MusicTeacher - June 2017

Money talks: Raising cash
for your music department.

MUSICTEACHERMAGAZINE.CO.UK JUNE 2017 £4.95 See page 47
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MT | CONTENTS
CONTENTS
Vol.96 No.6
31 19 44
REGULARS 65 FLUTE REVIEWS FEATURES
Bach, Glazunov, Taylor Swift
5 EDITORIAL 19 REFRESHER COURSE
67 NEW PRODUCTS Why Dartington is worth fitting
8 LETTERS Super-portable amps and foldable into your summer holiday
headphones
10 NEWS 23 GRAND UNION
69 TEACHING ROOM TECH A decade-long oral tradition for
16 EVENTS AND OPPORTUNITIES Study guides for the next generation Grand Union Youth Orchestra
54 ONLINE RESOURCES 70 TECH REVIEW 44 MAKING CONNECTIONS

Downloadable teaching and Acoustica’s comprehensive Joining the world for Make
revision materials covering the Mixcraft 8 Music Day
whole secondary curriculum and
more. Subscribe and download via
VOCAL & CHORAL 47 ALL ABOUT THE MONEY
musicteachermagazine.co.uk Practical ways to supplement
This month: 26 STRATEGY FOR SONG music department budgets
» KS3 Planning a KS3 programme Scotland’s plan to stop a decline in
with new GCSEs in mind school singing 50 HISTORICALLY PERIPHERAL
» KS3 Getting started with John Finney on music’s place in
songwriting 28 PITCH PERFECT the curriculum
» KS4 Edexcel GCSE AoS3: Music The UK’s only conservatoire
for stage and screen – context, chapel choir 52 CULTURALLY IRRELEVANT?
analysis and creative approaches Does the music we teach with
31 YOUNG VOICES connect with pupils?
Why vocal health is central to the
58 CROSSWORD AND PUZZLES singing extravaganza
56 EXPO MANCHESTER
59 MUSICIANS’ UNION 34 DIVERSITY AND UNITY Full programme for Music
Making progress with hubs Looking ahead to ABCD’s & Drama Education Expo
convention this August Manchester
60 FRETTED STRINGS
A look at the new Shergold 37 KEY CONTRIBUTION 74 THE TEACHING MUSICIAN
Masquerader Berkshire’s youth choirs, BBC Ten Looking at how we teach
Pieces and the Proms
63 PIANO REVIEWS
Easy to advanced, plus concerto 40 INSIDE SINGING
repertoire The detail of technique with
Inside The Singing Voice Cover picture: © Young Voices. See page 31
www.musicteachermagazine.co.uk MUSIC TEACHER | JUNE 2017 3
MT0617_003_Contents_RP_AS.indd 3 17/05/2017 15:32:18

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MT | EDITORIAL
» write to Music Teacher magazine, Rhinegold Publishing Ltd, Rhinegold House, 20 Rugby Street, London WC1N 3QZ SUBSCRIBE TO
» email music.teacher@rhinegold.co.uk
» tweet @musicteachermag MUSIC TEACHER –
SEE PAGE 72
Editor
Alex Stevens
Young voices
Editorial Assistant
Rebecca Pizzey
News Editor
Singing: now there’s something to shout about. Free,
Katy Wright accessible, and – when we sing together – so much more
Resources Editor than the sum of its parts.
David Kettle
Technology Editor
Tim Hallas It’s also an interesting one for teachers. For one thing,
Head of Design & Production our voice is so much our own, in a way in which
Beck Ward Murphy instrumentalists can take decades, lifetimes even, trying
Designer to achieve. It’s expressive, immediate and unique to us
Hal Bannister
– but also, therefore, deeply personal, and potentially
Production Controller
Gordon Wallis scary. How many teachers have heard a pupil say ‘I don’t
Head of Sales like my voice’, and had to develop a strategy for musical
Amy Driscoll development based on an instrument with which the pupil
Marketing Manager themselves has such a complex, ambivalent relationship?
Alfred Jahn
Director of Finance and Operations
Tony Soave A safe space is crucial, then, but so too is safe technique.
Publisher
Derek Smith
ALL YOUNG Specialist teachers will be keenly aware of the dangers,
particularly for young people, of forcing the voice and
Printed By
HALSTAN UK, 2-10 Plantation Road,
MUSICIANS ARE ON A singing with too much tension – but specialist singing
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PERSONAL JOURNEY
Amersham, Buckinghamshire HP6 6HJ
Distributed by primary school choir might not even be a music specialist,
Comag Specialist Division
T 01895 433800 let alone a singer. So pupils are in the lap of the gods as
Produced by to whether the person leading them knows enough to
Rhinegold Publishing Ltd, encourage singing in the right way. Yet would we rather
20 Rugby Street, London WC1N 3QZ
there was less singing in schools? Hardly.
Advertising
T 020 7333 1719, F 020 7333 1736
Production This problem faced Antonia Couling when she heard her daughter’s class was to take part
T 020 7333 1721, F 020 7333 1736 in a Young Voices concert at London’s O2 – although, once the project got going, she was
Editorial rapidly reassured (see page 31). The team behind Young Voices, in fact, takes great pains
T 07960 164 788
E music.teacher@rhinegold.co.uk to ensure that the whole experience is as easily singable as it possibly can be.
W musicteachermagazine.co.uk
Music Teacher Subscriptions
T 01795 592 803 However, organisers are aware that they are up against an increasingly invasive popular
T +44 (0) 1795 592 803 (overseas) culture, which pupils are more and more likely to emulate: so for all the transposed
E musicteacher@servicehelpline.co.uk
arrangements and sensitively-sung recordings Young Voices puts together, there’s Idina
© Rhinegold Publishing Ltd 2017
Menzel full-throttle belting out ‘Let It Go’ (ironically about the release of tension), or a
Music Teacher is interested in articles on
all aspects of music education; if you wish whole range of Saturday-night talent shows.
to submit one please contact the editor.
We reserve the right to edit material for
publication. The presence of advertisements There’s a lesson here for us all: the world is transformed from when most of us were
in Music Teacher does not imply
endorsement. Music Teacher tries to avoid growing up ourselves, technologically, socially and culturally. All young musicians are on
inaccuracies; if readers believe an error has
been made they should contact the editor
a personal journey, and it can’t be easy. It’s up to teachers to help them find their voice.
before taking any other action.
ALEX STEVENS
EDITOR
MT0617_005_Editorial_AS NEW.indd 5 17/05/2017 15:24:43

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Music Teach
Music Teacher July 2016
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2016 1 2016
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MT_0617.indd 6 17/05/2017 15:15

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MT_0617.indd 7 17/05/2017 15:15

MT | LETTERS
» write to Music Teacher magazine, Rhinegold Publishing Ltd, Rhinegold House, 20 Rugby Street, London WC1N 3QZ
» email music.teacher@rhinegold.co.uk
» tweet @musicteachermag
HAVE YOUR SAY

INSPIRING CONFIDENCE MEA CULPA
It was refreshing to read about Rowena Atkins’ Song My thanks as always to the editor for publishing my review
Academy in last month’s MT (MT May, p27). Rowena of April 2017 (MT April, p56). May I point out, however, that
channelled her nine-year-old daughter’s excitement over a the closing sentiment was his, not mine?
song she’d written, and decided on the spot that she would MICHAEL ROUND, WIMBLEDON PARK, LONDON
open up her own platform, allowing children and young Apologies for not highlighting this change with the usual (Ed.)
people the opportunity to express themselves and boost their marking. It won’t happen again, Michael! Ed.
confidence through composition and performance. That was
seven years ago, and the academy has since seen over 3,000 STRONG AND RESILIENT
people through its doors. I was sadly not at all surprised to read Margaret Lawrence’s
I love that this is aimed at young people: children have experiences as a secondary head of music (Pushed to the
brilliant imaginations, but without the right tools and margins, MT May, p42). It’s the natural conclusion of the
guidance, there’s a real trick being missed – and Rowena narrow-minded EBacc, the ghost of Gove, his chilling legacy.
obviously noticed that. When I was growing up, the concept of But she’s right that we cannot allow the situation to crush our
composition terrified me. I could play instruments, but when passion or wreck what the job should be about. Easier said
it came around to us being asked to compose small jingles than done, but I agree with her – music teachers are indeed
and perform them back to the class, my imagination stuttered incredibly strong and resilient. Keep fighting the fight!
to a halt. I seemed to forget everything I had been taught JOANNE DEAN, BROMLEY
– including how to play at all. It was a lack of confidence:
I would no longer be performing something written by
somebody else. The notion of having something written by me
and consumed and judged by the many was frightful! Last issue’s feature Space, Time and Creativity (MT
That aside, I was struggling to work out how so many May, p31) mistakenly suggested that Oliver Knussen
hundreds of thousands of people currently living – and many and Colin Matthews devised the Britten-Pears Young
more, long since dead – create music from nothing. How do Artist Programme, whereas in fact they established the
composers and lyricists go from nought to sixty in just a few Britten-Pears Young Artist Programme’s Composition
carefully-positioned notes? & Performance course. Many thanks to the readers who
Composition wasn’t for me – but it might have been, had I pointed this out.
been given the means (it starts with wonder, curiosity and a
desire to create, after all), and that’s why it’s so great to read
about Rowena’s academy – and the Songwriter competition
too. More like it please!
PIPPA EVANS, GLOUCESTER
BY HARRY
VENNING
8 MUSIC TEACHER | JUNE 2017 www.musicteachermagazine.co.uk
MT0617_008_Letters_RP_AS.indd 8 17/05/2017 14:43:20

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MT_0617.indd 9 17/05/2017 15:16

MT | NEWS
Yorkshire Young Sinfonia goes digital

actually performed an entire concert
using only screens,’ said YYS conductor
Tom Hammond. ‘The potential for
saving time in rehearsals, where as any
conductor will tell you every last second
counts, will be a fantastic development.
‘And no more “I forgot to bring my
sheet music” excuses too as they can
access their music from any iPad!’
Musicians can use a Bluetooth
foot pedal to turn pages, and as an
added bonus, annotations and bowing
markings can be shared with other
musicians in real time.
David Taylor, CEO of YYS, described
the technology being used, Newzik, as
‘pioneering’, adding: ‘The difference it
will make to our students is going to be
immeasurable and I cannot wait to see
them in action with Newzik this summer.’
From this year, the YYS will be replacing sheet music with iPads YYS will be entirely paperless for
both its summer course on 14-19
Yorkshire Young Sinfonia (YYS) is a room filled with iPads rather than August and its concert with violinist Ray
to become the first youth orchestra sheet music. Chen at Hull City Hall on 19 August.
to swap sheet music for iPads, says its ‘The use of digital technology for
chief executive, with students arriving orchestras has been advancing in recent www.yys.org.uk
for this year’s course set to be met with times, but as yet no youth orchestra has www.newzik.com
Bimm Birmingham appoints Antony Greaves as principal

Bimm (British and Irish Modern Music
Institute) Birmingham has appointed
Antony Greaves as its principal.
Greaves worked on the UK’s first
electronic music production degree
and has an extensive background in
music and education.
Last year he worked as a development
consultant and author for Rockschool’s
graded music production syllabus.
He is a former technical manager
at Mayfair Recording Studios, and
continues to write songs and develop
unsigned artists.
Dara Kilkenny, executive principal Antony Greaves
for Bimm Birmingham, Manchester
and Dublin, said: ‘Antony is going a great mentor to all our students. I group of music colleges. The new £4m
to be a great asset to the new BIMM am really delighted to welcome him to college is due to open in Digbeth in
Birmingham. His experience in both the team.’ October 2017.
education and the music industry is Bimm Birmingham will be the
a perfect combination, and he will be seventh college in the expanding www.bimm.co.uk/birmingham
MT0617_010-015_News_RP_AS.indd 10 17/05/2017 12:10:33

MT | NEWS
Music as Therapy
International offers
‘Jobcentre’
free course places for young
unemployed
creatives to
Music as Therapy International
is launching a new awards scheme for its
Interactive Music Making (IMM) training
open
course, aiming ‘to combat challenges
faced by nurseries and children’s centres,
such as budget cuts, which can prevent
investment in staff training’.
The six-month IMM course provides The Creative Society is planning to
staff working with children under open its first employment centre, aimed
five years of age ‘with the skills and The course looks to improve care for young children at young people seeking work in the
confidence to use music in a therapeutic creative industries, later this year.
way with the children in their care’. children. However, we know that not The Creative Job Studio will bring
An IMM Award will see all staff everyone is able to access this training, young job-seekers aged 18 to 24 together
training costs met by the charity, the largely due to budget restrictions.’ in a working environment, running
care setting provided with a set of The next IMM course will run events such as networking and advice
musical instruments to sustain IMM from September 2017 to June 2018 sessions and holding meetings with
practice long term, and a contribution at the Clyde Early Childhood Centre employers.
towards the cover needed to release staff in Deptford, London. The deadline In an opinion piece for the Guardian,
to be able to attend the course. Seven for Awards applications is 16 June. Creative Society founder and CEO
awards are available this year. Applications for a place on the course Martin Bright wrote: ‘Low-paid work has
Alexia Quin, director of Music as through an IMM Award can only come been the traditional route into the arts
Therapy International and co-founder of from care settings, not individuals. for writers, actors and artists, but the
IMM, said: ‘The IMM course has proven concern now is that the pipeline of talent
itself to be an impactful and effective www.musicastherapy.org into the creative sectors is becoming
way of improving care for young www.interactivemusicmaking.org increasingly restricted, leaving people
without contacts or the luxury of parental
support stuck in the gig economy.
ABRSM announces free event to celebrate ‘We are confident we can turn the
conventional jobcentre culture on its
music education head, and create a place of optimism
and hope.’
ABRSM, Barbican and Classic FM have and keynotes and speeches from leading Established in 2009, the Creative
announced Shine, an event showcasing music education figures. Society works with the government to
music and music education from around Shine will also see the launch of the find creative placements for unemployed
the world, which will take place at Commission for Music, an independent individuals.
London’s Barbican Centre on 7 July. year-long inquiry which will explore how
The event will feature performances more people can fulfil their potential as www.thecreativesociety.co.uk
from some of the world’s leading young music learners, and Classic FM presenter
musicians, including ABRSM scholars Myleene Klass will announce the
Sheku Kanneh-Mason and Jess Gillam, winners of the Classic FM Music Teacher
and a series of workshops and sessions of the Year Awards.
for teachers, students and parents ABRSM has also commissioned a new
delivered by leading music organisations piece of music called Shine, which will be
and educators from across the UK. performed by a big band at the event.
There will also be performances ABRSM chief executive Michael
from young professional musicians, Elliott described the event as ‘a
including the Southbank Sinfonia and celebration of leadership and innovation
the National Youth Jazz Orchestra; in music education’.
a London Symphony Orchestra open
rehearsal conducted by Simon Rattle; www.abrsm.org/shinejuly
MT0617_010-015_News_RP_AS.indd 11 17/05/2017 12:10:37

