Music Journal September-October 2011

September/October 2011

In this issueThe Mayor of London’s Fund for Young Musicians

Challenges facing the contemporary conservatoire: a psychologist’s perspective

Organ of Corti – an invitation to listen to ourselves listen

‘As economic uncertainty continues, the ISM has made the decision not to increase membership subscription rates.’page 1

Introduction to Instrumental and Vocal TeachingThis course is for any musician who is considering instrumental or vocal teaching for the first time or who has recently started teaching. The course provides ideas on how to get started and the key skills required to succeed.

This course will be offered in:

• London • Bath • Dundee• Liverpool • Belfast • Nottingham

between October 2011 and June 2012.

Continuing professional development programmeOur CPD programme for the new academic year offers a variety of practical, one-day courses relevant to all instrumental and vocal teachers, helping you to keep up-to-date and continue with your professional development.

The following courses will be offered in London and Manchester between October 2011 and May 2012:

• The Art of Accompanying

• Theory Matters

• Preparing for Performance

• Success at the Higher Grades (6-8)

For further course information, dates and venues, visit www.abrsm.org/teachers or call us on +44 (0)20 7467 8226

One-day courses from ABRSM this academic year

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Is Government really committed to music?Summer is now drawing to an end, after much music making in festivals and summer schools both here and overseas; I know that many of you will have been taking part as performers, conductors and composers. September heralds the start of both the new concert

season and also the new academic year. We await the National Plan for Music Education in England from the Government which will be coming out this autumn. It will be interesting to see how much of it takes on board Darren Henley’s Review of Music Education in England from earlier this year.

We are still concerned that although the Government professes to be fully behind music education their actions are somewhat different. In England, the Department for Education continues to maintain its policy of excluding music and indeed cultural education from the English Baccalaureate even though Darren Henley in his Review advised that music should be included. The Education Select Committee has just found that the decision of Michael Gove, the Secretary of State for Education to exclude music from the EBac ‘odd’. When we compare such proposals – and the weakness of Government funding for music in Wales – to Scotland’s Curriculum for Excellence we see a radical difference in priorities. So the pressure is mounting on the Government to do something about its policy. We will continue to make the argument as to why music is so important and as an ISM member you will also have a part to play in persuading Government to change its mind.

These are tough times for the arts and music education across the UK. Never has it been more important for musicians to make sure they are properly supported and protected. As economic uncertainty continues, the ISM has made the decision not to increase membership subscription rates. We believe that membership of the ISM provides better value for money in terms of high level professional support than any other membership organisation. Not only do we have an in-house team of solicitors who can help you with your legal problems, but you also get 24-hour legal support through our helpline, access to counselling and advice, offers on all kinds of products, professional development, the opportunity to help with our lobbying work and specially tailored insurance which gives you £10 million worth of public and employers’ liability cover.

And last, but not least, we have just launched a new website. Please take a look at ism.org and let us know what you think.

Contents

2 News & campaigns

4 Your letters

6 Legal help

7 ISM subscription rates 2011-12

8 ISM Young Musicians

11 The Mayor of London's Fund for Young Musicians

13 Challenges facing the contemporary conservatoire: a psychologist’s perspective

17 Organ of Corti – an invitation to listen to ourselves listen

20 News from our members

26 News from our corporate members

30 Professional development

33 Local events – reports

34 Local events – listings

35 Classified advertising

36 Ask me a question

Welcome

[email protected]

ISM MuSIc Journal SepteMber / october 2011

1

Right: Deborah Annetts

Photo: Mark Thompson

Volume 78 / Number 3Published monthly by:The Incorporated Society of Musicians10 Stratford PlaceLondon W1C 1AAT: 020 7629 4413F: 020 7408 1538E: [email protected]: www.ism.org

Editor: Deborah AnnettsSub-editor and Production: Kim Davenport Gee

All ISM publications are copyright

Printed by Optichrome, Maybury Road, Woking GU21 5HX

ISSN 0951 5135

Design: Cog Design www.cogdesign.comAdvertising: Cabbell Publishing Ltd, Woodman Works, 204 Durnsford Rd, London SW19 8DRT. 020 8971 8476, E. [email protected] copy date: 3 October for November/ December issueAdvertising copy date: 11 October for November/ December issuePrice: £5 per copySubscription: £30 per yearCirculation: 5,800 named recipientsCover photo by Mark Thompson.

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.


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News & campaigns

The battle for Music GCSE continues

Music has been left off the English Baccalaureate (EBac) league tables for this year despite significant pressure from the ISM and others to include it as an enriching and challenging GCSE.

The EBac is a system of ranking schools by the proportion of pupils who get an A* to C grade in maths, English, a language, a science and a humanity (defined as only history and geography).

However, good news came at the end of July when the influential House of Commons Education Select Committee published its review of the Government policy. The committee expressed a number of concerns following the substantial amount of evidence we sent in.

They called the decision to omit music ‘odd’ given Michael Gove’s own words when announcing the English Baccalaureate last year: ‘I’m proposing that the Government look at how many young people in each secondary school secure five good GCSEs including … a humanity like history or geography, art or music.’

The cross-party committee also criticised the lack of consultation prior to the EBac’s introduction and recommended a ‘review of the complement of subjects in the English Baccalaureate.’

Finally, they criticised the use of the term ‘Baccalaureate’ to describe what they viewed as a ‘certificate and a performance measure’.

Live Music Bill gains Government backing

In the last few months there has been even more good news for live music performers following the Government’s decision to back Lord Clement-Jones’ Live Music Bill.

The Bill will make it easier for musicians in England and Wales to perform by allowing small venues like schools, colleges, village halls and places of employment to hold concerts without needing a costly licence. Other measures in the Bill will make it easier for venues with an existing licence – such as pubs – to put on live music events.

Speaking in support of his Bill, Lord Clement-Jones highlighted the ‘great encouragement’ it would give to young musicians ‘performing in all kinds of venues, who will be able to take advantage of these provisions.’

The Government insisted that the exemption from licensing be changed in the Bill from up until 12 midnight to up until 11pm and this was accepted in order to secure the Government’s backing.

The Bill could now become law in the spring of 2012.

Thank you to everyone who wrote a letter to the committee criticising the decision to omit music from the EBac. These letters linked in with a substantial submission from us in partnership with Conservatoires UK and a further detailed technical letter on the impact of the English Baccalaureate.

Have you experienced any particular problems with licensing and your local authority? Have you any examples of where the current licensing act has harmed music in your area? If so, please let us know, as we can then pass this on as evidence in support of our campaigning activity. Contact Henry Vann, Public Affairs & Policy Officer on 020 7079 1207 or [email protected].


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Ofsted plans to start inspecting music services from September 2011

Mark Phillips HMI, National Adviser for Music, gave a presentation in June on Ofsted’s plans to begin inspecting the work of music services across England.

The Henley Review of Music Education in England recommended that ‘Ofsted’s remit should be expanded to include the reviewing of standards in Music Education provided in schools by Local Authority Music Services, Arts Council England client organisations or other recognised music delivery organisations.’

Ofsted will be asking schools to inform heads of music services that the inspections are taking place and heads of music service will be invited to meet with inspectors.

The plans include proposals to observe ‘at least one individual/small group instrumental/vocal lesson’ and ‘at least one whole-class instrumental/vocal wider opportunities lesson.’

These would be judged against Ofsted’s subject-specifi c teaching criteria for specialist music inspections.

You can see Ofsted’s guidance on music inspection by clicking on the link available in the news section of our website, ism.org.

PRS for Music published industry fi gures

PRS for Music – the collecting society for composers and publishers – has released its annual report on the music economy.

Whilst the fi gures show the fi rst ever decline in growth in the reports’ four year history, the reason for much of this was a big decline in the live music sector as a result of fewer big-name stadium tours taking place. This is expected to reverse next year.

These fi gures give more impetus to the Live Music Bill which will help create and support a more sustainable economic base of small and medium (which grew 4%) live music events by reducing the bureaucracy surrounding such concerts.

Good news also came from music export fi gures, where UK music is used abroad and payments are made to the UK music professionals.

The publishing industry was, for the fi rst time, put on a statistically more robust footing, and is now calculated as being worth £250 million to our economy, more than double on the previous year.

These reports constantly develop and next year, PRS hope to include fi gures for the musical instrument and equipment industry represented by our corporate member, the Music Industries Association (MIA).

The full fi gures can be found online at www.prsformusic.com/economics

Olympics – just one year to go Cultural Olympiad even closer

It is less than one year to go until the Olympics and just six months to go until the Cultural Olympiad.

The BBC has announced plans for a launch event on Saturday 3 and Sunday 4 March 2012 called Music Nation, with music performances and ‘community activities’ the preceding week across the country.

As part of our contribution, the ISM is a sponsor of New Music 20x12, a commissioning programme of 20 new works, each lasting 12 minutes. Each of the 20 chosen works will premiere in 2012 and receive at least two additional performances.

The torch relay may also be an opportunity for you to get more involved where you live and if you are interested in getting involved contact your local council who may be running events and co-ordinating what goes on during the torch’s visit?

If you are unsure about whether or not the torch is stopping in your area, you can check online here: www.london2012.com/games/olympic-torch-relay/where-is-the-olympic-fl ame-going.

We’ve just launched a new and improved website! Take a look at ism.org

We’ve just launched a new and improved website! Take a look at ism.org


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Your letters

Kent Music Academy

On 3 July 2011, a Gala Concert was given by students, both present and past, of Kent Music Academy to mark the untimely closure of the Saturday school after over 50 years of successfully having provided a thorough education and opportunities for the talented young musicians of the county. The concert was given to a capacity audience which included many past students, though none of the Trustees or the CEO were present.

