember music is a work of heart!

Looking towards the future, what projects are you working on, and what do you hope to achieve in the coming years? How do you see your role in the music industry evolving, and what legacy do you hope to leave behind?

NDAs prevent me from saying too much, but I am working on other big screen projects. I have taken on a role as composer-in-residence for the Voces8 ensemble, which is hugely exciting. I will be travelling to various places in the UK and abroad for performances and, as a creative mind that never seems to stop, I am always actively thinking proactively about different projects.