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MT_0617.indd 12 17/05/2017 15:16

MT | NEWS
Juilliard names Damian Woetzel as

seventh president
New York’s Juilliard School has appointed former ballet dancer
ERIN BAIANO
Damian Woetzel as its seventh president. He will continue
as director of the Aspen Institute Arts Program until June
2018, when he will join Juilliard in a role which he said was a
‘tremendous honour’.
Woetzel retired from a career as a principal dancer with
New York City Ballet in 2008. He is also an independent
director, choreographer, and producer, having worked on
several high-profile multi-disciplinary projects in recent
years. He served on the President’s Committee on the Arts
and Humanities during the Obama presidency, when he
helped create the Turnaround Arts Program, which brings
arts education to some of the nation’s most challenged
school districts.
He said of the appointment: ‘Building on collaboration has
been a defining principle of my life in the arts, and I can think
of no greater privilege than to help shape the future of this
extraordinary institution of music, dance, and drama.’
‘Juilliard could ask for no better president than Damian
Woetzel,’ said current Juilliard president Joseph Polisi.
‘Damian’s commitment to performing arts education and to
securing the best and brightest future for our school are all
attributes that ensure a very successful tenure as Juilliard’s
president. I look forward to working closely with Damian
during the next year and watching Juilliard flourish under
his leadership.’
www.juilliard.edu Damian Woetzel
Josep-Ramon Olivé wins Guildhall School Gold Medal

Spanish baritone Josep-Ramon Olivé has won the Guildhall
CLIVE TOTMAN
School’s Gold Medal for 2017, the institution’s most

prestigious prize for soloists.
His winning performance included repertoire by Mompou,
Schubert, Duparc, Rachmaninov and Strauss with pianist
Lana Bode, and Handel, Korngold and Rossini, accompanied
by the Guildhall Symphony Orchestra conducted by Dominic
Wheeler.
Olivé described the award as ‘a great achievement that is
the icing on the cake for my time at the Guildhall School’.
Previous Gold Medal winners include Jacqueline du Pré
(1960), Patricia Rozario (1979), Tasmin Little (1986), Bryn
Terfel (1989), Michael Petrov (2014), Jennifer Witton and
Marta Fontanals-Simmons (2015), and Oliver Wass (2016).
Josep-Ramon Olivé www.gsmd.ac.uk
MT0617_010-015_News_RP_AS.indd 13 17/05/2017 12:12:09

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MT_0617.indd 14 17/05/2017 15:16

MT | NEWS
Conference report: Choir Schools Association 2017

Singing is a highly effective way of directed by James Lancelot, who retires
CLARE STEVENS
helping to deal with mental ‘chatter’ at the end of this academic year as
and today’s demanding lifestyle, said cathedral organist. His recollections of
Paul Smith, chairman of the Choir a life in cathedral music – going back
Schools Association (CSA), at its annual to the 1960s when he was a chorister
conference in Durham last month, at St Paul’s, London – were a highlight
reports Clare Stevens. of the programme (including colourful
The theme was ‘Completeness’, anecdotes about a time when the organist
and Smith, headmaster of Hereford chain-smoked his way through choir
Cathedral School (HCS), used his practices and the boys went for Sunday
keynote address to delegates to remind walks completely unchaperoned).
them of the health benefits of singing for A mini song recital by two cathedral
all pupils – not just specialist musicians choral scholars and a former girl
Onwards and upwards: The Choir Schools Association’s
such as the cathedral and parish church 2017 conference chorister, and an instrumental recital by
choristers educated at the association’s several pupils of The Chorister School,
member schools. enhanced the conference experience and
He described how in a recent whole- compromise our freedom and our ability the speaker at the formal dinner was
school singing practice, HCS’s director to think for ourselves, or does it form Sir Thomas Allen, who spoke of how
of music, David Evans, instructed the disposition of our lives in such a much his experience as a parish church
everyone to turn to their neighbour and way that we instinctively do the right chorister had influenced his subsequent
‘out-sing’ them: ‘To see every pupil in thing in a given situation? Only through career – and how as vice-chancellor of
the school totally absorbed in singing a combination of habit and knowledge Durham University he now enjoys the
to their peers was certainly good for my can a skill such as playing a musical privilege of attending evensong as often
wellbeing! For a short period, everyone instrument or singing a vast range of as he can.
was focused on the job of singing. They repertoire be acquired. The CSA represents and supports
stopped dwelling on negative internal James Randle, director of music of the work of 44 schools attached to
chatter, those distracting thoughts we The Chorister School, gave an outline cathedrals, churches and college
all have about life’s issues and problems. of the school’s outreach programme, chapels in Great Britain and elsewhere,
Their singing created positive energy a continuation of work begun under including helping to fund some chorister
and a happy mood which was infectious the Sing Up initiative. The conference scholarships and bursaries. It celebrates
and transparently good for everyone. included a chance to hear boy and girl its centenary in 2018.
‘Singing can act as a form of choristers singing together with the
meditation, taking us away from men of the cathedral choir at Evensong, www.choirschools.org.uk
everyday worries and concerns, and
as such has a real spiritual benefit.
It brings people together, and
encourages empathy.’ Paul Smith’s speech to the CSA
CLARE STEVENS
The conference was hosted by conference, about the health benefits

The Chorister School in Durham and of singing for school students facing
its headmistress, Yvette Day. It was the challenges of exam stress and
praised by delegates for a particularly the myriad distractions of the
imaginative and stimulating programme internet and social media, attracted
that focused on the positive aspects considerable media attention. He was
of choir school life rather than on interviewed by Premier Christian
problems. Simon Oliver, Van Mildert Radio during the conference and
professor of theology at Durham a few days later BBC Breakfast
University and a residentiary canon of television visited Hereford Cathedral
the cathedral, spoke about the habits to eavesdrop on both the cathedral
of practising, singing and listening that choristers’ early‑morning practice
are instilled in choristers by their daily and a whole‑school assembly with its
routine, exploring how philosophers ‘out‑singing’ exercise (see left). CSA chairman Paul Smith with Yvette Day, headmistress
have viewed the negative as well as of The Chorister School, Durham
the positive aspects of habit: does it
MT0617_010-015_News_RP_AS.indd 15 17/05/2017 12:12:59

MT | DIARY
CPD, COURSES & GIGS

CPD HIGHLIGHTS
PLANNING AND ASSESSING PRIMARY
MUSIC
16, 18, 20 OCTOBER | MUSIC EDUCATION
SOLUTIONS, BIRMINGHAM, LEEDS, LONDON | £75
This full-day course led by Elizabeth Stafford,

senior lecturer in professional studies at Leeds
College of Music, will cover the process and
pedagogy of planning and assessing primary
music. The course will offer support and advice
for creating schemes of work, individual lesson
plans, and assessment systems for music. There
will be opportunities throughout the day to discuss
and work on delegates’ own existing planning
October will see the Music & Drama Education Expo come to Manchester for a free day of CPD
and assessment systems. The course is also
available online.
tinyurl.com/MTMayPrimary Consort. It focuses on J.S. Bach’s cantata No.182 where leisure activities are organised between
Himmelskönig, sei willkommen. In addition to sessions, are a particular attraction of this popular
rehearsals of the work and performance in its summer school; students return year after year,
MUSIC & DRAMA EDUCATION original, liturgical context, the course offers some later in life as supervisors or tutors.
EXPO | MANCHESTER individual singing lessons, lectures placing tinyurl.com/MTMayKent
4 OCTOBER, 9AM-5PM | HILTON MANCHESTER the music in its historical context, conducting
DEANSGATE HOTEL | FREE opportunities and concerts of related works. The
course is for singers aged 16 and over. Bed and LIVE MUSIC
Following five successful years in London, breakfast accommodation is available in the Agnes
the Music & Drama Education Expo comes Blackadder Hall for an additional fee. BBC NOW RELAXED CONCERTS
to Manchester, making it easier to attend for www.st-andrews.ac.uk/music/perform/ 2 JULY, 3PM | ST DAVID’S HALL, CARDIFF | £14
colleagues in northern England, Wales and shortcourses/choralcourse (CONCESSIONS, STUDENT AND FAMILY TICKETS
Scotland. The event will offer more than 20 AVAILABLE)
seminars, workshops and debates, as well as the RELAXED PROM | 29 JULY, 12 NOON | ROYAL
opportunity to meet more than 50 exhibitors and OPPORTUNITIES FOR ALBERT HALL, LONDON | FROM £6
over 500 industry peers. Registration is now open, STUDENTS
and tickets are free. The BBC National Orchestra of Wales presents
www.mdexpo.co.uk/manchester KENT MUSIC SUMMER SCHOOL a ‘relaxed concert’, an orchestral event suitable
13-31 JULY | BENENDEN SCHOOL, CRANBROOK | for children and adults with autism, sensory
£180-£360; BURSARIES AVAILABLE and communication impairments and learning
COURSES & SUMMER disabilities, as well as individuals who are deaf,
SCHOOLS Kent Music Summer School (KMSS) celebrates its hard of hearing, blind or partially sighted. Presented
70th birthday this year. At its heart is traditional by conductor Grant Llewellyn and musician Andy
ST ANDREWS BACH CHORAL COURSE ensemble playing and singing courses for students Pidcock, the concert offers an interactive and fun
25-30 JULY | UNIVERSITY OF ST ANDREWS, aged 8 to19, led by leading professional musicians. experience of music in a welcoming environment.
SCOTLAND | PARTICIPANTS £400, £200 FOR New courses have recently been added to allow The programme will include music by Rimsky-
THOSE IN FULL-TIME EDUCATION; OBSERVERS more students to be part of a musical experience Korsakov, Rossini, and Johann Strauss II as well
£50, £25 FOR THOSE IN FULL-TIME EDUCATION that includes jazz, rock, recorders, wind band, as Pharrell Williams’s ‘Happy’ from Despicable Me
string and symphony orchestras. In 2016, KMSS and the Doctor Who theme. The concert will feature
This course is led by conductor, animateur introduced a new commercial music course and picture communication systems projected on large
and former King’s Singer Jeremy Jackman with moved its musical theatre course into the school’s screens, as well as audio description and British
Tom Wilkinson, director of chapel choirs at St theatre so that students could work on fully- Sign Language interpretation.
Andrews University, vocal coach Jonathan May, staged segments from musical theatre shows. The www.bbc.co.uk/events/exbzc8
and baroque instrumental ensemble The Kellie grounds and sports facilities of Benenden School, www.bbc.co.uk/proms
MT0617_016_Diary_RP2_AS.indd 16 17/05/2017 15:31:59

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MT_0617.indd 18 17/05/2017 15:17

MT | DARTINGTON FESTIVAL
TERRY JEAVONS
Judith Weir and the Heath Quartet with advanced composition students
A PLACE OF OPPORTUNITY
This year, the Dartington International Summer School and conductors as they coach and coax
the best out of their groups. There are
and Festival will be offering bursaries for teachers in the a lot of different types of music-making
local region for the first time. Toby Deller speaks to – from singing and playing to creating
new music, improvising, and working
pianist and artistic director Joanna MacGregor about the with artists, poets and filmmakers.
courses and opportunities in store And the programme ranges from core
classical repertoire to jazz, folk, opera,
electronica and world music.’
W
ith the academic year least one reason why her programme of
behind you, the prospect of courses and concerts might appeal to Festival atmosphere
spending another week or those who spend their working lives in In truth – although it is a school in
two at school may not be immediately the classroom. name, makes use of what were once
appealing. But Joanna MacGregor, the ‘It’s a good point! But you don’t have educational facilities of the former
renowned pianist who is now in her to take responsibility – you’re in the Dartington College of Arts, and runs
third season as the artistic director of hands of other teachers for a change according to a daily timetable of classes
the Dartington International Summer and can sit back and enjoy listening to and activities – Dartington is not
School and Festival, says there is at instrumentalists, composers, writers really a scholarly environment. The »
MT0617_019-021_Dartington Festival_RP2_AS.indd 19 17/05/2017 15:31:20

approach that MacGregor believes

teachers can find ways to reinvigorate
their own musicianship and develop
their professional lives. Rather than
thinking about their professional
development solely in terms of working
through items on a CPD checklist, those
attending Dartington are introduced to
networks made up of different people
from the colleagues, students, parents
and officials encountered in everyday
working life. These networks cover not
only the UK but stretch overseas too –
hence the ‘international’ in the summer
school’s name.
Creative community
ALICE CARFRAE
For those who may be somewhat jaded