Students leaving for further study, by tradition, performed concerto movements before going on to places secured at the Royal Academy, Trinity College and the RNCM among others. The current members of KMA were joined by many past members who are either still studying or have already graduated.

KMA (formerly KCYI and JMS) has enjoyed an enviable reputation as a centre for excellence. Up to 70% of its leavers have gone into various branches of the profession after graduating. Alumni can be found in many of the leading national orchestras and chamber groups, as international soloists, and in universities and schools as teachers.

The closure was announced to students and staff on the final Saturday before the Easter break. Negotiations by the parents with the management of Kent Music to find a solution and enable the students to continue their studies without interruption have led to nothing.

However, in a very short period of time the parents group working independently have secured accommodation, produced a plan and an excellent website, and Kent Academy of Music (KAM) will be opening its doors in September as a private enterprise, with no further connection with Kent Music. Kent Music’s premises at Astley House in Maidstone, having been extensively modernised with considerable recent financial investment in the provision and furnishing of a concert hall, is to be demolished and the site sold for housing development. Kent Music itself has found suitable office accommodation but with no on-site provision for its musical activities.

‘ KMA has enjoyed an enviable reputation as a centre for excellence.’

The reason given to parents and staff for the closure, has been based on a fall in numbers, caused by a natural loss of students at the conclusion of their school education. In addition, a growing trend in recent years has been for students to leave up to 12 months ahead of the normal time in order to concentrate on their academic studies, such is the pressure generated by the examination system. Another explanation is due to the success of KMA, in that students occasionally move on to the boarding specialist schools such as the Purcell School, Wells Cathedral, and to the Junior Academies at a time when they are ready in their musical development and need a much more intensive and specialist approach.

Kent Academy of Music (www.kentacademyofmusic.co.uk) will make a fresh start in September and it is hoped that many current young musicians will be joined by new students, and some staff members will be there to continue and support the good work established over the past 50 years.

John Kember

A response from the Chief Executive of Kent Music: Readers of Music Journal may find it helpful for me to provide some context to read alongside the letter about Kent Music Academy from John Kember.

Along with many organisations, Kent Music has been operating in very difficult financial circumstances and the closure of Kent Music Academy was one of a number of decisions taken by the Board earlier this year designed to place the organisation on a secure financial footing and positioned for a post-Henley world. All parts of the organisation have been affected by this restructuring.

Kent Music Academy enjoyed a distinguished place in Kent Music’s portfolio and benefited from the considerable expertise of John and his colleagues. However, for a variety of reasons, some of which are alluded to in John’s letter, we have seen numbers fall to the point where we can no longer afford to provide KMA. When we closed KMA we had 35 students attending out of the total of 14,000 young people we reach each year.


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Keep in touch. Send your letters [email protected]

Kent Music continues to provide a considerable programme of activities for gifted young musicians including the County Youth Orchestra, County Choirs, County Wind Orchestras and a new programme for small ensembles that we plan to launch in the autumn. We also run an annual summer school and a wide range of other activities throughout the County for those who are musically gifted.

Finally, let me clarify the situation regarding the relocation of our headquarters. Whilst John is right to say that there has been some modernisation of our existing premises, I must point out that a substantial part of our premises, namely a large old house, remains in a very poor state of repair and the Board has taken the view that the ongoing running and maintenance costs are no longer affordable and so we have sold the site. It is also worth saying that in a county the size of Kent it is less important to have our own music facility in one town than it would be if we were covering a small geographical area. This means that in future our provision in Maidstone will be provided in the same way as in all the other towns and cities we work in across the county, namely in schools, academies and other community venues.

Peter BoltonChief Executive, Kent Music

Presenting Parry

I should like to add my praise to Roger Steptoe's letter (MJ, July/August 2011) about the marvellous BBC4 programme on Sir Hubert Parry. There is so much of Parry's fine music still to be rediscovered. As far back as 1994 I took the initiative of recording his two Piano Sonatas, Character Pieces Seven Ages of Mind, Adagissimo, and Theme and Nineteen Variations, all but the last-named being premiere recordings. I used Parry's own lovely grand piano in Shulbrede Priory in Sussex with the blessing of his two great-granddaughters whose home it is, one of whom, Laura Ponsonby, spoke so eloquently in the television programme.

If anyone would like this CD, please contact me. My details are published in the current ISM Handbook.

Anthony Goldstone

Help us spread the word If you run any events or festivals and would like to distribute some of our Join Us leaflets, please email [email protected] with full details.


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Private music tuition contract notice clauses

It is important that the agreements you use for private music tuition are drafted clearly, in order to reduce the possibility of disputes at a later date. A particularly important part of these agreements is the notice clause. This clause sets out the notice to be given by the teacher or by the pupil/parent to end the agreement. If, for example, a parent wishes to discontinue the lessons this clause will set out how they are to do this. The notice clause needs to be clear about how long the notice must be and when it can end.

For example, where the teacher works in a school they may want one term’s notice in writing if a pupil wishes to discontinue lessons, to give them a reasonable amount of time to fi nd a replacement pupil. The agreement should say ‘one term’s notice should be given’, but also clarify what is meant by the word ‘term’. The word ‘term’ could include days when pupils are not normally attending school (such as INSET days) or it could only include days when pupils are normally attending school. In order to avoid disputes, it is sensible to say in the agreement which of these options is meant by the word ‘term’.

There can be similar problems where the teacher requires a half-term’s notice. Again clarifi cation on the agreement is advisable.

Where the agreement requires notice to be given to discontinue lessons it is also important to be clear about when the half-term or term’s notice can end. If the teacher wishes a term’s notice given by the pupil/parent to expire at the end of a school term then this needs to be stated in the agreement. Otherwise if the pupil/parent gave notice just before the end of the summer term, which is often the worst time for the teacher to fi nd a replacement, then the notice would end during the autumn term. Similarly if the teacher wishes a half-term’s notice from the pupil/parent to end at the end of a school half-term this should be set out in the agreement.

Help from our legal team Our in-house legal team will be happy to check the standard contract which you use and, if necessary, suggest amendments to make it clearer. You can contact our legal team on 020 7629 4413. The ISM also publishes a model agreement for private music tuition which is available to download, free of charge, from the members area of our website, ism.org.

Legal help

ISM music directory – an additional benefi t as part of your membershipWe are constantly assessing the benefi ts and services we offer you as part of your membership. We are delighted to let you know that we are to launch a new online music directory in October, which will help you fi nd work. The directory will hone in on your specifi c skill sets and help promote you and your work as a music professional to potential employers, agents and fi xers. If you have not received an application form to join the directory, please contact our Professional Services & Marketing Offi cer, Rebecca Gleave, at [email protected] or 020 7079 1204.

an additional benefi t as part of your membership


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ISM subscription rates

Annual Direct Debit: save £5 with your annual subscriptionSubscriptions are easier with direct debit. Full members who subscribe at the standard rate of £150 will receive a special discount of £5 if they pay by annual direct debit. You can sign up to direct debit by using the form provided in your renewal letter, or by downloading it from our website, ism.org.

Spread the cost Alternatively, full members can spread the cost by paying in instalments. We’ll simply take 10 monthly instalments from your chosen bank account. We’ve abolished the surcharge – so there will be no extra cost for paying this way.

We are pleased to let you know that we have frozen our current subscription rates until June 2012. Given the difficult economic climate, we feel it is more important than ever to support you as much as we can, and freezing your subscription rate is just part of our ongoing commitment to you.

This means that those of you who are due for renewal before June 2012 will be paying exactly the same rate as last year.

For those of you who joined the ISM before 30 June 2010, your subscriptions will be due for renewal this October 2011. Please look out for your renewal reminder this September.

Full membership £150

Full membership (retired rate) £75

Full membership (graduate rate) £60

Associate membership £75

Student membership £12

Corporate membership from £95**

New subscription rates for 2011-12* are:Please look out for your renewal reminder this September

*These rates apply for all renewals until June 2012

** The corporate membership offer is about to change. All corporate members will be contacted

shortly with a new and exciting variety of different corporate membership offers.


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In July of this year we announced the launch of ISM Young Musicians – an exciting new programme that lets talented performers aged 13–18 who are members of partner organisations become ISM members, for free.

As well as the prestige of belonging to the musicians’ professional body, ISM Young Musicians will receive a specially created package of benefits designed to help them further their knowledge and experience in order to prepare for and pursue a career as a professional musician. This includes access to seminars, masterclasses and training, as well as the opportunity to take part in the ISM Young Musicians competition, designed exclusively for the scheme and due to launch in 2012.

The ISM Young Musicians programme offers a tremendous opportunity for young people to see the music profession up close. This experience, combined with the excellent training offered by our partner organisations, means our ISM Young Musicians will be

ISM Young Musicians

‘ It’s great that the ISM cares so much for the prospects and welfare of young musicians’

well equipped to become the music professionals of tomorrow.

In its first year, ISM Young Musicians has been joined by several leading youth ensembles from the worlds of classical, jazz, music theatre and South Asian music. Our partners include the Grand Union Youth Orchestra (GUYO), National Youth Choirs of Great Britain, National Youth Jazz Collective (NYJC), National Youth Music Theatre (NYMT), National Youth Orchestra of Great Britain (NYO), National Youth Orchestras of Scotland (NYOS), and Samyo, the national South Asian youth orchestra.

Sarah Alexander, Chief Executive and Artistic Director, National Youth Orchestra, said:

‘It’s great that the ISM cares so much for the prospects and welfare of young musicians. Their advocacy for young musicians’ rights and the opportunity they’ve given our players to speak and play to influential figures in music is wonderfully welcome.’