– restricted, even – by the realities of
The samba band on the Great Lawn classroom work, Dartington is the kind
of place that offers an opportunity,
through participation in music (whether
practically or as an observer) and
THE CLASSES CAN BE INTENSE, FOCUSING ON A PARTICULAR immersion in a creative environment, to

rediscover what presumably drew them
ASPECT OF TECHNICAL SKILL OR REPERTOIRE – OR THEY CAN BE into music in the first instance.
‘The ethos of Dartington is one of a
JOYOUS AND CREATIVE, GUIDED BY INSPIRATIONAL MUSICIANS friendly, creative community. It’s set
in the most magnificent gardens and
rolling countryside,’ says MacGregor.
‘Concerts and many of the workshops
surroundings help: the college was people want to play Schubert and happen in a medieval quad and in
developed around a renovated medieval listen to Alfred Brendel talking about the airy ‘Space’ buildings [recently
great hall, focus of the summer school Beethoven, but I’m also aware that developed performing arts studios].
activities, in five square kilometres of some of our participants are teachers Just being in the landscape can give
landscaped garden, agricultural land and who want to expand their skill base. you a sense of renewed creativity and
wild woods in south Devon. And the fact They may want to hear some different vision. The classes can be intense,
that there are at least two concerts daily music, see things in a new perspective, focusing on a particular aspect of
throughout the late-summer weeks that and be encouraged to try things for the technical skill or repertoire – or they
Dartington runs (29 July to 26 August first time. I assume many teachers have can be joyous and creative, guided by
this year) means that a concert-going wide interests, and knowledge of pop, inspirational musicians. The beauty of
public adds a festival atmosphere to the contemporary and jazz music – not just the summer school is that you can do
event too. classical.’ several different things a day. After 5pm
Above all, perhaps, Dartington is In this way, Dartington reflects the the concerts start. Many of the people
intended to appeal to people from a scope and diversity of today’s music tutoring you will play extraordinarily
variety of musical situations whether education, and it is through an open innovative and interesting programmes
professional or amateur – there are
courses specifically for advanced
students, for example, as well as those
open to all. And each week is given its
own flavour through a particular blend
I’M AWARE THAT MANY PEOPLE WANT TO PLAY SCHUBERT AND
of courses and concerts. So how much LISTEN TO ALFRED BRENDEL TALKING ABOUT BEETHOVEN,
does MacGregor consider teachers when
she is putting the programme together? BUT I’M ALSO AWARE THAT SOME OF OUR PARTICIPANTS
‘I think a lot about the breadth of
music on offer. I’m aware that many
ARE TEACHERS WHO WANT TO EXPAND THEIR SKILL BASE

while you sit back, and you can meet

them afterwards in the White Hart bar It’s probably best to look on the website for all
for a drink. It’s impossible to come away the different courses, says MacGregor, as there
without picking up fresh ideas and new are more than 120 available. There’s a chance
contacts.’ to explore many creative strands of music and
There is at least one other practical creative opportunities that could be taken back
reason why teachers might be to young people in the classroom. Apart from
encouraged to apply to Dartington: this all the instrumental, chamber, vocal and choral
year sees the introduction of bursaries tuition, these opportunities include:
for teachers from the local region. »» Improvisation and spoken poetry with
‘This year we’re offering ten bursaries Stevie Wishart and Alice Oswald
to teachers from the South West, as »» Folk music with Eliza and Martin Carthy,
Dartington International Summer and the extraordinary folk composer and
School is rooted in this region and choir leader Sally Davies
wants to deepen its connections with »» Gospel music with Black Voices
local schools and teachers. We’ve been »» Brazilian music and song with
working closely with five schools for Adriano Adewale
our one-day festival in Totnes – Party »» Songs from the Jazz Age with Sarah Gabriel
in the Town – and making relationships »» Film and music with Neil Brand
through that. The plan is to offer more »» Jazz courses led by Andy Sheppard
bursaries to more teachers, from up and »» ‘Musical magpie-ism’, which brings
down the country, next year.’ MT together songs and music with installation
Joanna MacGregor: ‘I think a lot about the breadth of music and art, with the Dead Rat Orchestra
www.dartington.org/whats-on/summer-school on offer’
Main Orchestra
Saturday 29 July
Bridgewater Hall, Manchester 7pm |
SUMMER Tickets: www.bridgewater-hall.co.uk
0161 907 9000
C O N C E RTS 2 01 7 Under 13 Orchestra

Saturday 19 August
Leeds Town Hall 7pm |
EXPERIENCE THE Tickets: www.leeds.gov.uk/townhall
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Under 12 Orchestra
Sunday 6 August
Town Hall Birmingham 3:30pm |
Tickets: www.thsh.co.uk
0121 780 3333
National Children’s Orchestras of Great Britain

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Registered Charity No. 803026
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MT_0617.indd 22 1 18/04/2017
17/05/2017 14:06
15:17
MT | GRAND UNION YOUTH ORCHESTRA
MUSICAL MELTING POT
The 2013 Grand Union Youth Orchestra winter concert
The Grand Union Youth Orchestra has been exposing mostly get is general musicianship,
improvisation and learning by ear. It’s
young musicians to musical traditions and instruments something they can’t get anywhere else.’
from across the world for ten years. Katy Wright speaks Although many musicians won’t
have improvised before they join the
to founder Tony Haynes ensemble, Haynes says that they tend
to make incredibly quick progress –
something confirmed by 19-year-old Kei
Patrick, who joined GUYO five years ago.
T
he Grand Union Youth Orchestra introduce them to music from across the ‘I had never improvised on the saxophone
(GUYO) is inclusive in the world – from Indian classical ragas to before my first workshop, but now
fullest sense of the word. The African songs, and township chants to improv is my favourite thing to play!’
ensemble welcomes young musicians Latin-American rhythms. The bulk of what the ensemble plays
aged between 12 and 26 years, free of is introduced by professional musicians.
charge and without audition – regardless ‘The young people learn directly from
of instrument. The sole requirement is THE GUYO EXPERIENCE those who have been born and brought
that they should wish to explore other Emphasis is placed firmly on the up in these traditions,’ Haynes explains.
musical cultures. practical, with works transmitted orally ‘This means that they also get an idea of
Now in its tenth year, the ensemble and improvisation an important part of the country’s history and current social
offers free monthly masterclasses the GUYO experience. and political issues – for example, how
and workshops, performs regularly at ‘The performances seem polished African music has migrated to Brazil
festivals. Now in its fourth year, its and well-rehearsed, but a lot is left and how Caribbean music relates to the
annual summer school is set to take to chance on the stage,’ says Tony slave trade. They get to know why these
place in London for the first time. Those Haynes, composer and founder of the cultural things develop.’
who join the ensemble work regularly Grand Union Orchestra and its junior The ensemble’s repertoire is endlessly
alongside professional musicians, who equivalent. ‘Obviously what they developing. ‘It is determinedly cross- »
MT0617_023-024_GUYO_RP2_AS.indd 23 17/05/2017 12:17:21

MT | GRAND UNION YOUTH ORCHESTRA
WE DON’T PLAY ANYTHING

IN STRICTLY TRADITIONAL
STYLES: THE STYLE
REPRESENTS THE MUSICIANS
WE’VE GOT IN THE GROUP
cultural – I try to avoid the term “world

music”,’ says Haynes. ‘We don’t play
anything in strictly traditional styles: the
style represents the musicians we’ve got
in the group. There’s a repertoire of lovely
folk songs, standard tunes and traditional
material from all over the world, which
grew out of the first Great Migration.’
ORAL TRADITION
The repertoire is unique to the group, as
none of it is notated. ‘One of our early
Ghanaian chants has been completely
wrongly written in a recent publication,’
says Haynes, ‘and the rhythm is
completely wrong. That’s really why it’s
necessary to have the oral tradition – to
pass it on directly to the young people.
‘Of course, it’s highly desirable to
be musically literate, but it’s wrong to
assume that all music is contained in the
notes that are written down.’
The GUYO allows young musicians
to acquire skills they might not
learn through classroom teaching or
instrumental lessons, enriching their
overall musicianship. ‘The teachers
we meet often remark that, once some
of their pupils have been in the Youth
Orchestra, their whole outlook is The sole requirement of joining the Grand Union Youth Orchestra is a desire to explore other musical cultures
broadened and they progress a whole lot
faster,’ Haynes says.
‘Improvisation, knowing your theory actually be seen as the centre of enabled me to learn and be a part of the
and playing by ear all encourage each the cake.’ cultures that the music comes from. It
other. I think we still divide them up Young musicians feel that their has allowed me to meet and perform
really, and I think music education is musical development has accelerated with people from around the world –
quite conservative in that respect – each since they have joined the ensemble. and all of that experience has strongly
is still seen as a category of its own.’ ‘I wouldn’t be the musician I am today enhanced my ability as a musician.’ MT
Despite this, however, Haynes notes without Grand Union – my playing
that funding cuts mean that music hubs revolves around what I have learnt,’ says The Grand Union Orchestra Summer
are struggling to find the budget to 15-year-old drummer Cassius Cobbson. School will take place 31 July – 3 August at
recruit the GUYO for projects. Joshua Brandler, 29, agrees: ‘Not only Goldsmiths College, University of London.
‘What we do is paradoxically seen has it opened my ears to new music and
as the icing on the cake, but it should forms from all over the world, it has www.grandunion.org.uk/guyo.php
MT0617_023-024_GUYO_RP2_AS.indd 24 17/05/2017 12:17:22

CHANGING
VOICES
Two new choral collections for boys aged 11-16
B O
O K
+
Arranged by Ian Crawford B O
O K
+
E B O E B O
O K O K
+ A U + A U
D I O D I O
CHRIST
M AS
B O B O
O K O K
+ E B O + E B O
O K O K
+ A U + A U
CHANG CHANG
D I O D I O
ING VO ING VO
CHRIST ICES ICES
5 CHOR
AL ARR
MA S FOR BO
ANGEM
ENTS
CHRIS
YS AGE
5 CHO D 11–16
DON’T
FORGE R AL AR
T YOUR R ANGE
MENTS
TM A S
FOOLD
RBSHOIP
REMEM RULE TH YSMA
AGTEED 11
BER, O E WOR
LD
–16
THOU M
WINTE AN MA STE
R WON RS OF
5
5
DERL A WAR
CHOR A
CHOR A
ND SPANIS
GAUDE H L ADIE
TE DANCIN S
ROCKIN G IN TH
’ ROBIN E MOO
L ARR
L ARR
GOOD K NLIGH
ING WE T
NCESL
AS
AN
AN
GEMEN
GEMEN
TS FO R
TS FO R
B OYS
B OYS
AGED
AGED
11–16
11–16
ARR AN ARR AN
GED BY GED BY
IA N CR AW IA N CR AW
FORD FORD
NOVEL NOVEL
LO LO
With demo recordings and variable-speed

backing tracks on the new SoundWise app
Available from your local music shop and online at musicroom.com
MT_0617.indd 25 17/05/2017 15:17

MT | SCOTLAND SINGING FRAMEWORK
LEARNING TO SING
With a significant decrease in the number of primary
pupils taking up singing in Scotland’s schools, a group
of concerned arts and education organisations has put
together a new project: Singing to Learn, Learning to
Sing. Rhian Morgan learns more
A
national singing framework The aim is for it to be used in the if we could help teachers to have the
is to be launched in Scotland 2017/18 session, and there are plans to confidence to lead sessions, most
this month to encourage more review and refresh the content annually. children could have the chance to sing.’
primary-aged children to sing. The Kenny Christie, a development officer All resources are online and lessons
Singing to Learn, Learning to Sing at Education Scotland and an education can be followed via a whiteboard web
project has been put together by the support officer at Dundee City Council, link; these lessons include how-to
Music Education Partnership Group is working with Wallace on the project. films, backing tracks and downloads.
in Scotland, a collection of arts and ‘The lack of singing is a problem which While there is no specific funding for
education organisations that were was picked up by our inspectors,’ he the project, the song resources have
concerned by ‘a significant decrease says. ‘They found that the skill set for been donated by a range of partners and
in the amount of singing in schools’, teaching singing is simply not there for publishers across Scotland.
as noticed by Scottish government many teachers. Provision is far from ‘The teachers we’ve worked with have
inspectors. uniform across Scotland and what you really enjoyed it and ended up feeling
‘In many places this was as a direct get really depends on whether your confident in what they do. Some of them
result of the removal or reduction council has continued with buying in were absolutely petrified of the prospect
of visiting specialist teachers of specialist teachers or not. when they started but it really did work
expressive arts,’ says John Wallace, ‘We felt that singing was by far the for them. Its accessibility is a mark of it
the trumpeter and former principal of most accessible form of music and, success for us.’
the Royal Conservatoire of Scotland
(RCS) and chair of the Music Education
Partnership Group. ‘In some schools, John Wallace asserts that more teachers need the confidence essential for leading musical activities
if there is a dedicated music teacher
or a class teacher with a particular
interest or specialism, music can be very
strong – but the national picture is not
consistent. Many primary teachers feel
they don’t have the confidence or skills
to lead musical activities, including
singing themselves, so we really felt the
need to do something to improve the
situation.’
PHASE ONE
Covering school years P1 to P7, for ages
5 to 11, a pilot project has already been
run in Dundee and a second phase, in
Glasgow and in Dumfries and Galloway,
will shortly be starting. At its heart is an
online resource, available through Glow
(the Scottish schools national intranet)
for participating schools in Scotland.
MT0617_026-027_Scotland singing framework_RP2_AS.indd 26 17/05/2017 16:43:31