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Above left to right: Members of the National Youth Orchestra

Photos: Belinda LawleyIssie Barratt, founder and Artistic Director of the National Youth Jazz Collective, said:

‘The National Youth Jazz Collective is delighted to be working in partnership with ISM on this project. Together we can continue giving our gifted and talented young musicians the support and opportunities they justly deserve.’

Sara Harrison from the National Youth Orchestras of Scotland (NYOS) commented:

‘This valuable opportunity will allow our young musicians to be part of an important professional musicians network, which will have a direct positive impact on their development as musicians whether in a professional or amateur capacity.’

Alok Nayak, Director of Development at Samyo, said:

‘Indian classical music is full of pioneering and dedicated teachers and young musicians, representing a massive, global musical genre. It is a great opportunity for the talented young musicians of

Samyo, the UK's Indian music youth orchestra, to be recognised by the ISM.’

Hannah Turner, Youth Orchestra Coordinator of the Grand Union Youth Orchestra, said:

‘GUYO is delighted that our young musicians will be recognised and benefit from new opportunities through our partnership with the ISM. We bring together young musicians from any cultural background, playing instruments from all parts of the world.’

A spokesperson from NYMT said:

‘National Youth Music Theatre are delighted to be partnering with the ISM on this project, which will give our young people additional opportunities to further their skills and develop their talents as musical professionals.’

Further news from the ISM Young Musicians programme will appear on our website and in Music Journal throughout the year.


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In March 2010 Boris launched The Mayor’s Music Education Strategy bringing together – before the concept of ‘the hub’ had been adopted by central government – a wide range of providers, including London Borough Music Services, the Arts Council, conservatoires and other higher education institutions, orchestras, major musical venues and other organisations, to improve the quality and range of music education across the capital. The outcomes have included a major audit of music education provision conducted by the Institute of Education, the Rhythm of London Festival and a series of partnerships between Borough Music Services and London orchestras.

The Mayor of London’s Fund for Young Musicians (MFYM) was launched in May 2011 as an independent charity to raise substantial

philanthropic funds to further these music educational objectives. MFYM has an impressive body of trustees, led by Sir John Baker (former Chairman of both English National Opera and ABRSM), comprising well known figures from musical, media and city worlds. Boris Johnson is the founder patron and the charity also has support from a long list of musical patrons, including Sir Mark Elder, Imogen Cooper, Nicola Benedetti, Steven Isserlis, Raymond Gubbay and Darren Henley. In Ginny Greenwood, MFYM has a highly experienced fundraising Chief Executive.

What then distinguishes MFYM from the wide range of music education charities that already exist? The answer lies in the four underlying principles which govern our work.

Boris Johnson is the first to admit he is no musician. He does, however, have a deep understanding of the vital importance of music education for all young people. Richard Morris explains the principles behind the Mayor of London’s Fund for Young Musicians and how it works.

The Mayor of London’s Fund for Young Musicians

Continued overleaf

Above : Top row:Miloš Karadaglic, Tahmidur Rahman, Amy Portchmouth and Alison Balsom. Bottom row: Chi-chi Nwanoku, Tara Jones, Boris Johnson, Jean Michael Javier and Julian Bliss

Photo: Javaher Sondh


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First, MFYM focuses on the middle ground between the gaining of first musical experiences and high musical achievement. It recognises that there are excellent schemes in place at the extremities of music education, such as Wider Opportunities and Sing Up! for first access and the Music and Dance Scheme for those young people who demonstrate quite exceptional musical talent. Conversely, what is often missing in UK music education are the structures and funding to support young people through the long journey between these poles.

Secondly, MFYM is very aware of the extraordinary gulf in opportunity for instrumental learning as between privileged and less privileged young people. This is most glaringly evidenced by the fact that within independent schools 50% of pupils are receiving sustained, progressive one-to-one instrumental tuition, whilst the equivalent proportion across the state sector is approximately 8%. These figures illustrate just how greatly parents with sufficient means value instrumental learning as a key part of their children’s education, but they also point to a sixfold inequality between the two sectors. MFYM therefore focuses on benefiting disadvantaged children within the state sector.

Thirdly, MFYM recognises certain educational imperatives as the basis for all its charitable allocations. Proper learning of a musical instrument demands sustained and progressive tuition over a number of years. This is of course true for the learning of all school subjects, but it is even more so in the case of instrumental learning given the exceptional level of mental and physical coordination required. Another tenet of MFYM is that the education of all young people will be enriched by exposure to excellence; and that conversely the best teaching and learning addresses the needs of the individual and the small group as well as those of the entire pupil cohort.

Finally, MFYM works both with and through existing Music Services in each London borough since these organisations are the natural coordinators of instrumental music education in their localities. Not only does this approach obviate the need for creating costly new structures, it is also in accordance with the outcomes of the recent Henley Review and encourages collaboration so as to provide the richest musical diet for all young people.

MFYM is implementing these principles through two separate schemes: the Partnerships Programme and the Scholarships Programme. The former scheme extends and enlarges the Mayor’s pilot project and encourages partnerships between orchestras and other music performing

organisations with Borough Music Services. It is anticipated that around £800,000 will be allocated for this purpose over coming years via a series of grants of up to £20,000 per partnership and that this will benefit around 10,000 children over that period. The partnership projects will be rich and varied, including workshops, masterclasses, composition, ensembles and concerts in different genres. The common feature is that children will play and learn alongside leading professional performers.

The Scholarships Programme is planned to allocate £1.2 million to fund music scholarships for approximately 400 children from disadvantaged backgrounds across all of London’s 33 boroughs. The scholarships will be worth £750 per annum and, subject to regular review, will be guaranteed for four years for each individual scholar. Each scholarship will provide sustained small group tuition over the period, along with instrument hire, ensemble opportunities and individual mentoring. The scholarships will be awarded to children within Key Stage 2 who have already had first access musical experiences and are demonstrating a high level of talent and commitment. The scholarships will therefore bridge the crucial transition between primary and secondary education when many young people are under pressure to allow their instrumental learning to lapse.

Full details of both these programmes can be found on the MFYM website, www.mfym.org.uk. MFYM, which receives excellent professional support from the Mayor’s office at City Hall, has already organised various presentations and meetings on these programmes for both Borough Music Services and other arts organisations and music education providers. At all these meetings great enthusiasm has been evident and it is clear that, in some cases, the MFYM programmes will become the centrepiece of wider local initiatives and that its funding will be matched by funding raised locally by the partner organisations.

In summary, MFYM is designed to meet the real, present-day educational needs of young musicians across Greater London. I hope that you will support our work. If you would like to do so, please visit the ‘Support Us’ section of the MFYM website and please encourage others to do so too.

Richard Morris

Richard is Vice-Chairman of both MFYM and the Mayor’s Steering Group on Music Education. He is also Chairman of Governors of the Yehudi Menuhin School and a trustee/consultant/mentor to other music and arts charities and individuals.

www.mfym.org.uk


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This article is based on a keynote address given on 28 February 2009 at a conference on The Reflective Conservatoire - Building Connections, held at the Guildhall School of Music & Drama and Barbican Conference Centre, London.

1. What is reflection and why should we do it?

The Guildhall School of Music and Drama hosts an international conference series with the title The Reflective Conservatoire. The third conference in the series will take place in March 2012.

The series title assumes that reflection is a good thing for conservatoires, and the people that teach in them. But what exactly is reflection, and why should we engage in it?

Reflection is critically observing the relationship between what you intend to do (your goals or aims), what you do to achieve these goals (your activities), and the outcomes of what you do (the results of your activities). Productive reflection leads to changes, either in the goals or the activities, so that outcomes better reflect the goals.

This is a psychological process, which can be carried out by individuals. It can also be a group activity which brings individuals into conversation with one another.

2. Two different types of reflectionThere are probably at least two kinds of reflection, one aimed at better achieving outcomes of agreed goals, and one aimed at reviewing the goals themselves. This is the difference between improving what you do, and doing new things.

An example of the first type of reflection might be the periodic assessment that an instrumental teacher gives to the choice of technical exercises that they provide for their students. The goal is the achievement of a particular quality of performance (fluency, tone) and reflection may result in a change in the nature or the order in which certain technical exercises are offered to the student. There’s no one word which perfectly describes this kind of reflection, but let us call it Professional Reflection. This is one reason why we engage with other practitioners (whether through meetings, journals, or informal exchanges). We hope to pick up ideas for better ways of doing the things we do every day.

An example of the second type of reflection might be an instrumental teacher who decides that interpretational autonomy (rather than a very high level of technical excellence) is a key goal for their students, and has to go away and do some fundamental rethinking about the content and approach of their teaching. Such reflection can lead to significantly new ways of thinking or doing. In some contexts, it becomes the stuff of high creativity, the setting of new trends, the reconceptualisation of the field or the activity.

There’s no one word for this second kind of reflection either, but we could call it Paradigm Reflection (borrowing from Thomas Kuhn who used the term paradigm change to describe major shifts in scientific thinking which have moved science decisively forward. Such a term seems equally apposite for artistic and cultural change).

John Sloboda argues that reflection is a key requirement for HE music training institutions and the individuals that work in them, particularly at times of rapid change in the sector.


Above: John Sloboda


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Almost by definition, paradigm reflection cannot be an everyday activity. Reconceptualisation can only take place when there is a stable pre-existing system way of doing things. And fields only exist because there are thousands of people who have devoted millions of hours to establishing and maintaining these well-recognised fields, well-recognised ways of doing things.

3. Tensions between the two types of reflection

And so here is already the root of an inevitable tension that plays itself out in every individual life, every family, every organisation. There is the need for stability, order, predictability, and systems, within which existing skills can be perfected. But there is also the need to review the system itself in relation to changing circumstance, and ask whether the system is still fit for purpose in a changing world. The more rapidly the world is changing, the more intense becomes the need for reviewing the system, and changing it.

In many organisations, this tension plays itself out in organisation dynamics, dynamics which can sometimes become rather personal and heated. Individuals within organisations can become typecast as representatives of one or other trend.

Those who concentrate on professional reflection can sometimes be seen as conservative or traditionalist, unwilling to accept change, even obstructive of change. In confrontational organisational dynamics they are typecast as ‘stick in the muds’. Those who concentrate on paradigm reflection can be seen as meddlers, disrupters, or people who may be involved in selling out on core values.

The reality is that both types of reflection are needed, and that the tensions between these two types of reflection is not only inevitable, but it is actually necessary, to be welcomed, and part of what a reflective organisation is. This is not least because although both approaches have strengths and advantages, they also have weaknesses and

disadvantages which need to be checked and challenged from the perspective of the other.

Everyone is capable of both kinds of reflection. Most of us do both kinds. We get into personal and professional trouble here, as in all areas of life, when we get the wrong balance between the two. What is the right balance? Well, it depends on both the person and the circumstances. What’s right for me may not be right for you, and what was appropriate for the 1970s may not be appropriate for the current decade. But it would probably be safe to assert that the majority of people in the system should be engaged with professional reflection for the majority of the time.

4. Why paradigm reflection now?However, there are times when paradigm reflection is both necessary and useful. At times of great and rapid social and cultural change, such as we are witnessing today, then paradigm reflection becomes somewhat more important.

What are the social and cultural trends in the music world which require conservatoires and those who teach in them to undertake paradigmatic reflection?

I’ll just mention three trends, although there are probably many more.

First are the changing employment patterns for musicians. The job opportunities available to today’s graduates are different in many ways from the jobs that were available to those graduating 20 years ago. What implications does this have for what skills we teach, and the way we teach them?

Second is the changing cultural and ethnic makeup of society, which is reflected in the range of types of music that people engage with, and the range of people who engage with music, either as artists, students or audiences. How does this impact on our choice of repertoire, or the performing contexts for which we prepare our students?


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Third is the changing shape of the education and training sector as a whole, and its funding. Conservatoires do not have the monopoly on advanced musical training. It occurs in other institutions such as universities and colleges, as well as commercially and in ‘on the job’ or informal settings. What is the distinctive value of learning or teaching in a conservatoire?

5. How best to do reflection?How should conservatoires and those working in them best undertake deep paradigmatic reflection?

One way is through special and time-limited opportunities which are particularly conducive to such broader reflection. Events such as conferences can create and foster opportunities to step back from the everyday and ask some questions that we don’t normally ask, not because they are unimportant, but because our normal routines and processes are not conducive to dealing with them productively. However, there is a down side to such special events, be they conferences, review days, or whatever. Because they are ‘set apart’ from the daily work, people can brainstorm all kinds of interesting scenarios, which wither almost as soon as they get back home.

As a lifelong professional, I have been quite disappointed by the opportunities afforded me for deep and sustained paradigmatic reflection within the institutions and disciplinary bodies that I have been a member of.

And this is partly because institutions don’t find it easy to question the very values on which their existence is premised, as paradigmatic reflection

often requires. Such questioning can also be psychologically unsettling for individuals. It is not comfortable to question long-held assumptions.

Doing the deep reflection well probably needs sustained support, not just a one-off injection every few years. Is it possible that organisations such as the ISM have a role and opportunity here? ISM members include many people who work in conservatoires, and has a commitment to professional development of its members. If paradigm reflection is important at the present time, can ISM work with partners in conservatoires and more broadly within the profession which provides a more sustained and structured context for reflection than is provided by admirable, but inevitably time limited, conferences?

John Sloboda, Research Professor at the Guildhall School of Music & Drama.

The 3rd International Reflective Conservatoire Conference Performing at the Heart of Knowledge will take place from Saturday 17 - Tuesday 20 March 2012.

www.gsmd.ac.uk/about_the_school/research/reflective_conservatoire.html

Editor’s Note

The ISM will be considering the points made by John Sloboda in his article and exploring how we can best address the challenge which he has set the Society.

Above:The Guildhall School of Music & Drama – venue of the Reflective Conservatoire conferences

Photo: Leon Chew


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Continued overleaf

On 16 September 2010, we won PRS for Music Foundation's New Music Award for our piece, Organ of Corti. One of five shortlisted projects our piece recycles sound in the environment by filtering incoming sound-waves through a lattice of 4 meter high acrylic cylinders, known as a ‘sonic crystal’ array. Depending on a listener’s position in relation to the array, the structure will attenuate or accentuate areas of the frequency spectrum to create an evolving sound environment that relies entirely on the sound energy already present in the place in which it is installed.

Organ of Corti is an experimental instrument that recycles noise from the environment. It does not make any sound of its own, but rather it attempts to draw our attention to sounds already present by framing them in a new way. Named after the organ of hearing in the inner ear, it filters the noise of road traffic or falling water, sculpting the sound of the environment by accentuating certain frequencies while attenuating others. By recycling surplus sound, we hope to challenge expectations of what might constitute a piece of music by adding nothing to the existing soundscape, but rather offering new ways of listening to what is already

there. For us then, this instrument is a device that rematerialises our experience of sound, inviting us to ‘listen to ourselves listen’.

This summer's national tour with Organ of Corti started at Carter Lane Gardens in front of St Paul's in London. It was then installed in a Lay-by on the A685 overlooking the M6 in the Tebay Gorge, Cumbria, at the Cotswold Water Park near the A419 and finished its tour at Worcester Music Festival next to the Diglis weir on the River Severn in Worcester.

While this project has always been an experiment in testing the new technology of 'sonic crystals' in a real context, it has for us more importantly been a project that creates a frame through which people are invited to actively listen to what many would consider 'noise'. The effect of the sonic crystal is subtler than we had originally envisaged, being perceived at the edges of our hearing. However we would suggest that this provides a challenge to the listener to engage more fully in the active process of listening deeply to what many would instinctively push to the background. Instead of focussing on 'hearing' what effect the sonic

Liminal, a partnership between architect Frances Crow and sound artist and composer David Prior, introduce their award-winning piece.


Left: Organ of Corti installation, St Paul's, London

Photo: Chris Kennedy


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crystal has on the incoming sound, it requires us to listen, perhaps 'reverently' to the sounds of the landscape, giving each element equal weight and immersing ourselves in the experience.

The proposal for Organ of Corti came out of a sustained period of research into the relationship between sound, health and wellbeing funded by the Wellcome Trust and developed in partnership with Sustrans, the sustainable transport charity. During this project, entitled Tranquillity is a State of Mind, we became interested in the physiology, as well as the neuroscience of hearing, and in particular, the process by which sound is physically mapped according to its frequency content along the length of the basilar membrane in the inner ear. We became fascinated by the fact that like so many organisms, our auditory system is predicated on the physical separation of sound into space and we began to explore ways of representing this on an architectural scale.

During this time, we came across the technology of sonic crystals and we were introduced to Keith Attenborough, Professor of Acoustics at the Open University and a pioneer in the development of this area of acoustical understanding. We were intrigued to discover that one of the problems the sonic crystal research teams were encountering

in their attempts to apply the technology to general purpose noise barriers, was that when a sonic crystal array is successful in attenuating a portion of the frequency spectrum (a band-gap), a resonance is often created either side of the affected area. Like a tinnitus sufferer who hears sounds caused by the over-stimulation of hair cells either side of an area of damage to the basilar membrane, the resonances exhibited by the sonic crystals presented a similar problem for the acousticians trying to implement them in the design of noise barriers. For us though, this behaviour was both conceptually and practically appealing and we began to explore the creative potential of a filtering device that would utilise the resonance, as well as the attenuating effects of the sonic crystal arrays.

Our first idea was for a permanent installation that would recycle the sound of Diglis weir in Worcester. This project is called Cochlea Unwound and was developed with Sustrans in response to our Tranquillity is a State of Mind research. It is currently in development, with Organ of Corti also acting as a prototype to gauge the effect of the structure and responses from Worcester communities. Organ of Corti is a portable version of the Cochlea Unwound idea and was devised

Above: Organ of Corti, St Paul's, London



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‘we hope to challenge expectations of what might constitute a piece of music’

specifically for PRS for Music Foundation's New Music Award.

Organ of Corti for us, is continuing to be a fascinating experiment in which listeners are challenged to consider environmental sounds as part of a fuller experience of our urban or rural landscapes, by drawing attention to not only what can be heard, but what it is to listen.

London Sound Survey made a recording of a pitched harmonic through Organ of Corti outside St Paul's. You can find it under ‘Sound Actions – Social 3' on their website, www.soundsurvey.org.uk.

Frances Crow and David Prior (Liminal)

Frances and David began working together in 1996, and formalised their working partnership in 2003. Their work focuses on exploring the relationship between sound, listening and the environment. It encompasses site-specific interventions and sound walks, gallery installations, performances, research and consultancy as well as sound and music environments for exhibitions.

www.liminal.org.uk

Organ of Corti has been made possible through the generosity of funders PRS for Music Foundation and Arts Council England. It is hosted by the City of London Festival, Lake District Summer Music Festival, Cotswold Water Park Trust and Worcester Music Festival. It has been developed in partnership with the Acoustics Research Group at the Open University, Vista Projects and Sustrans, with support from University College Falmouth, the Knowledge Escalator South West Proof of Concept Fund (administered by the University College Falmouth),City of London Pollution Team, Eden Arts, Friends of the Lake District, Cumbria Tourism, Worcester City Council, Worcestershire County Council, Severn Trent Water, Diglis Hotel, Worcester, Worcester New College and Mark Leahy. The design team are Liminal, Acoustics Research Group at the Open University, OMK Design Consultancy and Tandem. Sponsorship from Westmorland Ltd. Westmorland Hotel & Tebay Services. The project was developed at Space with support from The Dartington Hall Trust.