MT | SCOTLAND SINGING FRAMEWORK
Singing to Learn, Learning to Sing is arranged thematically, and includes feel-good songs as well as resources that encourage and promote student wellbeing
from passionate, inspired amateur only develops their ear, pitch, and
FEELING GOOD musicians’. rhythm, but also their personal sense
Much of the material is organised He came back to Scotland and the of confidence and what it means to
thematically, with sections on the RCS in Glasgow in 2002, and he now contribute within an activity. There are
seasons, specific areas of the curriculum, hopes that many more generations of so many skills to be developed from
and fun bits involving space and robots. children can benefit from at least some singing within music – and it’s also
There are also many feel-good songs, of ‘the superlative formal and informal important not to forget more generic
including a selection from Fischy Music, music education system’ that he enjoyed learning and social skills too.’ MT
a charity that works with children as a child.
and provides resources supporting ‘We want all children and young
emotional, social and spiritual wellbeing people to have real access to the highest THE GROUPS BEHIND
through song. quality of music education – no matter THE MUSIC EDUCATION
‘It’s a flexible approach,’ says Christie. where they live, their backgrounds or PARTNERSHIP GROUP
‘If we get more children singing, they their ability to pay,’ he says. »» The National Parent Forum of Scotland
will have more opportunities and more ‘By bringing together the major »» Creative Scotland
enjoyment. It’s a very personal medium stakeholders in the country we aim to »» The National Youth Choir of Scotland
and a very good start to developing an work independently of the government, »» Choonbaboon
inner ear. I really see it as a springboard.’ to coordinate and to provide better »» Scottish Opera
Wallace, who was born in Fife, outcomes. Together, as a group we are »» Sing Up
came up through the brass band greater than the sum of our parts. »» One More Time
system there, and initially learnt music ‘Singing is fundamental in developing »» Fèisean nan Gàidheal
informally ‘through aural transmission a child’s early musicianship. It not »» City of Edinburgh Council
»» The Royal Scottish National Orchestra
»» The Association of British Orchestras
»» Traditional Music Forum
IF WE COULD HELP TEACHERS TO HAVE THE CONFIDENCE TO LEAD »» The Scottish Ensemble
»» The Scottish Chamber Orchestra
SESSIONS, MOST CHILDREN COULD HAVE THE CHANCE TO SING »» Education Scotland
MT0617_026-027_Scotland singing framework_RP2_AS.indd 27 17/05/2017 16:43:36

MT | TRINITY LABAN CHAPEL CHOIR
PITCH PERFECT
Felicity Hayward speaks with members
of the Trinity Laban Chapel Choir, at its
home in the stunning Old Royal Naval
College Chapel in London’s Greenwich
T
he striking beauty of the Old hundreds of years, the choir which now choral scholarships from Trinity Laban.
Royal Naval College Chapel in sings there has not. The Old Royal Naval College Trinity
Greenwich, a Wren masterpiece, Prior to Trinity Laban Conservatoire Laban Chapel Choir is the only collegiate
needs little introduction and has of Music and Dance’s arrival in chapel choir to be affiliated with a
featured in too many Hollywood Greenwich in 2001, it was home to a UK conservatoire in this way. Under
blockbusters to mention – Rowan very good volunteer choir, but choral the direction of Ralph Allwood for
Atkinson’s blundering turn in Four singing has gradually evolved into a the last four and a half years, and his
Weddings and a Funeral, anyone? But thriving ensemble of around 28 singers, predecessor Richard Tanner before then,
while the chapel has been there for of whom 15 each year are awarded the choir’s ambitions have grown. These
The choir’s ambitions, under the direction of Ralph Allwood, have grown exponentially
MT0617_028-029_Trinity Laban_RP2_AS.indd 28 17/05/2017 12:27:08

MT | TRINITY LABAN CHAPEL CHOIR
ambitions now encompass regular tours

and twice-annual large-scale oratorio
performances with a professional
orchestra and soloists from the choir –
recent highlights include Bach’s Mass in
B Minor and St John Passion – alongside
a weekly Sunday morning service and
choral evensong each Monday at 5.30pm.
Expertise is key
Allwood’s expert leadership and
tremendous experience (he was director
of music at Eton for 26 years and
continues to direct Eton choral courses
for aspiring singers) seem to be paying
dividends. Notable previous scholars
include James Newby, baritone and joint
winner of the Kathleen Ferrier Award in
2016; and mezzo-soprano Emma Lewis,
who took up a place on Genesis Sixteen,
The Sixteen’s graduate singer scheme
and the Monteverdi Choir Apprentices
Programme after graduation.
Both are quick to praise Allwood’s
ability to help young singers to Choral evensong at the Old Royal Naval College Chapel, Greenwich
develop their skills, acknowledging
how important this is in the current
professional climate, particularly in
the early years of a career. ‘When
young singers enter the profession, the
THEY CAN HOLD PHRASES FOR AN ASTONISHINGLY LONG
majority of the work they will pick up TIME AND THEIR PIANISSIMOS ARE SPINE-TINGLING
at the beginning is choral singing,’ says
Emma Lewis, ‘and I think it’s important
to give them a strong grounding in us several times to work with us and all the teamwork and the collaboration of
that training.’ the students loved him. He’s also a deep- having worked in a choir – and all the
For James Newby, Allwood’s expertise thinking Christian, so lots of the pieces singing teachers agree.’ Some of the
was key. ‘I think what he does very well mean a terrific amount.’ scholars also take on extra duties within
is bridge that gap between professional Current scholar Matthew Norriss the choir, such as librarianship or other
and student,’ he says. ‘Ralph has agrees: ‘[Roderick was] always focused administrative tasks, building a lasting
obviously got a great amount of on the vision of his pieces, rather than sense of camaraderie and ownership.
experience with younger singers, so he what was explicitly written on the page. Providing access to high-level choral
really knows how to develop the singers Very often when he was coaching us on training alongside Trinity Laban’s
that come in at 18 or 19; and he is a his works, we found there was a much vocal studies courses has clearly been
great musician, so it’s really worthwhile deeper meaning behind the music.’ a successful strategy. ‘The choir makes
for the older members as well.’ A pattern that emerged when speaking a glorious sound,’ says Allwood. ‘What
The choir has recently been on tour, to people about the choir was an links them all is that they think and
performing for services and giving recitals agreement that it has a strong collective, breathe singing. The vocal training
in Bristol Cathedral, Romsey Abbey, collaborative identity – something which carries through directly: they can hold
Tewkesbury Abbey and Southwark is already deeply ingrained in the Trinity phrases for an astonishingly long time
Cathedral. In addition, they have just Laban ethos. and their pianissimos are spine-tingling.’
recorded a CD, due for release later this ‘I took on this important choir Perhaps most importantly, Trinity
year on the Signum Classics label, which because it is unique,’ says Allwood, ‘and Laban is clearly giving some thought
showcases the compositions of baritone because Trinity Laban’s vocal studies to the skills its vocal graduates need
Roderick Williams, an association that department is forward-looking enough to be successful, as well as providing
Allwood is proud to have established: ‘He to accept that if you want a solo career them with a musical experience to
was the perfect choice for us. He’d visited as a singer you need the musicianship, remember. MT
MT0617_028-029_Trinity Laban_RP2_AS.indd 29 17/05/2017 12:27:11

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MT_0617.indd 30 17/05/2017 15:17

MT | YOUNG VOICES
Gladstone Park Primary School’s choir
LITTLE VOICES, BIG IMPACT

When Antonia Couling heard that her ten-year-old IT’S GETTING HARDER,
was going to be joining several thousand others at the
London O2 – for an event which had the potential to
BECAUSE OF THE WAY THAT
be an unhealthy shout-fest – she was initially worried. GIRLS, PARTICULARLY, FORCE
However, once the project got going, she was impressed THEIR CHEST VOICES UP
with Young Voices’ efforts to ensure the participants’
vocal health, while still providing an inspirational mass-
that over the next five months
singing experience Gladstone Park Primary School’s choir
will be preparing for a massive Young
Voices choral event at the beginning
W
hen we found out that under her belt already, thanks to the of February. Almost 8,000 kids will
my ten-year-old’s school fabulous local junior choir that she has be singing at London’s O2 Arena. The
would be taking part in a been a member of since she was seven. school choir numbers are swelled,
mass choir event, I feared somewhat Would all the sensitive vocal training rehearsals are stepped up, choir gigs fill
for the audience’s ears – but more she had received there be dashed to the school calendar, excitement builds
importantly for my daughter’s voice. pieces on the rocks of shouty, banal, to fever pitch and we have the practice
She is lucky enough to have several crowd‑pleaser tunes? disc on loop in the car. For five months.
years of choral-singing experience It’s September 2016. We are informed (Five. Months.) »
MT0617_031-033_Young voices_RP2_AS.indd 31 17/05/2017 12:29:26

MT | YOUNG VOICES
They are also given workshop training

and a comprehensive teacher’s pack
which includes music, notes and that
all-important CD.
Conductor David Lawrence has been
involved for the last 19 years and is
at pains to impart just how careful he
and musical director Craig McLeish are
about the children’s vocal health: ‘To
make sure we have the right style of
singer for each song we use three or four
singers on the CD. And we make sure
we have good head-voice songs within
the repertoire.
‘To maintain good and ongoing vocal
health I write notes on each song for
the teachers’ music packs. Many are
Conductor David Lawrence Musical director Craig McLeish
experienced music teachers, but a lot
aren’t, because there aren’t so many
My daughter is so excited that she around anymore [at primary level].’ their chest voices up – like Adele and a
can now share the thing she is most lot of Americans.
passionate about with her school chums. ‘I fiddle with the keys like crazy.
She relates how they are working out Repertoire choices There’s hardly anything we do which is
harmonies in break time and coming up Providing a balanced range of high- in the original key.’
with choreography of their own. We sing quality music that can be safely sung And what about ‘that’ Frozen song?
the songs together to and from ballet, is always McLeish’s challenge: ‘I think ‘There was lots of pressure to do it, but
swimming, you name it – and pretty of it in terms of exciting the children I said, “You have to be joking me!” That
soon I am a convert. What impresses me into discovering different music. We did woman sings a chest voice top E flat.
is the very careful choice of singers that ‘Mr Blue Sky’ a few years ago. We have You cannot get away with trying to teach
are used on the practice disc; there are done a bit of Chilcott in the past, ‘Panis kids how to sing that way, because they
no belting Idina Menzels here. It’s all Angelicus’ and ‘Brother James’ Air’. mimic more than they are taught.’
pretty much a gentle head voice, which There’s a pop medley which we do every And how does Lawrence manage the
the children can safely mimic. And year which is meant to include the latest kids’ voices on the day itself, which
the repertoire too is rather pleasing: it hits and it’s getting harder, because of begins with rehearsals at 11am and
ranges from medleys of trad folk tunes the way that girls, particularly, force finishes at 10pm? So much of that vocal
to quality rock anthems and tasteful
ballads. My interest piqued, I seek out
the people behind the event. The event will see 8,000 children take to London’s O2 Arena
The process
Young Voices has been running since
1997, born out of a series of national
mass choir events and now going strong
internationally. When a school enters,
the teacher responsible for delivering
training can log on to areas on the YV
website where there are song, lyric and
dance videos, and digital practice rooms
where harmony parts can be isolated.
THERE’S HARDLY ANYTHING

IN THE ORIGINAL KEY

MT | YOUNG VOICES
care could go out the window. ‘The their bodies, let them make up dance
pacing of the rehearsal is like no other IT’S MADE THE CHOIR moves for the songs we don’t have
project I would do. I wouldn’t even choreography for. I think that made the
conceive of going two-and-a-half hours MORE CONFIDENT AND children love it even more.’
without a break with a professional
choir, but there is no way we could send
MORE ENTHUSIASTIC. A legacy has clearly been left at the
school, says Paknadel: ‘I feel like it’s
all the kids off to the toilet and back GENERALLY THE MUSICAL made the choir more confident and
again, because we would lose half of the more enthusiastic. I think generally the
rehearsal. If I give them just 20 seconds STANDARD HAS GONE UP musical standard has gone up in the
to themselves to talk it can take two or school.’ So much so that two weeks
three minutes to get everybody really as later, she entered them into the Brent
focused as they were before. So I come Choir of the Year competition.
up with a rehearsal plan where all the was full of praise for the methods used And the concert itself? Astonishingly
songs that I know they are going to have to train the trainers: ‘They offered their moving, pleasant to listen to and great
to concentrate on are not too late on, staff to come in and give us extra help if fun. Job done as far as David Lawrence
when they will be tired.’ we needed it, and they were always on is concerned. ‘The more people we
the end of the phone. And I made friends can get singing, the more we stand
with a couple of other teachers at the a chance of improving how people
School impact workshop and we kept in contact and think about themselves. We feel we
Deborah Paknadel, the music discussed any problems we came across. have a responsibility to ensure that we
coordinator at my daughter’s school, is ‘The resources really helped the equip them well to do what we need
not trained musically, but she led the children feel more confident, but them to do. And in doing that, the
project alongside the school’s choir and also the fact that they told us to let legacy we leave is a more musically
orchestra teacher Eriko Shimada. She the children enjoy it, let them move equipped school.’ MT
Youth
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MT | ABCD
EASY AS ABCD
The Association of British Choral Directors will collaborate with the Royal
Conservatoire of Scotland this August. Rhian Morgan asks two session leaders to
discuss their hopes for the annual convention
F
or only the second time in its James MacMillan, Paul Mealor and Will 2017 ABCD Convention in Glasgow
32-year history, the Association of Todd – plus repertoire-reading sessions, offers delegates opportunities to gain
British Choral Directors (ABCD) is and a Friday dinner and jazz with fresh insights into vocal, choral and
off to Scotland for its annual convention. Bob Chilcott. conducting techniques.
ABCD, working in collaboration with Elsewhere, Helen Hampton, leader ‘The ABCD Scottish Committee is
the Royal Conservatoire of Scotland, of Popchoir, will show participants how particularly proud to include a diverse
has chosen the theme of diversity and to get pop music right with a choir, and spectrum of sessions which will inspire
unity for the course, which runs on 25 Alan and Rebecca Tavener will explore choir leaders to appreciate the health
to 27 August. the repertoire of early Scottish choral and wellbeing benefits of group-singing
As well as regular sessions on music and the art of plainsong. activities, whether for young people, for
technique and the voice, those wishing Of the event, Alan Tavener says: the retired, for the socially isolated, or
to attend can expect contributions from ‘Together with a wide range of repertoire for the elderly.’
several leading composers, including Sir sessions featuring a Scottish twist, the www.abcd.org.uk/convention
MT0617_034-035_ABCD_RP2_AS.indd 34 17/05/2017 12:32:49