Below: Organ of Corti, Tebay Gorge, Cumbria



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Professor Kevin Thompson OBEProfessor Kevin Thompson was honoured by the Queen and became an Offi cer of the British Empire on 1 June for Services to the Arts and Anglo-Hong Kong Cultural Exchanges.

At the Buckingham Palace Investiture, he was accompanied by his wife, Dr Patricia Thompson. Other recipients receiving awards that day included Fashion Designer, Katharine Hamnett, and Shoe Designer, Beatrix Ong.

Professor Thompson said later, ‘I am pleased to have had the opportunity of helping students, serving colleagues, and enabling all kinds of people experience the arts. I have learned more from them than they have from me. This award is dedicated to all of them.’

Maritime Jazz Festival 2011The 2011 Maritime Jazz Festival is being held on 22-25 September in the beautiful surroundings of Chatham Maritime in Kent. Organised by Roan

Kearsey-Lawson the festival is not only offering jazz fans a great line up but is also raising funds for the Kent Air Ambulance.

The festival is presented in the most delightful way. The main performances are held in the 19th Century style Britannia Theatre inside Dickens World, which has cabaret style seating, bar, meals and waitress service. The setting is best described as a glorious fi lm set of Victorian London.

In addition to performances the Maritime Jazz Festival is also running jazz workshops, including a jazz for juniors with Trudy Kerr and a jazz for seniors with Trudy Kerr and Roan Kearsey-Lawson.

With a hotel on site, a historic dockyard, two castles, Napoleonic forts and great jazz performances in this unique setting next to the river it’s the ideal festival to stay the weekend. A full list of artists can be found on the festival website.

www.maritimejazzfestival.co.uk

Anne Applin and Geoffrey PratleyAmong the recitals and piano duet weekends given by Anne Applin and Geoffrey Pratley so far in 2011 have been a varied programme of 20th/21st century duets, with another Edmund Jolliffe premiere and a stunning new venue for the spring course at Sedbergh School, Cumbria.

Particularly noteworthy in June, was a day at Moira House School in Eastbourne where the enthusiastic DoM encourages the playing of duets at all ages (also composing duets for the pupils himself). The day involved

masterclasses and an inaugural piano competition, then a recital by Anne and Geoffrey; there are plans for this very successful day to be repeated.

Anne and Geoffrey’s 4-day Benslow course (its 15th year) is 24-27 October (fully booked since March) then they are giving the world premiere of Concierto Folklorico by John Carmichael for piano duet and string orchestra on 19 November at St Michael & All Angels, Bath Road, Chiswick. John Carmichael was awarded the Order of Australia Medal in the recent Queen’s Birthday Honours List.

www.piano-duet.co.uk

Gwilym Simcock

Congratulations to Gwilym Simcock who has been nominated for this year’s Barclaycard Mercury Prize. His solo piano album Good Days At Schloss Elmau features eight original compositions all recorded in the

News from our membersWe welcome your brief news (max. 150 words) and good photographs. Please email [email protected]. The next deadline for copy is 3 October for the November/December issue.

Professor Kevin Above: Professor Kevin Thompson OBE

Far right: Gwilym Simcock

Photo: Eric Richmond


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News from our members

hideaway of the same name in the Bavarian Alps. The blurred distinction between Classical and Jazz influences in this album has captured the imagination of the music world.

With well-known mainstream acts such as Adele and PJ Harvey listed in this year’s nominations, we are pleased to see the Mercury Prize raising the profile of Classical and Jazz musical genres, and giving well-deserved appreciation to these hard-working musicians.

Last year, Kit Downes was also nominated for the Mercury Prize for his debut album Golden with his jazz trio, fellow ISM member James Maddren and Calum Gourlay.

We wish Gwilym the best of luck and hope the Mercury Prize will continue to reward our talented music professionals.

Letters and LegendsMezzo soprano Victoria Edge and pianist Caroline Jaya-Ratnam, will be taking part in the lunchtime recital series at St Luke’s Church, Eardley Road, Sevenoaks, Kent at 12.30pm on Wednesday 21 September with Letters and Legends, a programme of songs by Mozart, Tchaikovsky, Liszt and Mahler (des Knaben Wunderhorn) as well as music for solo piano. Admission is free of charge.

Steven DevineSteven Devine’s latest solo recording has been well received so far. Bach’s Goldberg Variations is performed on a beautiful German harpsichord (after Fleischer, 1710) by Colin Booth. The recorded sound has won many admirers and the performance has just been described by The Observer as ‘a bravura display of the harpsichordist's art. Highly recommended.’ This is a new recording on the Chandos label (CHAN0780) and is available for purchase and download from the Chandos website and Amazon.

www.stevendevine.com

War Requiem and womenBritten’s War Requiem will be performed on Saturday 8 October 2011 at Guildford Cathedral, with three women at the helm. The performance will be directed by Janet Lincé with Sarah Tenant-Flowers in charge of the chamber ensemble and Katherine Dienes-Williams conducting the Guildford cathedral choristers.

Two superb chamber choirs, Choros and Encoro, form the nucleus of the 100-plus chorus along with members of several other southern choirs. The Brandenburg Sinfonia and Chamber Ensemble are joined by international

soloists Erica Eloff, soprano, Mark Wilde, tenor and Dawid Kimberg, baritone.

A retiring collection will be taken in aid of Help for Heroes (charity no 1120920), the charity that offers direct practical support to servicemen and women wounded in recent conflicts.

For further information and tickets visit www.guildford-cathedral.org/worship/boxoffice.

The Spanish Art SongHilary Thomas will be taking a day exploring the Spanish Art Song on Saturday 17 September, concentrating on language skills and stylistic performance in the genre. Both singers and accompanists are invited to take part and Daniel Gordon, repetiteur, will be on hand to advise accompanists. Songs and accompaniments are graded to suit participants and there are materials to aid preparation.

The day takes place in Addingham, a pretty village near Ilkley in West Yorkshire and is part of a series of vocal days. In spring 2012 there will be a Brahms /Dvorak day and in summer a Rodgers/Hammerstein event.

www.hilarythomassoprano.com

Jane ClarkHarpsichordist Jane Clark has, for many years, been exploring the personalities behind Couperin’s often enigmatic titles. In 1992 she wrote a Bate Collection Handbook which was used by Edward Higginbottom in his entry on Couperin in the second edition of The New Grove. In 2002 she wrote, in collaboration with Derek Connon,

Above: Steven Devine

Photo: John Buckman, Magnatune

Continued overleaf

ISM MuSIc Journal SepteMber / october 2011ISM MuSIc Journal SepteMber / october 2011

The mirror of human life: reflections on François Couperin’s Pièces de Clavecin. Derek Connon is Professor of French at the University of Wales, Swansea. A new edition of this book, containing much new information and several illustrations, is now published by Keyword Press.

In the book a wide vision of Couperin’s interests and influences is presented. Chapters on the social and cultural background and the literary/theatrical world are of interest to many musicians as Couperin’s world was also that of his contemporaries. The comments on the titles of the Pièces de Clavecin have proved illuminating to harpsichordists and pianists alike and were used by Angela Hewitt in her notes for her Couperin recordings.

www.keyword-press.co.uk

Dr John Bertalot honouredAt a special service in Blackburn Cathedral, Dr John Bertalot, Cathedral Organist Emeritus of Blackburn Cathedral and Director of Music Emeritus of Trinity Episcopal Church, Princeton, NJ, was presented with an award to mark his 70 years of achievements in the service of Church music around the world.

The award was presented by the Lord Bishop of Blackburn, the Right Reverend Nicholas Reade.

John has had a long and illustrious career starting at St Matthew’s Church, Northampton – the leading church for the arts at that time. Then, for 18 years, he was Director of Music of Blackburn Cathedral, and Senior Lecturer at the Royal Northern College of Music for composition, history and choir training. In 1983 he was appointed Director of Music at Trinity Episcopal Church in the University town of Princeton, New

Jersey, USA. He also became Adjunct Associate Professor at Rider University in Princeton.

Throughout his career John has founded several award-winning choirs, led choral workshops for choirs and choirmasters in cathedrals, churches and universities on four continents, and his four books on choir training and his choral compositions are published on both sides of the Atlantic.

He retired to Blackburn 13 years ago and is now organist of a village church in the heart of the Lancashire countryside.

ObituaryWith regret, we report the deaths of:

Michael Craxton of Hayes, Middlesex

Christine Pembridge of Brighton

Joyce Woodhead of Sutton Coldfield, West Midlands

Rt Hon The Earl Of Harewood, Leeds


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News from our corPorATe members

Royal Northern College of MusicCongratulations to mezzo-soprano Kathryn Rudge who will perform the role of Cherubino in ENO’s production of Mozart’s The Marriage of Figaro this autumn. Kathryn, who recently graduated from the RNCM with an International Artist Diploma, is one of 12 singers chosen to take part in the company’s Young Singers programme, designed to provide the best support for talented singers at the outset of their careers.

Congratulations also to the RNCM’s 2011 Gold Medal Winners: cellist Mikhail Nemtsov; soprano Stephanie Pfeffer; and pianist Julian Clef.

Between 26 November and 3 December the RNCM will host the second Manchester International Violin Competition where violinists from all over the world will compete

for £12,000 and the chance to perform a concerto with the Royal Liverpool Philharmonic Orchestra. The competition will also include masterclasses with some of the world’s most distinguished tutors, and a violin making marathon in which four violin makers will make a copy of the RNCM’s Brodsky Guadagnini violin.

Following the success of the RNCM’s spring opera, Samuel Barber’s Vanessa, the College is delighted to announce that Britten’s Albert Herring will be performed at the RNCM Theatre this December. And, just as last year, the opera will be the setting for the College’s annual gala dinner, which takes place on Thursday 8 December. Join us for an exclusive opportunity to dine on the set and be entertained by some of our brightest young stars. To fi nd out more visit www.rncm.ac.uk/galadinner

University of WarwickMusic CentreRosalind Roberts, Senior Vocal Tutor, writes: What an amazing year this has been for the Music Centre. We currently have 1,000 student musicians, running about 20 societies and led by the imaginative and innovative ideas of our Director Paul McGrath and Assistant Director Lucy Griffi ths. We are incredibly fortunate to be based within the splendid facilities of the Warwick Arts Centre, which helps to provide many performance opportunities for the students and many visiting professional ensembles for them to hear.

The last week of term saw our ensembles giving 23 concerts, crowned by Opera Warwick's splendid Magic Flute.

A major feature of musical life at Warwick is collaboration between instrumentalists and singers. University of Warwick Chorus, which combines students with people from the local community joined forces with the Symphony Orchestra for performances of several major works. The tremendously busy and successful, Music Theatre Warwick teamed up with Warwick Wind Orchestra to produce their Music of the Night concert and were supported by musicians from the Warwick Big Band in two excellent shows. Music Theatre Warwick also perform revues and take groups off campus to work with local school children.

We welcome your brief news (max. 250 words) and good photographs. Please email [email protected]. The next deadline for copy is 3 October for November/December issue

Continued on page 28

for £12,000 and the chance to Above: Kathryn Rudge as Erika in the RNCM’s spring production of Samuel Barber’s Vanessa

Inset: RNCM gold medal winners (l-r): Julian Clef (piano), Mikhail Nemtsov (cello), Stephanie Pfeffer (soprano)

Photos: Paul Cliff


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As the work of the Music Centre is constantly growing we owe a huge debt of gratitude to our supporters for providing student scholarships and bursaries giving help to students with their tuition. The students in their turn give back huge amounts of time, energy and commitment to the Music Centre despite the demands of their academic degrees. And Music Centre successes would not be possible without our team of dedicated tutors.

We have had to say fond and sad farewells to two colleagues. Melvyn Cooper – our wonderful Head of Piano Studies for over 20 years – retired from his teaching post at Warwick to pursue freelance activities, and Joyce Woodhead, our dear friend and loyal associate of the Music Centre died in July. Her friendly face and superb accompanying will be sorely missed.

We look forward next year to two big events; our Christmas spectacular in the Arts Centre Butterworth Hall and our open-air summer gala on campus.

Royal College of OrganistsSimon Williams writes: The next generation of young organists takes centre stage in the RCO’s autumn programme of events starting in October.

The season starts with the inspirational three-day Finding Your Feet event, running from 27 to 29 October in Bristol. The event is aimed at young organists of up to grade 5 standard aged 10 to 15 years, as well as young pianists who wish to try the organ.

Over three days, course leader Daniel Moult, tutor Rosemary Field and the RCO Academy team will lead tuition in small graded groups using the thrilling

4-manual instruments in the Cathedral and at St Mary Redcliffe, and modern mechanical action organs at Clifton.

On 12 November, the RCO will then hold the fourth of its 2011 Raise Your Game! workshops, the event returning to London after a ‘round the UK’ tour through spring and summer. Suitable for young organists and pianist wanting to try the organ, the day will feature friendly classes led by tutors Gerard Brooks, James Lloyd Thomas and James Parsons, introducing youngsters to the thrill of organ playing at the consoles of All Souls, Langham Place, All Saints, Margaret Street and St Marylebone Parish Church. It also offers young musicians the unmissable opportunity to play the wonderful organ of Westminster Cathedral.

Please see our website for information about these or any of our other autumn season events – including the RCO London Organ Forum in London on 5 November, which this year explores the pedal harpsichord with talks and performances from the Slovenian keyboardist Dalibor Miklavcic and Dr John Kitchen, whose acclaimed recording of the complete organ works of William Russell was released in late 2008.

www.rco.org.uk

Yamaha MusicOwning a beautiful new Yamaha piano just got a whole lot easier. Yamaha Pianos have extended their highly successful 'Piano Upgrade' scheme to the educational and charitable sectors. Now in its third year, the programme has previously only been available to individual customers.

Offering guaranteed trade-in values of up to £2,500 towards a new Yamaha piano the Yamaha Upgrade Bonus Scheme goes live on 1 September. This year, Yamaha have made a few changes to the programme – Yamaha's CP-1 professional stage piano being included for the first time alongside its acoustic counterparts.

www.uk.yamaha.com/pianopromotions

Yamaha Music UK have announced details of a tour of leading conservatoires, complemented by a high profile presence at some of the UK's principal piano teacher conferences and events.

The tour takes Yamaha's new AvantGrand and Clavinova pianos to the Birmingham Conservatoire on 13 September, the Royal Northern College of Music on 15 September and the Royal Academy of Music on 20 September. Members of the ISM are invited to attend one of these three events.

Yamaha's Bill Martin comments, ‘The new N1 AvantGrand and CLP 400 series Clavinova pianos represent the most significant improvements in tone, touch and overall musical capability since their inception. We want to provide piano teachers and artists alike with a convenient opportunity to get closer to the instruments to better understand the performance and teaching potential. Our own research shows that the views of many teachers on these instruments was formed quite some time ago, and they may not be aware of the huge technological progress and advances made by Yamaha.’

www.yamahamusiceducation.co.uk


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ProfessIoNAL DeVeLoPmeNT

Purcell/EPTA UK Practical Piano Teaching CourseISM members are eligible for a 10% discount on the Purcell/EPTA UK Practical Piano Teaching Course. This course is designed to make you both a better teacher and a better pianist. The course covers all essential teaching skills; enhances your craft as a pianist; results in the Certificate of the Practical Piano Teaching Course (Cert PPTC), a recognised piano teaching qualification. The 2011-2012 prospectus and booking form is available on the course website.

Contact Jane Hunt, E: [email protected], www.practicalpianoteaching course.co.uk

ABRSM Conferences 2011 3-4 September, Manchester. 10-11 September, London £75 (day); £120 (full)ABRSM are hosting their 2-day conference for teachers of all instruments and levels. An opportunity to network with your fellow teachers, exploring new repertoire, resources and teaching strategies that you can apply to your next lessons.

T: 08456 522 511, www.abrsm.org/conference

SAME Conference 2011 8-9 September, Stirling. £165 (day); £70 (students)SAME are hosting their 15th conference delivering talks on a wide variety of interesting topics to delegates, and complements current development in Curriculum for Excellence. It is open to all who work in music education in Scotland.

Contact Ann Hopkins, T: 05601 921 483, E: [email protected], www.same.org.uk

The English Poetry & Song Society CompetitionThe EPSS has announced a competition for composers to set poems about ‘autumn’, for tenor and piano.

Closing date for applications: 11 September 2011. For further details send a SAE to EPSS Competition, 76 Lower Oldfield Park, Bath BA2 3HP.

abcd Extended Conducting Intermediate course 11 September, 15-16 October, London. £595.The Intermediate course (accredited by ABRSM) is for those who regularly conduct a choir and want to develop their technique.

www.abcd.org.uk

Early Years Music Workshop 11 September, Rochdale. £60 including lunch.Zoe Greenhalgh is running an Early Years Music Workshop in association with the British Kodály Academy at Rochdale Music Centre. These workshops are very practical, full of ideas and resources to build the music making knowledge, skills and confidence of those who work with babies and children aged from 0 to 5 years. Handouts are extensive, full of information as well as songs and rhymes, and the BKA bookstore will be there for delegates to peruse the available resources. Lunch is also provided.

E: [email protected] www.britishkodalyacademy.org

Creating Contacts 15 September, Glasgow. £15 including lunchCultural Enterprise Office is Scotland’s business support service for the creative industries regularly partnering with the music industry to offer you support. This workshop delivered by Lynne O’Neil will explore how to build relationships with clients, audiences, supporters and partners, make the most of your address book and expand networks.

Contact Jacqui Corcoran, T: 0844 544 9990, E: [email protected], www.culturalenterpriseoffice.co.uk

Full listings can be found on our website, ism.org.


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Advanced London Piano Course. 16-18 September, London.Penelope Roskell directs her Advanced London Piano Course for advanced pianists. Includes work on repertoire, technique and yoga for pianists. Limited to eight students per course with two scholarships available.

Contact Trish Hepburn, 66 Queen Elizabeth’s Walk, London N16 5UQ, T: 020 8802 6258, E: [email protected]

Maritime Jazz Festival Workshops 19-22 September, Dickens World Chatham, KentThe Maritime Jazz Festival Workshops in association with DrumWright and Kent Air Ambulance is a once a year opportunity for any developing musicians to learn from the best in the UK Jazz scene. The workshops are open to all ages – there are both jazz for juniors and jazz for seniors workshops. Tutors and musicians include Trudy Kerr, Geoff Gascoyne, Dave O’Higgins, John Myhill and Roan Kearsey-Lawson.