MT | ABCD
Anne Lewis will be running a session on being far more dramatic than the sum of the
health and wellbeing through singing. She is parts. It’s important to create a relaxed, fun and
an Edinburgh-based singer with a lifetime encouraging tone.
of experience in performance, reading and What sort of response have you had from
teaching. www.annelewis.co.uk people who have taken part?
I get comments like ‘I’ve achieved more than I
What do you hope to communicate to the ever thought possible’, ‘The class encouraged me
conference? to get up and out of the house’, or ‘I never thought
I believe passionately that everyone has a I could sing in parts, or have the confidence to
voice and can sing, even if they don’t believe perform with a group in front of others’.
it of themselves – or have been told not to, as Do you think this is a neglected area?
many have! No, not anymore! The health and social benefits
Why do you think this is important? are recognised now, with plenty of science to back
The mental and physical health benefits of it up. There’s been a big rise in the popularity of
singing are firmly established. When people non-auditioned community choirs – although
overcome their lack of confidence in making proper funding can still be hard to come by.
music, the benefits flow easily. We just have to What input would you like the next
turn up, open our mouths, and we all have our government to have with this work?
own unique sound. Music must be prioritised in schools as an
How do you work? essential feature of the core curriculum. The
I begin with the assumption that everyone can collateral benefits to academic education and
sing and we start with well-known tunes. Classes social capital are quite clear. The government
are mainly unaccompanied and we sing rounds must not take a self-defeating, utilitarian
as an easy way to produce harmony. People who attitude to music as a ‘soft’ subject, which
haven’t sung for decades experience the thrill of can turn it into a luxury only available to the
singing with others – the combined sound always privately educated.
Diana Kerr is leading a session on dementia This is a far from isolated incident from one of
and the power of music. She is the author of our singing groups.
a number of publications on dementia and Malcolm had heard of a music group being
learning disabilities, and advocates the use of set up for people with dementia and their carers.
music for people with dementia. His wife Isobel, who had dementia, had not
spoken for five months. She no longer showed
What can you tell us about your session at the any facial expressions and she seemed to be in a
conference? world of her own.
My purpose is to convey the critical role that With great trepidation, Malcolm brought
music, and especially singing in groups, plays Isobel to the group. To begin with, she appeared
in the wellbeing of people living with dementia. agitated and just sat and stared as the singing
Many experience a remorseless series of got underway. Slowly at first, her hand started
losses – of ability, friends, skills and a sense of to tap her thigh. Then she moved her body, and
belonging. Singing in groups helps to overcome then she began to make some humming noises.
much of this, albeit maybe only for a short time – By the end of the session, Isobel was singing
but for that time the person feels so much better. and smiling.
Why are singing groups important? The next morning, she woke up and said
The groups provide the opportunity for people to her husband ‘I think we should bake a cake
with dementia to use a skill which remains Our groups are run by volunteers, all of today’ – and they did! MT
long after others have disappeared. People whom have training in the needs of people
who may have difficulty speaking in sentences with dementia. They are run in a sensitive way, Diana Kerr’s book Singing Groups for People
can often sing an entire song. Singing groups reflecting the musical tastes of people with with Dementia: A guide to setting up and running
are about playing to people’s strengths and dementia. groups in community and residential settings
counterbalancing the usual feeling of loss and Can you tell us about a particular experience (2015) can be obtained from Book Depository,
failure. They also provide an opportunity to meet you’ve had with someone with dementia Amazon or other online booksellers for £10.
others and engage in an activity which brings joy. connecting to music?
MT0617_034-035_ABCD_RP2_AS.indd 35 17/05/2017 12:32:52

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MT | BERKSHIRE YOUTH CHOIRS
INTO THE PROMS

like to be involved with Ten Pieces
III. ‘It was a very tight turnaround...
Crazy really, but we knew it would be
worthwhile.’
The first stage was to record two
Berkshire’s three county youth choirs have had a crucial pieces, ‘O Fortuna’, the opening
movement of Carl Orff’s Carmina Burana,
role in the next BBC Ten Pieces – and now they’re and No Place Like, a new commission
preparing to perform at the Proms. Rebecca Ranson from Kerry Andrew – and the recording
session took place in the legendary
finds out more Maida Vale One studio with the BBC
Symphony Orchestra.
‘It was amazing for the kids to
walk into that room and sing with
O
n 23 June, dozens of young The older children make up Berkshire the BBCSO,’ says Christopher Hann,
singers from Berkshire will Youth Choir (BYC), the youngest, artistic director of Berkshire County
travel to London to perform Years 4 to 6 in Berkshire Children’s Youth Choirs. Many of the singers had
in Prom 11: Ten Pieces presents… Choir (BCC) – and those in Years 7 to performed Carmina Burana a few years
Sir Henry’s Magnificent Musical 9 form Berkshire Young Voices (BYV). ago, coincidentally in the RAH. ‘The
Inspirations (to give it its full title). Every member has auditioned and the others all recognised the Orff from The
The day will not only be their chance three choirs represent some of the X-Factor!’.
to participate in the world’s biggest most able young singers from across ‘They told us Adele and Ed Sheeran
music festival, it will also represent the the county. had been there recently,’ adds alto
culmination of their involvement with ‘We’ve worked with the BBC on and Enya Dodson, 18, who is sad to be
the third BBC Ten Pieces project. off over the last eight years,’ says Louise leaving BYC after four years with the
The youngest singer will be just McGahon, head of voice at Berkshire group. Enya is an Albert Hall veteran,
eight years old and the oldest 18, Maestros. She recalls a phone call in having previously sung there on several
giving their last hurrah before moving February from the BBC’s education occasions – most recently the Verdi
on from school into higher education. manager asking if the choirs would Requiem at the Proms last year. Then »
MT0617_037-038_Berkshire Youth Choir_RP_AS.indd 37 17/05/2017 12:36:31

MT | BERKSHIRE YOUTH CHOIRS
she was part of the BBC Youth Choir,

performing with the Orchestra of the CHORAL PRIORITIES
Age of Enlightenment under Marin The three-choir structure at Berkshire
Alsop, which she describes as ‘the best Maestros has only been up and running
experience of my life’. for the current academic year. Previously
there were just two choirs – BYV and
BYC. The addition of the youngest,
NO PLACE LIKE… Berkshire Children’s Choir, has brought
No Place Like has proved a massive hit the age range down by a year and
with the choirs too. Andrew formed her divided the two younger, feeder choirs
libretto from texts written by children at the natural break between Years 6
throughout the UK, on the subject of and 7. McGahon and Hann are currently
home. Although its sectional structure is hoping to recruit 30 or 40 new singers,
quite straightforward, there are plenty of mostly into BCC, with a particular
Kerry Andrew’s new work, No Place Like,
challenges. emphasis on finding boys.
explores the idea of home, based on texts
‘At one point, the altos have a little ‘This time of year’s always a bit
sent in by children from across the UK. It has
folk song and the tenors have a football stressful for BYC because we’ve got six
proved a hit with Berkshire’s young singers:
chant while the basses drone. It’s clever,’ basses leaving at the end of the year,’
says Hann. Hann explains. ‘If we’ve got them
Alto Enya Dodson, 18, was inspired by
As well as layering, the piece presents coming through the system there’s far
meeting Andrew at the recording session:
other challenges, including harmonics, less stress.’ An open rehearsal for all
‘She has so much energy and so many
body percussion and beatboxing, says three choirs was held last month with
interesting ideas.’
Hann. ‘Coordinating singing and body members encouraged to bring a friend.
Bass Daniel Raggett, also 18, enjoyed
percussions is tricky – I can’t do it! ‘Normally when people experience a
working with the composer: ‘She told us how
‘Interestingly, the younger ones rehearsal they want to stay.’
she intended the piece to sound and gave us
picked it up quicker, but they do more In the last year or so, the choirs
lots of suggestions. She really spurred us on.
stuff by ear. Kerry is very clever at have performed in prestigious venues
It was absolutely brilliant.’
writing something that’s to the ability including St George’s, Windsor, Douai
Soprano Emily Green, 14, said of the
of each individual choir, enabling it to Abbey and King’s College, Cambridge as
piece: ‘It’s completely different from the
sound effective: challenging, but not well as, for BYC, a concert tour of China.
things we’ve done before, and was quite
impossible. ‘We’re constantly striving to provide
difficult to fit together. In one section I had to
‘Learning the Kerry Andrew piece has the best and most exciting musical
talk when everyone else is singing – we’re not
been the real jewel in the crown of the opportunities that we can,’ Hann adds.
normally allowed to do that!’
project,’ says McGahon. ‘It tells a story McGahon agrees: ‘Our main passion
‘I liked how well the layered parts went
the children can identify with.’ is that children enjoy singing the whole
together,’ said Benjy Bass, 11. ‘I really didn’t
The choirs will be performing the world of choral music that is available
expect them to! It’s quite different from the
piece closer to home at a concert in to them.’ MT
music I’m used to singing but once I got the
November. There is also an arrangement
hang of it, it turned out to be quite an unusual
with piano so that the piece can be www.berkshiremaestros.org.uk
and exciting piece.’
performed by schools everywhere. www.bbc.co.uk/proms
MT0617_037-038_Berkshire Youth Choir_RP_AS.indd 38 17/05/2017 12:36:37

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MT | VOCAL PROCESS
Jeremy Fisher and Gillyanne Kayes (centre), with course participants
INSIDE THE VOICE

Vocal Process ‘Inside the Singing Voice’
(ITSV) course to find out more about
what they offer.
The retreat-style format of the
Earlier this year, Clare Stevens attended a retreat-style extended weekend was enhanced by
the peaceful riverside setting, which
course with Vocal Process, run by professional vocal even in winter felt like stepping
coaches Jeremy Fisher and his wife Gillyanne Kayes. Here into another world. Students stay in
neighbouring holiday cottages or B&B
she shares her experience accommodation, and tasty lunches and
an evening meal on the Sunday are
provided, courtesy of the local deli.
M
T readers will know Jeremy and performance coaching (both in One of the characteristics of Vocal
Fisher as a contributor to the person and via Skype), they run courses Process residential courses is that
magazine – though writing and workshops for performers, music much of the content can be tailored to
is actually very much a side-line for teachers and businesses in the UK and participants’ needs. ITSV is aimed at
Fisher. His ‘day job’ is running Vocal internationally. singing teachers, speech and language
Process with his wife and business Some of these courses take place therapists, and experienced choral
partner Gillyanne Kayes. In addition over several days at their home on the singers. Numbers are limited to nine,
to giving individual singing lessons Welsh border. Earlier this year I joined a and my fellow students included
MT0617_040-042_Vocal Process_RP2_AS.indd 40 17/05/2017 14:46:39

MT | VOCAL PROCESS
professional soloists working in both

classical and popular music; choir
leaders; and teachers working in
classrooms, youth music settings and in
private practice.
Some had already done courses with
Fisher and Kayes or were having regular
singing lessons with Kayes at her
London studio; others were new to Vocal
Process. Some wanted help with specific
teaching challenges or vocal problems,
while others sought to deepen their
knowledge of how the voice works. It
was noticeable that, in contrast to some
of the singing courses I’ve attended
in the past, old hands and new were
treated exactly alike and received the
same attention. We very quickly bonded
as a friendly, supportive group despite
our vastly different musical backgrounds
and levels of knowledge.
ANATOMICAL DETAIL
In essence ITSV is theoretical,
structured around a sequence of
topics such as ‘Breathing’, ‘Unpacking
the Larynx’, ‘Vowels’, ‘Consonants’,
‘The Tongue’, ‘Shaping the Sound’
and ‘Vibrato’. It quickly plunges into
anatomical and physiological detail,
and the first session in particular was
very information-heavy. However,
Fisher and Kayes are expert team
teachers, with complementary skills
and styles, and good at judging the
capacity of their students for continued
concentration.
There were plenty of practical
exercises and demonstrations, while
YouTube clips and videos such as an On the ball: A multitude of props complement learning
endoscopy film of the vocal mechanism
at work, with Fisher as the subject, opportunity to present short songs repertoire. The musical director of a
provided variety. or sections of songs that we found successful youth music theatre group,
Props ranged from plastic drinking particularly challenging, or which trained as an instrumentalist, felt
straws, a detergent bottle and a gym illustrated a specific technical problem. confident working with her band, but
ball to laboratory-standard anatomical One leader of a community choir didn’t feel she knew enough about vocal
models of the tongue and larynx. wanted help with teaching a tricky song technique to help her singers.
Optional activities included making our arrangement to non-music-reading Other students were more focused
own tilting larynxes with paper and singers whose vocal registers were on their own performance skills, such
fasteners to reinforce our understanding different from hers, and who were as a violinist who had always wanted to
of the concept – and tea breaks always finding it difficult to adapt phrases that study singing but had been discouraged
seemed to come at just the right time! she was singing to their own pitch. from doing so by her parents, and a
As the weekend progressed, an A very experienced barbershop choir writer who had made a career change
increasing number of mini-masterclasses director wondered how to get her singers to singing backing vocals professionally,
were slotted into the schedule alongside to produce the specific sound quality but had been unwell and had lost
the theory. This gave each of us the that she was looking for in a particular confidence in her singing. »