Contact KLMusicGroup T: 01634 365453, E: [email protected], www.maritimejazzfestival.co.uk

Interactive Rock & Pop Day for Singers, Teachers and Voice Therapists 25 September 2011, London. BVA Member £60; non-member £70; student w/ID £35Topics discussed will include: tools for dynamic rhythmic singing, moving between different vocal styles and sounds, protecting your voice and your ears, looking inside the Rock & Pop larynx, dealing with performance anxiety, top tips from leading vocal coaches, gospel approaches for singing with soul, expert voice surgeons and therapists, and pop stars and their vocal coaches.

Contact Jackie Ellis T: 0207 713 0064, E: [email protected]

BT Digital Music Awards 2011 29 September, London. £228The Phonographic Performance Limited (PPL) are music industry partners at these Awards celebrating the top talent in the music industry, recognising the creativity and advancements of those musicians involved in the awards.

E: [email protected], www.btdma.com

Schools Music Association: One-day conducting course with Douglas Coombes 14 October, Stevenage, Herts. £45 for SMA members & teachers employed by Hertfordshire CC; £50 for others.This course is for anyone who wishes to improve their musical leadership skills. The course is highly structured and delivered in a sympathetic and encouraging manner. No preparation necessary.

T: 01767 260815, E: [email protected], or application form available online at www.schoolmusic.org.uk

Schools Music Association 73rd Course/Conference and AGM 14-16 October 2011. Ramada Cromwell Hotel, Stevenage, Herts.A highly practical event including sessions on Voicelinks, the 'pbone' (polyurethene trombone), ocarinas for wider opportunities, Starshine Musicals, Samba, Guitar Basics, Musical Trixstar, new software from Musicol for learning theory and note-reading for string players, music with special needs children, developing music with Muslim children, Medieval

music, the inaugural meeting of the Guild of Adjudicators and Workshop Presenters (GAWP), online learning with Charanga.com, technology led by Chris Swaffer of Notion Music and news of the National Plan for Music Education with National Music Education Grant Director, Richard Hallam. All this as well as networking opportunities and a resources exhibition. Special rates for SMA members, teachers from Hertfordshire and students.

E: [email protected], T: 01767 260815. Application form available at www.schoolsmusic.org.uk

From Folk Music to Art Music 28-30 October, Birmingham £175; day rate also available3-day Kodály workshop at Birmingham Conservatoire. Kodály musicianship from beginner to advanced levels, and workshops in early years, primary and secondary education, choral techniques, Dalcroze Eurhythmics and Baroque dance. Tutors include Nicola Gaines, Lucinda Geoghegan, Alan Murdock, Dr Lázsló Norbert Nemes, Cyrilla Rowsell, Jacqueline Vann, Miranda Zwalf. Hungarian folk ensemble Muzsikás with Mária Petrás will give a workshop and concert on 30 October.

T: 01223 424574 E: [email protected] www.britishkodalyacademy.org

AOTOS Autumn Conference 6 November, St Pauls’ Girls’ School, LondonSpeakers will include: Kim Chandler on Demystifying the pop voice – a detailed approach for contemporary vocal style and interpretation; Lin Marsh on Writing for Young Singers – lyric and melody; Heidi Pegler on ‘I Can't Sight Sing’ – a practical session on making sight singing less daunting; Graham Titus on Treasures of the Oratorio Repertoire for Young Singers.

Contact Christopher Jennings T: 01275 877195, www.aotos.org.uk


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33 33 33 33 33

LocAL eVeNTs – rePorTs

ManchesterYoung Musicians Platform, March 2011

Our Young Musicians’ Platform was held this year, at our usual and excellent venue of Withington Girls’ School.

There was a very even balance between the categories of Junior and Intermediate, but unfortunately fewer performers in the Advanced section. The standard, however, was as high as it has ever been, particularly for the Intermediate players, and our expert adjudicators, Karen Humphreys, Head of Junior RNCM and Tim Chatterton, Trombonist, found it hard to choose the winner.

It was a day of some outstanding performances and we are very grateful for the prizes of music tokens generously donated by Dawsons and Forsyths, and also to the BBC Philharmonic, who donated a year’s Friends membership, and the RNCM for tickets to their end of year concert – all very excitedly received.

The prize winners from each category will all be performing at a concert to be held on Sunday 25 September at 11.15am in the Baronial Hall at

Chetham’s School, which will follow our ACM at 10.30am. All members attending the ACM will receive free entry into the concert!

South West ScotlandAnnual Lunch, June 2011

Our annual lunch was held at the Beardsmore Conference Hotel. The Centre wanted to thank and show appreciation for all the hard work and dedication over the last six years that both Martin and Kelda have generously given within their roles. After a lovely lunch and among our ISM friends a presentation and performance by Robin Barr was warmly received.

Wiltshire Alexander Technique,July 2011

Over 20 people participated in a workshop on the Alexander Technique led by the inspiring teacher Lynn Boreham. This was held at Dauntsey’s School. She explained that the technique is about freedom and ease of movement – just using what is necessary to perform an action and no more. We observed each other and found how we could make simple adjustments in our alignment – having felt the weight of a head (not a real one!) we realised how being out of balance can put so much pressure on the body. Lynn worked with a number of individual musicians on their instruments including trombonists, a pianist, a viola player and a singer and the improvement was very noticeable. Then, as many of us were choral singers, we worked as a group – to get out of the familiar way of being we walked backwards before singing and there was a real improvement in the sound! We learnt that Alexander wants us not to rely on feeling but to use our reasoning. A very enjoyable afternoon.

Intermediate, but unfortunately fewer

Annual Lunch, June 2011

Our annual lunch was

Technique led by the inspiring teacher Lynn Boreham. This was held at Dauntsey’s School. She explained that the technique is about freedom and ease of movement – just using what is necessary to perform an action and no more. We observed each other and found how we could make simple adjustments in our alignment – having felt the weight of a head (not a real one!) we realised

For details of display advertising in ISM Music Journal please contact Neil at Cabbell Publishing on 020 8971 8476 Email: [email protected]

Centre: South West Scotland (l-r): New Chairman Robin Barr and Secretary Emma Sinclair, Former Chairman, Martin Dalby and Secretary Kelda Ruth Millar.


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LocAL eVeNTs - LIsTINgs

Sunday 18 September

HEREFORD & WORCESTERACM & Tour2pm, The Worcester Snoezelen Centre, 3 Turnpike Close, Worcester WR2 6AB

After the ACM Jane Roberts of the Worcester Snoezelen Centre will show us the specialist equipment and facilities. The focus is on ability and access to music for all and this is made possible with such tools as sound-beams, bubble tubes, glowing fibre optics and a vibro-acoustic water-bed. Snoezelen is a multi-sensory environment for people with disabilities. It should be a fascinating visit. Light refreshments will be served after the tour.

Admission: Free for members, £5 non-members

Contact Emma Winscom, 01905 770246, [email protected]

NORWICHMeditations – Whispers from the Heart7pm, Octagon Chapel, Colegate, Norwich

Witness a recording of this work, words by Hilary Faith Jones, with music by Kenneth Ian Hÿtch.

Admission: Free of charge

Contact Mary Rae, [email protected]

Sunday 25 September

CROYDONBuffet Lunch & Talk1pm, 16 Windmill Drive, Reigate, Surrey RH2 0JP

A two course buffet meal including wine and juices to be held at Margaret and Edmund Crutchfield’s home and featuring a guest speaker.

Admission: £10 per person

Contact Annette Faulkes, 01883 344272

LEA VALLEYACM & Social2.30pm, Epping Friends House, Hemnall Street, Epping, Essex CM16 4LL

Come and meet other Centre members in a social atmosphere to make friends with like minds. Light entertainment and refreshments provided. All members very welcome.

Contact Carolyn Richards 07768086123, [email protected]

MANCHESTERConcert & ACM10.30am, Chethams School of Music, Manchester

ACM at 10.30am followed by the Prize Winners’ Concert at 11.15am.

Contact Susan Houghton, 0161 904 0511

Sunday 2 October

NORTH LONDONACM & SpeakerRoyal Academy of Music, Marylebone Road, London NW1 5HT

With speaker Jennifer Bate and jazz pianist Dorian Ford providing musical entertainment.

Contact Claire Kitchin, 020 7272 3903

READINGDemonstration of Alexander Technique2.30pm , Radstock Community Centre, Radstock Lane, Reading RG6 5UZ

A demonstration of Alexander Technique with Patrick Ardagh-Walter, followed by the ACM.

Admission: £4 members, £6 non-members, £2 students

Contact Teresa Ardagh-

Walter, 01635 41128, [email protected]

ST ALBANSACM & Kodaly talk2pm, Michael House Hall, St Albans High School for Girls, Townsend Drive, St Albans AL1 3SL

ACM and a talk on the Kodaly method by David Vinden.

Admission: £5 members, £8 for non-members

Contact Anna Le Hair, 01442 381238

Saturday 8 October

SOUTH EAST SCOTLANDACM 2pm, St Mary's Music School, Coates Hall, 25 Grosvenor Crescent, Edinburgh EH12 5EL

Contact Pam Robertson, [email protected]

SOUTH WEST SCOTLANDACM & The Tango and Music of Argentina3pm, Unitarian Church Centre, 72 Berkeley Street, Glasgow G3 7DS

Following our ACM Daniela Schuster (soprano) and Gerardo Ballesteros (bandoneon) and David Mackie (piano) will present The Tango and Music of Argentina.

Admission: suggested donation of £5

Contact Emma E Sinclair 07799100867, [email protected]

Sunday 9 October

WEST YORKSHIREACM & Talk2pm, Wheeler Hall, St Anne’s Street, Leeds LS2 8BE

A talk from Ben Saunders (Director of Music at St Anne's Cathedral, Leeds) and a short recital on the Klais organ.