MT | VOCAL PROCESS
INSIGHTFUL EXPERIMENTATION
Kayes and Fisher bring to their work an
FISHER AND KAYES WERE ABLE TO RESPOND WITH
incredibly wide range of professional INSIGHT, PRACTICAL SUGGESTIONS, AND IN SOME CASES
training and experience. Both are
classically trained, Kayes through an
TRANSFORMATIONAL SOLUTIONS TO EVERY CHALLENGE
academic music degree at the University
of York and some years as a professional
choral singer in London; Fisher as an sound I was producing and concentrated This is a Voice, the book which Kayes
oboist and pianist whose career has instead on the technique we’d been and Fisher wrote to accompany a recent
included vast experience as an opera working on over the weekend. The major exhibition at the Wellcome
repetiteur and coach, as the keyboard result, according to my fellow students, Collection in London. We all went away
player of a touring company and the was a much more consistent and with a CPD certificate and a personal
managing director of a cafe orchestra. soloistic sound. plan for the future, whether in our own
Recently, however, they have spent One of the most interesting sessions working context or through a more
more time working in music theatre and of the weekend involved an experiment specific Vocal Process course such as
with actors than in classical contexts, in which Kayes and Fisher got us all to the Singing Teacher’s Retreat, Advanced
and they are vocal coaches on The Voice. sing a few phrases from the ‘Hallelujah’ Retreat or a performance course.
They were able to respond with insight, chorus in several parts and a variety of More informal follow-ups took place
practical suggestions, and in some cases vocal styles: like a gospel choir, like a pop almost immediately via the closed
transformational solutions to every song, like an early music consort, like Facebook group ‘Singing and the Actor,’
challenge. the Huddersfield Choral Society in its run by Kayes and Fisher as a forum for
In my case, for example, they suspected Edwardian heyday. It was extraordinary voice-related specific discussion. They
that years of singing in classical choirs and how quickly we all adjusted our also host the weekly Twitter #VoiceHour
blending with other voices had inhibited technique to create each style, how well on specific topics, and the Vocal Process
my solo voice: tackling Handel’s ‘Art thou our very individual voices blended when website is a mine of information. MT
troubled?’, I sang the first phrase strongly required to do so and how different the The next Inside the Singing Voice retreat in
but then instinctively ‘backed off’. ensemble sounded each time. Presteigne, Powys runs 12-14 August 2017
The solution was to make me wear Additional resources for the course
headphones so that I couldn’t hear the included a copy for each participant of www.vocalprocess.co.uk
Alongside the theory, the programme includes mini-masterclasses

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MT_0617.indd 43 17/05/2017 15:18

MT | MAKE MUSIC DAY
BY EVERYONE, FOR EVERYONE

Make Music Day is celebrated on 21 June in 750
cities across 120 countries – and this year the
UK will be making more of an effort to join in.
Rebecca Ranson reports
I
n 1982, the then French minister for Porter was appointed only in February
culture Jack Lang discovered that and has been working diligently ever
five million French children – one since to coordinate events throughout
in two – played a musical instrument. the country.
A statistic to be proud of and, in Lang’s ‘This year won’t even touch the
eyes, one to shout about. He envisaged scale of what happens in the States,’
a day in the summer when musicians she says, ‘but we’re aiming to have will include showcase performances in
would have the opportunity to perform, 150 to 200 events across the country.’ St Helen’s Square in York, Edinburgh’s
and everyone would be given the chance These will range from formal concerts Grassmarket, and London Bridge station
to listen to those performances for free. to outdoor events, open rehearsals to in the capital.
That vision quickly became a reality on school concerts, with venues ranging ‘There’s a real spread of groups
21 June 1982 when the first Fête de la from bandstands to libraries and most signing up,’ Porter says. These include
Musique took place. things in between. The complete diary jazz, pop, world and folk musicians,
The event has grown steadily and of events is still being finalised, but marching bands, barbershop groups and
spread widely in the subsequent 35
years, and Make Music Day (it remains
Fête de la Musique in France) now takes Make Music Day has been a roaring success across the globe – particularly in the US
place on 21 June in 750 cities across
120 countries worldwide, including
Greece, Russia, Japan, Mexico, Peru
and Australia. It has been a particular
success in the US, with 32 cities
collectively staging a total of 3,238
events in 2016.
The huge success of Make Music Day
in the US resulted in the birth of the
Make Music Alliance, a collective of US
Make Music Day executives who share
their skills and expertise with new and
less experienced organisers.
UK getting on board
The UK has been surprisingly slow
to get in on the act. The first Make
Music Day to take place in these shores
was in 2012, with a small number of
performances being staged each year –
the majority of them in London. But that
is set to change for 2017 and beyond.
‘Just meeting the guys from the States
has been the inspiration to kickstart IT’S OPEN TO PERFORMERS OF ALL AGES, STANDARDS
it here,’ says Alison Porter, project
manager for Make Music Day UK.
AND GENRES. ABSOLUTELY ANYONE CAN TAKE PART
MT0617_044-045_Make Music Day_RP2_AS.indd 44 17/05/2017 15:33:09

MT | MAKE MUSIC DAY
need to get through this year, see what

we’re able to make happen and who
embraces it, evaluate and then see how
it can grow and how we can fund it.’
What is particularly appealing
Alison Porter: ‘There’s a real spread of groups signing up’ about Make Music Day is what Porter
described as its ‘hodge-podge’ nature.
‘It’s open to performers of all ages,
orchestras. ‘It’s a whole mixture, which ‘And being in regular contact with standards and genres. Absolutely
is really exciting and will give people the them makes me feel linked to a global anyone can take part.’ Indeed, one of the
opportunity to hear music they might organisation.’ organisation’s straplines is: ‘Performed
not necessarily seek out themselves.’ While Porter works hard to deliver by everyone, enjoyed by everyone’.
Porter is also in discussions with this year’s Make Music Day, she has half Perhaps that could be you? MT
a range of businesses and Business an eye on 2018 and is already talking
Improvement Districts to attract more to potential venues and performers To find out more about Make Music Day,
commercial support. Coffee chain Caffè – because, as she says, ‘even amateur or to get involved in this year’s event, visit
Nero is on board and will have live groups plan far ahead. But ultimately we www.makemusicday.org/uk
music in a number of its stores for this
year’s Make Music Day.
Make Music Day is open to performers of all ages, standards and genres
Industry support
For 2017, Make Music Day in the UK is
being funded by a number of partners
including Making Music, Music for All
(the charity arm of the Music Industries
Association), and the Musicians’ Union,
and is supported by Music Sales and
Classic FM.
‘There are various small pots of
funding we’ve cobbled together to make
it work this year, but we’ll need more to
really make it fly,’ says Porter. Luckily
help is on hand from the Make Music
Alliance, which provides advice, as well
as marketing tools, a website template,
software to match performers with
potential venues, apps, and a myriad of
other resources.
‘They’ve given me so many tips and
their advice is really useful,’ says Porter.
MT0617_044-045_Make Music Day_RP2_AS.indd 45 17/05/2017 15:33:10

MT | ADVERTORIAL
My ISM is communication
‘I’m Steph. I’m a clarinettist and I’ve been a member of the schools, my own voice might be heard – but as part of the ISM,
ISM for over ten years. I’m based in Cambridge and I work as a I can be represented along with many others, and that is when
peripatetic music teacher travelling to several schools a week. my voice grows ever stronger.’
I also run a private teaching practice and run various ensembles Stephanie Reeve, Peripatetic Music Teacher
for children and adults of all ages. ISM member since 2004
‘As a peripatetic music teacher I spend my week with a
huge range of pupils. I liaise with parents in a variety of ways. The ISM is a growing membership of professional musicians who
I discuss timetables and progress with heads of music, other come from all areas of the profession. Many of our members, like
colleagues, school and office staff. I need to be organised and Steph, have portfolio careers based in the music education sector
maintain a high level of professionalism while keeping to a and focus on their work as peripatetic music teachers, visiting
tight schedule. Efficient communication ensures it all runs classroom teachers, private music teachers or educators.
smoothly, but if something goes wrong I know exactly where We are here to support our members with a roster of high-
to turn! quality services including in-house, specialist legal support; public
‘Being part of a professional body like the ISM gives me liability insurance; a DBS check service; and many opportunities
the opportunity to build networks with fellow professional to build connections with other music professionals.
musicians. The specialist in-house legal advice has been We not only support our members as individuals but also
incredibly useful, putting me in contact with the right people at form a powerful voice for music and music education. With
the right time. While my role as a music teacher has remained our shared voice we lead several successful campaigns on
largely the same, the circumstances around my employment behalf of music educators, taking your concerns to government.
have changed considerably in recent years and the ISM has These successes have all helped to safeguard our vibrant and
supported me through those changes. important profession for future years to come.
‘When campaigning about the wider changes to music in To make us your ISM, join us online at ism.org/join
My ISM is
Stephanie Reeve
Peripatetic Music Teacher
ISM member since 2004
Join our growing membership @ISM_music

of professional musicians. facebook.com/ISMusicians
Make us your ISM. ism.org
MT0617_046_ISM advertorial_RP2.indd 46 17/05/2017 12:43:26

MT | DEPARTMENT FINANCES
ALL ABOUT THE MONEY

At a time when budgets are increasingly squeezed, find moaning only makes me feel worse
and doesn’t actually get me anywhere.
James Manwaring offers his top ten tips for raising My tips for raising money are all tried
some music department disposable income and tested. This year I have raised a
large enough amount of money – enough
to upgrade Sibelius, buy new music and
purchase all the new textbooks. The
I
f one thing is clear at the moment, real challenge. But I am not someone school are happy, I am happy, and most
it’s that schools don’t have enough who moans and groans about budget importantly, the students are happy!
cash. And if a school doesn’t have cuts; I am a solutions kinda guy. And 1. Ask your SLT for more, but present
much cash then it is likely that the this year, as I have done in the past, I a reasoned argument on one side
music department also doesn’t. This looked at how I can raise money for my of A4 paper. Don’t moan, just ask
is a challenge in a department where department, and here I will share some for more support. You might not
even a clarinet reed isn’t cheap – and of my findings. get anywhere, but if your approach
updating to the latest software will cost I am in a hugely supportive school for is right, you might. And, when you
probably ten times the annual music music, but they still can’t offer me a huge do approach SLT, remember that
budget. I have seen the full effect of budget. In fact, my budget this year was music isn’t the only department in
budget cuts in my school, and in a year pretty tiny, all things considered. We can the world. There are lots of other
of new specifications this has been a moan about it or we can be proactive. I requirements in a school. So be »
MT0617_047-049_Raising money_RP2_AS.indd 47 17/05/2017 12:45:47

calm, prepare a good argument,

and mention pupil impact and the PERFORM AT LOCAL EVENTS. MAKE SURE YOU
impact on learning – but don’t get
carried away! SAY YES WHEN PEOPLE ASK FOR MUSIC
2. Write to your local Rotary Club,
which is often only too keen to
support a local school. Perhaps
offer to perform at one of their apply. Parents are great, get them on advertising and marketing in return
events or simply ask for support. If board. (In fact, that could be point for a donation. Don’t feel cheeky,
you give something back, they are 11: parents are key!) just explain that you need to make
more likely to be happy to provide 4. Perform at local events to raise the sure events benefit the school as
support. You may also offer to go profile of music – this is likely to well as the business. Most medium-
and speak at one of their meetings lead to paid gigs. Make sure you to-large businesses have a budget
or events about music education. say yes when people ask for music. for this kind of thing anyway.
3. Look to your local council for grants Sometimes it will be a weekend or 6. Get your local paper on-side.
– often there are youth grants out an evening, but just do it, because Whenever you play at an event,
there that you may not be aware of. it will lead to other things. Not all make sure that you tell the press to
This year I was given £1,500 to buy gigs raise money, but they might ensure that your name is out there.
two new electric pianos, just from lead on to one that does. This will help raise profile and could
filling in some forms. As well as local 5. When you are asked to perform, get you more gigs in the future.
councils, there are national grants – I think about whether or not to 7. Hold a fundraiser that isn’t a
got an EMI grant for £1,000 this year ask for a donation. If it is a local concert – a curry night, a quiz night,
thanks to a parent who helped me business, you could offer them free a racing night. These can be a pain
to organise and you will need to
give up an evening, but you will
make some money for music in the
process. And when you do have
I GOT A GRANT FOR £1,000 THIS YEAR THANKS TO A a concert, make sure you have a
PARENT WHO HELPED ME APPLY. PARENTS ARE GREAT licensed bar and raffle to enhance
what you make on the door.

10. Seek out local sponsors –

restaurants, estate agents, whatever
– and see if you can get someone to
sponsor a show or concert. Again,
put together an A4 proposal for
businesses and see what happens.
I had a local business sponsor my
production of Singin’ in the Rain in
November – they sold umbrellas
and raincoats, so it worked well
for them!
So, while Jessie J is right, and it’s not all
about the ‘Money, money, money’, it is
essential to be able to do what we want
to do as music teachers. We are all in
Selling old instruments or unwanted textbooks can be a useful way of raising cash for new ones the same boat, and so we have to keep
coming up with ways of raising money.
Keep going, keep trying, and soon you
8. Sell old kit, instruments, textbooks personally do this, but it is will find ways to enhance your budget. MT
and so on. See what you have lying something I have thought about and
around and then try and make some I know that my sports department James Manwaring is director of music at
money out of it. has to do it. £1 per student for the The Windsor Upper Schools. He blogs
9. Ask the students to pay subs to year might just be enough to buy a at manwaringmusic.blog and tweets
be involved in groups – I don’t piece of music. @jpmanwaring
Let’s hear it!

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MT | MUSIC AND THE CURRICULUM
Pecking order: Where does music sit in the curriculum?
CENTRE STAGE
when they invoke research evidence.
In this view, music in the curriculum
is able to go beyond itself and serve
aspects of general development. Policy
John Finney asks why – despite the many and varied makers – by which I mean the current
government – while acknowledging
attempts to promote its value over the years – is music this, move quickly to the value of the
still not at the centre of our education system? subject itself, to its place in the order
of things. They don’t dwell on how it
is a servant to other subjects or some
notion of general human development
G
iven the research evidence, why is regular and of high quality, can and wellbeing, but as a subject of
isn’t music central to education contribute to the enhancement of a the curriculum that never has been
policy? range of non-musical capabilities and ‘core’ and which is destined to remain
What should we be doing better to get lead to other beneficial outcomes. This marginal, while at the same time being
that message out? is broadly what the research says, and recognised as part of a ‘broad and
Why are we not a ‘core’ subject? what I think music teachers refer to balanced’ curriculum.
These are the cries of the beleaguered
music teacher, seeing time for their
subject reduced, examination classes cut
and staffing decline.
The research base on the power of RESEARCH ON THE POWER OF MUSIC MAY IRONICALLY SERVE TO
music is growing by the day. Active
music making, assuming that it
UNDERMINE THE CASE FOR MUSIC AS A SUBJECT DISCIPLINE
MT0617_050-051_John Finney_RP_AS.indd 50 17/05/2017 12:47:47

MT | MUSIC AND THE CURRICULUM
in some places giving the appearance

NOTHING MUCH HAS CHANGED EXCEPT THE COMING OF of being central to the school’s work –
‘core’ in a metaphorical sense.
THE EBACC, A THROWBACK TO THE MID-20TH CENTURY I am a governor of a primary school
which has three music graduates on
the staff, a subject leader for music,
a Years 4, 5 and 6 choir of more than
hierarchical, the core/foundation 100 (a third of the cohort), all of Year
FIRST POSITION division easily won the day. Nothing 3 engaged in First Access strings, all
This is very much how it has been since much has changed since then except the pupils experiencing a rich and varied
the advent of compulsory education coming of the EBacc, a throwback to music curriculum. At governor meetings
in 1870. In some exceptional cases the School Certificate subject grouping there is no mention of music, just
head teachers and some former Local of the mid-20th century. So, all the improvement plans, targets and data,
Education Authorities have given core research in the world showing ‘the ways of presenting data, free school
status to music and the arts. David power of music’, and its contribution to meal success ratios and so on. And
Hargreaves attempted this in ILEA (the human wellbeing, and the making of in this discussion it is the childrens’
Inner London Education Authority, of smarter pupils, is insignificant in the reading, writing and maths that is, well,
which he became chief inspector) in the face of an ideology that champions the the core.
late 1980s, for example. Today, some core, defines ‘academic’ in a narrow However, since the debates
head teachers are committed to all way and sees STEM subjects as giving surrounding the making of a national
pupils having an arts option at Key Stage citizens economic advantage. curriculum for music in the early 1990s,
4, in spite of the EBacc. Where there is There has been talk of giving school where there were interventions by high-
this kind of commitment it most likely leavers an app that will provide profile celebrity figures such as Simon
comes from an enlightened view about government with information about Rattle and Pierre Boulez, successive
the nature of a liberal education. the amount of income tax paid by the governments have been wary of
But while research on the power of individual and correlated with the neglecting music. Hence Michael Gove’s
music is heartening (and a life blood subjects studied. In this way, the value swift and politically astute action in
to organisations seeking funding) it of a subject can then be directly liked to moving towards the making of a Music
may ironically serve to undermine the its value – that is, its economic value. Plan in 2010.
case for music as a subject discipline, With music not officially a core
acting as a kind of distraction from subject, it is only enlightened head
music’s core purpose – of providing a MUSIC NOW teachers, belligerent parents and
way of understanding the world into So music is not a core subject. This is not talented music teachers who can, despite
which young people are growing. From to say that it has been and will continue the politics, still create the illusion that
there, many good things are likely to be to be valued as being worthwhile, and music is core in their schools. MT
accrued, some of those being benefits
claimed by the research. Getting this the
right way round, I think, is important. Power of music: Only teachers and parents can make music central to young people’s education
FIRM FOUNDATION
Chris Philpott makes the distinction
between hard and soft justifications
for music in the book Debates in Music
Teaching, showing what a powerful
thing music is – and not in the way that
the research referred to above does.
Its power lies in the way it is a part of
culture and society as a significant form
of meaning-making.
Following James Callaghan’s Ruskin
College speech in the late 1970s, and
the steady moves during the 1980s to
form a national curriculum, the concept
of ‘core’ and ‘foundation’ subjects was
established. Despite some making a
case for a curriculum that was not
MT0617_050-051_John Finney_RP_AS.indd 51 17/05/2017 12:47:47

MT | MUSICAL ENGAGEMENT
THE RIGHT MUSIC?

Teachers need to consider whether the music MODERN MUSIC-MAKING
they are using to teach is relevant to their Serious engagement with rave and post-
rave EDM in the classroom is rare in the
pupils’ lives, says Pete Dale extreme. Even your classic mainstream
dance music seems to be way off the
agenda in most schools.
F
or many British children, the This much was clear to me when I
music they grow up listening to MUSIC LESSONS VERY RARELY provided training on using DJ decks
with friends, family, parents and in music teaching for a group of Teach
relatives is often not reflected in school EVEN ACKNOWLEDGE THE First trainee teachers back in 2013.
music lessons. So while their teacher is
trying to get them to listen to Mozart,
EXISTENCE OF ELECTRONIC Teach First sees young graduates
recruited into tough, underperforming,
Bach or Beethoven, back home in their DANCE MUSIC WITHIN inner-city schools for their first
bedrooms the radio is often tuned into a placements. And yet, despite the strong
very different station. BRITISH CULTURE prevalence of youth culture and niche
Improving access to classical music for music scenes in many of these cities –
children from deprived backgrounds has grime in London or bassline in Sheffield
been a priority for music education, and – none of these young teachers had seen
rightly so: there is no good reason why with EDM – and their aunties, brothers such equipment used in the schools
the daughter of a bricklayer or the son of and friends are into it, too. Their parents where they were on placements.
a shop assistant shouldn’t be enthralled were probably ravers in the heyday of This was with one exception: one
by Mozart. acid house or the subsequent years trainee admitted that his school had DJ
But it is likely that a lot of these when happy hardcore and other forms decks but, disappointingly, he explained
students will be more familiar with a of harsh, repetitive EDM provided the that they were never removed from the
musical education in hardcore electronic soundtrack for the lives of countless cupboard where they were gathering
dance music (EDM), rather than Chopin young people. dust, as ‘nobody knows what to do
or Vivaldi. School music lessons, however, very with them’.
For these young people, EDM is ‘our rarely even acknowledge the existence of
music’, and overlooking this in school such a genre within British culture. In
music lessons misses an opportunity to many schools, coverage of dance music FACE THE MUSIC
help pupils engage with something they might stretch from the galliard or the I, too, had little or no experience
are already naturally interested in. pavane to disco via the Viennese waltz, of using DJ decks when I became a
For a lot of kids, they’ve grown up but no further in most cases. secondary school music teacher in
MT0617_052-053_Dance Techno and Music_RP2_AS.indd 52 17/05/2017 12:51:03

MT | MUSICAL ENGAGEMENT
MAKING OUR CLASSROOMS

RELEVANT TO STUDENTS
IS VITALLY IMPORTANT
2003. MC rapping was alien to me and

I had never been much of an enthusiast
of EDM.
But because of the inner-city character
of the North East of England school
I was working in, I soon realised that
a large minority of the learners were
passionate about a form of happy
hardcore EDM known as ‘makina’. This
is a sub-genre of hardcore techno which
originates in Spain. It is similar to UK
hardcore, and it includes elements of
bouncy techno and hard trance.
The bulk of the pupils that were into
this type of music at my school were
considered to be some of the most DJing and MCing in the classroom can
disaffected and ‘at risk’ learners. I have on learners, yet the creative use IN THE CLASSROOM
actually learned much of what I know of DJ decks coupled with MC rapping While this kind of music gets some
about DJing and MCing from these – an international musical tradition for coverage in pupil referral units and
young people. around 40 years – is barely recognised youth clubs, and some schools employ
I also made a little effort to learn as a musical discipline, even in many visiting specialists for extracurricular
from expert local DJs and MCs about inner‑city schools. learning, it is extremely rare to find it
this form of music-making and the Conversations with the large US employed in mainstream classrooms for
attendant skills so that I could give provider of music education, Little Kids everyday lessons with the regular music
it coverage in my lessons. I have seen Rock, have indicated that a similar teacher. But given the availability of
first-hand the transformative effect that situation prevails across the US. more affordable technology such as ‘DJ
controllers’ and CD decks, this situation
may hopefully begin to improve.
Making our classrooms relevant to
students is vitally important. If school
feels culturally alienating – as indeed
it does for a significant minority of
typically inner-city youth – then as
educators we are leaving behind a
whole group of keen and passionate
music lovers.
Engaging pupils with music they know
and love is one way to make school
feel more familiar and welcoming.
It could even help to change a
few stereotypes about what ‘types of
people’ listen to what ‘types of music’ in
the process. MT
Pete Dale is senior lecturer in popular music

at Manchester Metropolitan University. This
article was originally published online at
The Conversation.
MT0617_052-053_Dance Techno and Music_RP2_AS.indd 53 17/05/2017 12:51:09

MT | PREVIEW
ONLINE TEACHING MATERIALS

Every month, MT publishes online teaching
materials for Key Stages 3, 4 and 5, giving
you complete units of work, GCSE and
A-level set-work info and activities, and
practical teaching ideas across all levels.
Written by experienced teachers and
examiners, these resources provide
indispensable content for your classroom
teaching. They contain:
› useful background information
› practical teaching points
› valuable assignment ideas
› direct links to YouTube clips
and websites
HOW TO ACCESS YOUR ONLINE TEACHING MATERIALS

1. Visit www.musicteachermagazine.co.uk
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3. Add your Web ID* to the ‘My Proﬁle’ section and save it
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MT0617_054-055_Online preview_RP2.indd 54 17/05/2017 12:52:32

MT | PREVIEW
JUNE 2017
WHAT’S NEW THIS MONTH
KS3 KS3 KS4
PLANNING A KS3 PROGRAMME WITH GETTING STARTED WITH SONGWRITING EDEXCEL GCSE AOS3: MUSIC FOR STAGE
NEW GCSES IN MIND
Planning a KS3 programme with
by Anna Gower
Getting started with songwriting
AND SCREEN – CONTEXT, ANALYSIS AND
KS35
KS KS35
KS KS45
KS Edexcel GCSE AoS3: Music for stage and screen –
by Jane Werry
new GCSEs in mind CREATIVE APPROACHES
context, analysis and creative approaches
Jane Werry is a
specialist leader
by Jane Werry Anna Gower
works for Trinity
by Anna Gower by Jonathan
Jonathan James
is a freelance
James
by Jonathan James
in education, and College London, music educator
Director of Music after many years and teacher trainer
at Hayes School in teaching music in who works with
Bromley. She is an
A level moderator for INTRODUCTION secondary schools
and as a freelance INTRODUCTION orchestras, concert
venues and a variety INTRODUCTION
OCR, and a regular music education of communities to
contributor to Music The new 9-1 GCSEs are supposedly more rigorous than their predecessors. In practice, however, this looks consultant. She Songwriting. An ageless craft of storytelling, sharing our deepest feelings, emotions and experiences, explain classical Edexcel’s GCSE specification for examination in 2018 includes a new Area of Study, AoS3: Music for stage and
Teacher online also has created and jazz music.
like a slight increase in the amount of music theory knowledge expected for the exam, and an expectation communicating messages of love, sadness, resistance, protest? An accessible form or structure for composing screen, which features two big hits from Hollywood and Broadway. Feedback so far from teachers is that they
resources. and developed
that previously unknown music will form part of the listening. So to what extent should we be planning our KS3 resources and for students and teachers alike? A nice synergy of musical elements, and familiar to most of us with thousands appreciate being able to use the ‘Main Title’ from Star Wars or ‘Defying Gravity’ from Wicked to ease students
programmes with that in mind? approaches to of songs available at the push of a button on our smartphones or when we turn on the radio or TV, or walk into the new set works, or as a ‘respite’ from the less well-known works. However, the music’s familiarity can
music teaching and
into a shop? Or a relevant hook into the music that engages and drives students who may have been writing also present a challenge, as students resist going beyond the big tunes and into the elements of the score.
learning for Musical
To answer this question, you need to have a good idea of what the purpose of KS3 music actually is. Your views Futures in the UK their own songs for years and never shared them, or who feel an affiliation with the genre through their own
on this may vary considerably depending on the context of your school and your students, but it is unlikely and overseas. commitment to the music they enjoy and are passionate about, often in very personal ways? This resource gives a context for both set works before analysing their key features and suggesting practical
that you see KS3 music purely as a preparation for KS4, given that not everyone chooses it as an option. You ways for communicating them in the classroom. It includes:
will have your own philosophy about using time with KS3 students to ‘sell’ music, hook students in, and give Whatever our motivation for setting our students off with a songwriting task, there’s always a danger that a brief history of the genre and performance style.
them knowledge and skills that will enable them to pursue their own musical interests in an active way for life. with familiarity comes an assumption that it’s something they’ll be able to ‘just go off and do’. This resource an overview of the composer’s work and approach.
is designed to be a series of starting points, tasks and activities that can scaffold the process for students in an in-depth analysis of key elements.
However, achieving these aims while at the same time setting up a solid foundation for subsequent study is order to make it a valuable and engaging experience for all. ideas for creative responses.
not at all impossible to achieve. This is not, though, a case of starting to think about GCSE content from Year 7.
Rather, it is about building musical competencies and a sense of mastery, so that students are equipped with Dip in and out as appropriate across your KS3 curriculum to start to build confidence and familiarity with lyrics,
relevant knowledge and skills, and the confidence to use them. grooves or chord progressions. Or cherry-pick your way through to designing a songwriting scheme of work
that’s relevant to your students and resources, and fits within your departmental and personal musical values. ‘DEFYING GRAVITY’ FROM WICKED
The key to success with songwriting is building confidence within each student to try out their ideas, whether Since its Broadway launch in 2003, Wicked has worked its way into the history books, giving Stephen Schwartz his
THE INGREDIENTS FOR STRUCTURED that’s in terms of lyrics, a rhythm, a melody, a chord sequence. biggest hit since Godspell (1971). It’s now one of the longest-running shows and has been seen by an estimated
COMPETENCY-BUILDING 30 million people. Its popularity shows no sign of abating, with the West End show still selling out and a movie
We live in a world where if it doesn’t sound perfect first time, students can be reluctant to risk giving it another release planned for 2019. Most of your class will probably already know the lyrics, or can sing along with the chorus.
It can be useful to think about building knowledge, skills and confidence in three areas: go in case it takes them out of their confidence zone in front of their peers. Bite-size, achievable tasks can form
Performing: although, realistically, students are likely to need individual instrumental tuition to achieve the the stepping stones for building that confidence, and thereby open a new world of expression for students.
highest marks for performing at GCSE, it is possible to build instrumental and vocal skills at KS3 to a point They often have a lot that they’d like to be able to share if we’re able to give them access to the musical Music theatre in the 20th century
where students could start having lessons in Year 10 and still reach the required standard. language, forms and structures that allow them to be heard.
Composing: here, the key thing is to teach students how to compose. Any amount of open-ended creative The rise of the Broadway musical goes hand in hand with the growth of the American Songbook, the development
activities at KS3 will not necessarily prepare students for composing on their own for GCSE. They need Wicked is a book of big band jazz and the heyday of Tin Pan Alley. Together, they formed a virtuous cycle, a seemingly endless
musical, with
strategies for how to go about the composing process, and a structured approach to that at KS3 will pay fund of hit tunes and feel-good arrangements.
dividends later, as well as increasing confidence. Successful composing is less about inspiration than about A BRIEF HISTORY OF SONGWRITING Schwartz as both
composer and
technique. lyricist. Most of the early musicals were ‘book musicals’, where the song and dance were integrated into a well-
Understanding and identifying musical features: in other words, being able to work out what is happening Sometimes branded the ‘informal’ relation to the more formally titled ‘composing’ tasks, songwriting is sometimes structured story. The story would still be intact without the music, just not as much fun.
in the music, and describe it using the correct terminology. Again, this can be developed at KS3 through shoehorned into a rock and pop scheme of work or can become the fall-back for the free composition briefs
According to
practical work, and need never be about learning lists of musical terms: this approach may be great for at GCSE and A level. Book musicals from the golden age of music theatre include:
the Measuring
regurgitating definitions, but will not help anyone recognise the features of a real piece of music. Music Report Showboat (1927) by Jerome Kern and Oscar Hammerstein II
from September Songwriting provides plenty of opportunities for box-ticking our way through the criteria, but with a rich historical and Anything Goes (1934) by Cole Porter
2016, musicians, social heritage and links across a wealth of musical styles and genres, songwriting may deserve a little more depth Oklahoma! (1943) by Richard Rodgers and Oscar Hammerstein II
COOK’S TOUR OR SKILLS-BUILDING PROGRAMME? composers,
songwriters and and breadth than the informality of its title suggests, or than it is often given credit for in many KS3 schemes of work. South Pacific (1949) by Richard Rodgers and Oscar Hammerstein II
Many KS3 programmes are a cook’s tour of different musical styles: 12-bar blues one term, film music lyricists contributed
the next, followed by reggae, Indian music, and so on. There are merits to this approach, and it is £2bn of the £4.1bn Grounded in oral traditions, the history of song falls into three strands, each of which remains current today and Book musicals tend to be naturalistic and plot-driven, and their music is usually an equal partner with the
of music revenues
certainly desirable for KS3 students to experience music from a wide range of styles. But it can also be which, in many cases, define the popular musics of their time: dialogue and action. As such, they were ripe for film treatments, and Hollywood was quick to capitalise on their
in the UK market in
rather like a scatter-gun in terms of building knowledge and skills. Cohesion of topics can bring about 2015. Music for worship popularity, launching many a household name.
a lack of sequential skill acquisition – not that any kind of learning is strictly linear, but the important Folk music
thing is to plan for tackling skills and knowledge in a way that makes sense for the learner. This may Music for storytelling/dramatic performance, satire, entertainment and communication Later, in the 1960s and 70s, the ‘concept musical’ became popular. These were more loosely structured and
not fit with the ‘chunked’ nature of a topic-based programme. the plot was of secondary importance to the overall theme or concept of the show. Examples are:
The writing and study of music led to new genres of song such as art song and opera, where technique, Hair (1967) by James Rado, Gerome Ragni and Galt MacDermot
What I describe here does not follow any kind of topic-based pattern. It would, however, be possible
conventions of form and structure and expression became more formally integrated with poetry and language. Company (1970) by Stephen Sondheim
to adapt it to fit with termly or half-termly topics if that’s what you prefer to do.
Alongside these genres grew the ‘popular’ equivalents, music hall and musical theatre. Avenue Q (2003) by Robert Lopez and Jeff Marx
The new 9-1 GCSEs are supposedly more