Admission: £3 members, £5 non-members (ACM only, free of charge)

Contact Rachel Gillham, 01943 850589

Saturday 15 October

DEVON & CORNWALLACM and Lunch, with guest speaker George Pratt11am, Eagle House Hotel, 3 Castle Street, Launceston, Cornwall PL15 8BA

Talk by George Pratt, past President of the ISM followed by a short recital by cellist Hilary Boxer.

Admission: £18 members, £20 non-members

Contact Margaret Chave 01363 773776 or Carolyn Harries 01392 255134, [email protected]

HEREFORD & WORCESTERAnnual Adult Pupil’s Concert2.30pm, The Elgar School of Music, 16-20 Deansway, Worcester WR1 2ES

Admission: £3 members and children, £5 guests, performers free

Contact Emma Winscom, 01905 770246, [email protected]

NORWICH ACM & DinnerPark Farm Country Hotel, Hethersett, Norwich, NR9 3DL

ACM at 6.30pm Kett's Oak Meeting Room,

Dinner at 7.30pm in the Ellingham Suite. Guest Speaker: Deborah Annetts, ISM Chief Executive. Guests will be most welcome, and may use the hotel bar during the short ACM.

Cost: £30 per person (ACM free to members)

Contact: Henry Macey 01692 501023, 0799 076 7407, [email protected]

Sunday 16 October

BRIGHTONFingal’s Cave3pm, The Oak Room, Burgess Hill School, Keymer Road, RH15 0EG

‘Fingal’s Cave – Mendelssohn, Scott and Turner’ an illustrated talk given by Janet Canetty-Clarke

Admission: £9 members, £10 non-members

Contact Shirley Linford, 01903 783692

CAMBRIDGEACM, Talk & Workshop11am, Venue tbc

Talk by Richard Beauchamp on managing stress in the practice of music. ACM at 1.30pm followed by a Taiko Drumming workshop with Joe Cooper

Contact Stephanie Reeve, 07966 437 781,

[email protected]

Full listings can be found on our website, ism.orgWe can now send event notices to you by email. If you would like to receive notices by email rather than post, please contact Laura Hollands on 020 7629 4413 or email [email protected]


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Saturday 5 November

SOUTH EAST SCOTLANDPupils' Concert2pm Edinburgh Society of Musicians, Belford Place EH4

Contact Pam Robertson, [email protected]

SOUTH WEST SCOTLANDPupils' Concert2.30pm, Adelaides, 209 Bath Street, Glasgow G2 4HZ

Admission: suggested donation of £5

Contact Emma E Sinclair, 07799100867, [email protected]

Sunday 13 November

READINGPupils' Concert2.30pm, St Joseph's College Annexe , Upper Redlands Road, Reading RG1 5JT

Admission: £5 Adults, under-18’s free

Contact Teresa Ardagh-Walter, 01635 41128, [email protected]

Sunday 20 November

LEA VALLEYAdvanced Pupils' Concert 2.30pm, St. John's, ARC, St. John's Walk, Market Street, Old Harlow, Essex CM17 0AJ

For Grade 6 upwards and aged under 20 years old.

Admission: £3 members & concessions, free for performers, £5 non-members

Contact Carolyn Richards 07768086123, [email protected]

NORTH LONDONPupils’ Concert2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU

Members are invited to put forward pupils to play or sing. Both children and adults are welcome to perform, whether individually, in duets, or in larger ensembles.

Admission: £5 adults, £2 children, free to performers

Contact Sara Medina, 020 8883 2082

Classified advertisingMUSIC COPYING SERVICE. Quality printed music produced at reasonable prices. For further details contact David Turner, computer based music copyist, at 23 Overbrook, Hythe, Southampton SO45 5BE, Tel/Fax: 02380 848146, email: [email protected]

YOUR MUSIC PRINTED, published or arranged to the highest standards and at very reasonable cost. Also recordings produced of your composition(s) if required. Experienced musician using the best computer technology. Please phone 01234 822703 or email [email protected]

VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/or rental. Tel: 07974 412269

SW FRANCE. Beautiful gite (sleeps 4) in idyllic peaceful setting. Swimming pool, sports, and use of Steinway B. Email: [email protected] Tel: 07860 238733

FRENCH HORNS, Several from £150. 01747 828552

CELLOS, 3/4 German, several, £135 each o.n.o. Tel. 07974 412269

ANXIETY PROBLEMS? When nothing else works call Rosemary Wiseman LTCL GTCL TFTdx. Musical Performance Enhancement Specialist. Tel. 020 8958 8083 www.rosemarywiseman.com

ILKLEY. Comfortable self catering house; sleeps 4. Close to station (30 mins. to Leeds for Opera North), moors, river, restaurants (Betty's, Box Tree). DOGS WELCOME. 10% discount for ISM members. Short breaks available. 01943 874649. E: [email protected] Website: www.holidaycottageinilkley.moonfruit.com

ENERGETIC MUSIC TEACHERS REQUIRED to run classes throughout UK. This is an ideal opportunity for anyone who has the drive and enthusiasm to bring the joy of music to young children. Music for Little People classes are held for 0-5 year olds and their carers and teach musical concepts within a fun and stimulating environment. If you are looking for a flexible and fulfilling job and would like to join our team contact us today. 01480 812469 [email protected]

WELL THEN CECILIA! A new 14 minute work for mezzo and piano trio, Kerry Milan’s Pippa Passes. Asolo song cycle is the perfect new repertoire choice. Parts, and Yvonne Howard’s breath-taking recording, available from tutti.co.uk.

BASSOONS several good student instruments £600-£800, also Heckel £3500, 07974 412269

SB MUSIC ENGRAVING. Professional music preparation. For details, visit: www.sb-music-engraving.com Or contact, Stephen Begley: [email protected], 020 8144 1964

FOR SALE, Paul Collins viola 16.5", made 1991, with Knoll bow in case £1700, 01736 752434

2ND HAND MUSIC FOR SALE. Proceeds for organ restoration fund. Lists of miniature scores & choral music available. Phone Joyce Mildren 01922 613931

How to Book: Please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7629 4413 with credit card details) to the ISM, 10 Stratford Place, London W1C 1AA or email [email protected] by 11 October for the November/December 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.


36

Ask me a questionDr David Fligg

Principal Lecturer in Classical Music,Leeds College of Music

From what age did you start learning music?

We didn’t even have a piano until I was 14, though I’d started clarinet a year or so earlier. I remember that Dad acquired an old piano for £20, but it served me well. From then on, I was so fortunate in having a number of really inspirational teachers, not least my fi rst two piano teachers, Roy Civil and Graeme Du Fresne. They must have guessed that I was a lazy pianist, but they encouraged me to compose and to listen to tons of music. Later, as a music student, I came into contact with some wonderful teachers, all of whom gave me a solid musical training.

Tell us about your average working week.

My lecturing specialities at Leeds College of Music are in the areas of composition and musicology, which I teach at undergraduate and postgraduate level. It’s very varied, from large lectures to one-to-one tutorials, via seminar groups. I’m part of the Classical Music Team. Our average age is somewhat older than our bright young colleagues in other departments, and so we’re referred to (affectionately, I think), as the Help the Aged Team!

What are your plans for the future?

With my book A Concise Guide to Orchestral Music now published, I’ve started a research project exploring musical creativity during persecution and in adversity. In particular, this focuses on the music produced in the Terezin concentration camp during the holocaust. I’m looking at how this area of research can be embedded within the curriculum.

What is your favourite music venue and why?

It’s not specifi cally a music venue, though is widely used for concerts. I’m thinking here of the Chapter House at York Minister. It’s a wondrous performance space, with a fabulous acoustic. I think it must be one of the most beautiful buildings in the country – or anywhere, for that matter.

Who would you like to collaborate with?

It would have to be the Shesh Besh Ensemble. It’s an exciting collaboration between members of the Israel Philharmonic, and Arabs who don’t normally engage with classical music. We only read about the bad news stories in the Middle East, but there are numerous heart-warming initiatives of building bridges between Jews and Arabs. As Shesh Besh does this through music, it’s something very dear to my heart.

What is your favourite instrument and why?

Defi nitely the piano. I mean, just think of the amazing repertoire, and some of the fi nest music ever has been written for that instrument. Exile me to my desert island with recordings of Horowitz, Kissin and Perahia, and I’ll seek no escape!

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Introduction to Instrumental and Vocal TeachingThis course is for any musician who is considering instrumental or vocal teaching for the first time or who has recently started teaching. The course provides ideas on how to get started and the key skills required to succeed.

This course will be offered in:

• London • Bath • Dundee• Liverpool • Belfast • Nottingham

between October 2011 and June 2012.

Continuing professional development programmeOur CPD programme for the new academic year offers a variety of practical, one-day courses relevant to all instrumental and vocal teachers, helping you to keep up-to-date and continue with your professional development.

The following courses will be offered in London and Manchester between October 2011 and May 2012:

• The Art of Accompanying

• Theory Matters

• Preparing for Performance

• Success at the Higher Grades (6-8)

For further course information, dates and venues, visit www.abrsm.org/teachers or call us on +44 (0)20 7467 8226

One-day courses from ABRSM this academic year

New skills for the new term

TEL: +44 (0)20 8741 4804 WEB: www.ratstands.com

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September/October 2011

In this issueThe Mayor of London’s Fund for Young Musicians



‘As economic uncertainty continues, the ISM has made the decision not to increase membership subscription rates.’page 1

Music Journal September-October 2011

Documents

Transcript of Music Journal September-October 2011