1 Music Teacher June 2017
Songwriting. An ageless craft of storytelling,
Edexcel’s GCSE specification for examination
rigorous than their predecessors. In practice, sharing our deepest feelings, emotions and in 2018 includes a new Area of Study, AoS3:
however, this looks like a slight increase experiences, communicating messages of love, Music for Stage and Screen, which features
in the amount of music theory knowledge sadness, resistance, protest? An accessible two big hits from Hollywood and Broadway.
expected for the exam, along with an form or structure for students’ and teachers’ Feedback so far from teachers is that they
expectation that previously unknown music composing? appreciate being able to use the ‘Main Title’
will form part of the listening. So to what from Star Wars or ‘Defying Gravity’ from
extent should we be planning our KS3 Anna Gower works for Trinity Wicked to ease students into the new
programmes with that in mind? College London, after many years set works, or as a ‘respite’ from the less
teaching music in secondary schools well‑known works.
Jane Werry is a specialist leader in and as a freelance music education
education, and director of music at consultant. She also has created and Jonathan James is a freelance
Hayes School in Bromley. She is an developed resources and approaches music educator and teacher trainer
A-level moderator for OCR, and a to music teaching and learning for who works with orchestras, concert
regular contributor to Music Teacher Musical Futures in the UK and venues and a variety of communities
online resources. overseas. to explain classical and jazz music.
UPGRADE TODAY TO ACCESS THE FULL SCHEMES OF WORK

MT0617_054-055_Online preview_RP2.indd 55 17/05/2017 12:52:34

MUSIC & DRAMA EDUCATION EXPO | MANCHESTER
Alex Stevens introduces the programme for Expo Manchester, taking place
on 4 October
A
s the term begins to wind down, and thoughts turn to »» The Radclyffe School’s Daniel Corrigan on the new,
next year (presuming holiday plans are already made), post-levels landscape of 1-9 GCSEs and Progress and
what better time to think about a day to refresh your Attainment 8
teaching, consider new approaches and products, and meet »» James Manwaring on how to sort a thriving schedule of
fellow teachers? extra-curricular music activities
After five successful years in London, the Music & Drama »» Several successful sessions from previous Expos, including
Education Expo is coming to Manchester for a one-day show inspirational gospel singing from Karen Gibson, ABRSM’s
on 4 October. We are bringing the best of the successful chief examiner John Holmes, and the Royal Opera House’s
London show but adding lots of brilliant new things too, Kim Waldock presenting a primary digital ‘pathway to
and as with the original Expo, we are hoping that, with the outstanding’.
support of the local music and arts education community – The opening programme is on the right, but there is still plenty
teachers, institutions, retailers, manufacturers – we can make more to be announced, so do follow the show on Facebook and
the event a huge success and a staple in the region’s cultural Twitter, and keep an eye on the website for updates. We very
education calendar. much hope to see you in Manchester on 4 October.
Taking place at the Hilton Manchester Deansgate, the show
will feature 20 CPD sessions and more than 50 exhibitors. Of www.mdexpo.co.uk/manchester
course it’s completely free to attend, and being in Manchester
will, we hope, make it a little more accessible to colleagues
teaching in the north of England, Wales and Scotland.
The Expo is also a great opportunity to network: we know
how important sharing ideas is, particularly when so many
KEY INFO
When: Wednesday 4 October 2017, 9am-5pm
teachers find themselves running one-person departments,
Where: Hilton Manchester Deansgate Hotel, 303 Deansgate,
and we want to give teachers the chance to make some new
Manchester M3 4LQ
contacts as well as taking away lots of inspiring ideas.
Doors open: 9am
Opening performance: 9.15am
Close: 5pm
PROGRAMME HIGHLIGHTS A free one-day conference and exhibition for music and drama
There is so much to look forward to, but particular highlights
teachers offering:
will be:
»» Finding out how Rotherham Music Service brought together »» 20 CPD sessions for music and drama teachers
hundreds of local children for its multi-arts, multi-school,
»» 50+ exhibitors showcasing leading brands, products and services
multi-faceted Pioneer musical earlier this year
»» 500+ visitors giving you a chance to network and exchange ideas
Tickets to attend the Manchester Music & Drama Education Expo are
»» Christopher Norton on running brilliant group FREE. Book yours at www.mdexpo.co.uk/manchester
improvisation classes
Key  Drama  Instrumental Teachers  Secondary Music Teachers  Early Years  Primary  Leader/Hub/Administration
56 REGISTER FOR YOUR FREE TICKET AT WWW.MDEXPO.CO.UK/MANCHESTER
MT0617_056-057_Expo North_AS_RP.indd 56 17/05/2017 15:40:11

Conference Sponsors
Rhinegold Theatre Workshop Theatre The Space

09.00 09.00
09.05 09.05
09.10 09.10
09.15 Welcome       09.15
09.20 Alex Stevens (editor of Music Teacher) and 09.20
09.25 Sarah Lambie (editor of Teaching Drama) 09.25
09.30 09.30
09.35 Warm-up | Spoons workshop       09.35
09.40 Jo May 09.40
09.45 Spoon playing is fun and accessible for all ages, 09.45
09.50 and helps to develop lots of skills (with minimum 09.50
09.55 09.55
expense). Join our warm-up to develop your skills!
10.00 10.00
10.05 10.05
10.10 Access for all: Differentiating with music technology 10.10
10.15 The art of collaborative productions: Rotherham Phil Heeley, Inclusive Music    10.15
10.20 Music Service       [Secondary, SEND, Tech] Early Years Music: A forum  10.20
10.25 Peter Birkby, Rotherham Music Service Have you ever wondered what a melon sounds like? Zoe Greenhalgh, Edge Hill University 10.25
10.30 Rotherham Music Service deliver this case study Join this forum for a ‘state of the sector’ overview and 10.30
This interactive workshop will demonstrate that
10.35 a chance to chat with representatives from regional 10.35
of an ambitious, multi-school collaborative project technology is a hugely powerful tool in enabling access
10.40 10.40
exploring composition, song-writing, drama and and inclusion. No previous experience or knowledge of networks. Zoe Greenhalgh, associate tutor in early
10.45 10.45
dance. Find out how to plan and deliver a large-scale, using technology in music is needed – just a willingness years at Edge Hill University, will lead this session
10.50 10.50
inclusive project, exploring timeframes, finances and to engage, break down barriers and explore! and offer an exchange of knowledge, information and
10.55 10.55
11.00
resourcing. ideas. 11.00
11.05 11.05
11.10 11.10
11.15 Assessment in Music: Life after levels and the new 11.15
11.20 GCSEs   Stage combat in classroom study  11.20
11.25 Daniel Corrigan, Head of Music, The Radclyffe School Mark Ruddick, Squire Stage Combat 11.25
11.30
This session is a summary of approaches to A pathway to outstanding: The curriculum through Join this stage combat taster to create a fight sequence 11.30
11.35
Assessment in Music in light of the removal of arts learning   from a study text. The session will encourage team 11.35
11.40 Kim Waldock, Royal Opera House 11.40
National Curriculum levels, new GCSEs and Progress work and communication in the staging of a scene
11.45 A practical session offering delegates a taster of 11.45
and Attainment 8. It is designed to give delegates and allow teachers and students to discover a new
11.50 11.50
a range of strategies for curriculum design and new cutting-edge digital learning in dance and approach to exploring drama and drama texts. Learn
11.55 11.55
assessment within the classroom. dramatic singing. Designed to upskill both primary how to (safely) throw a slap and a punch and pick up
12.00 12.00
and secondary teachers, this workshop will help tips and tricks for your action sequences.
12.05 12.05
12.10
practitioners charting a pathway to ‘Outstanding’ in 12.10
their schools.
12.15 STOMP-style body percussion       12.15
12.20 Ollie Tunmer, Beat Goes On 12.20
12.25 This fun, high-energy and accessible session delivered 12.25
12.30 by Ollie Tunmer, director of Beat Goes On, will 12.30
12.35
cover ‘Connect It’ & ‘Mambo!’ from BBC Ten Pieces, ABRSM: The art & craft of performance  12.35
12.40
authentic Brazilian rhythms and a range of rhythm John Holmes, ABRSM 12.40
12.45 ABRSM Chief Examiner John Holmes delivers this 12.45
warm-ups and energisers that you can take away
12.50 session on the art & craft of performance. A must- 12.50
12.55
with you. 12.55
attend for instrumental teachers!
13.00 13.00
13.05 13.05
13.10 13.10
13.15 Extra-curricular music: Getting it right    13.15
13.20 James Manwaring, The Windsor Upper Schools The changing landscape of curriculum and 13.20
13.25 What should a school’s extra-curricular music qualifications  13.25
13.30 include? How often and how much? James Karen Latto 13.30
13.35
Manwaring, director of music of The Windsor Upper Whole Class Ensemble Tuition – Teaching Creativity This session will inform delegates of the changes 13.35
13.40
Schools shares his experiences to inspire classroom Creatively   currently occurring within the curriculum in 13.40
13.45 Dan Francis, Buckinghamshire Learning Trust 13.45
teachers and give them practical ideas of how to secondary education. This includes co-teaching AS
13.50 A hands-on session in which delegates will use 13.50
create a healthy, thriving music department. and A-level; changing to 9-1 grading; vocational
13.55 13.55
whole class ensemble playing to compose creatively, qualifications; and 2019 performance tables.
14.00 14.00
reflecting on the core requirements of the National
14.05 14.05
Curriculum at KS1-3. Discover practical approaches
14.10 14.10
to reading, writing and listening to music, all while
14.15 Musicians’ Union   14.15
fitting into a whole-school assessment model.
14.20 A practical session from conference sponsor the 14.20
14.25 Musicians’ Union. 14.25
14.30 14.30
14.35 The song hamper    14.35
14.40 Sue Nicholls 14.40
14.45 Acquire a hamper full of new and accessible 14.45
14.50 repertoire for EYFS settings and explore ways to 14.50
14.55 14.55
adapt this new material to suit children’s needs
15.00 15.00
and interests. Involves props and simple percussion
15.05 15.05
accompaniments and covers song and rap repertoire.
15.10 15.10
15.15 15.15
15.20 Mask and musical theatre in education  15.20
15.25 Emily Gray, Trestle Theatre 15.25
15.30 Experience the true story of Yarico, which involves 15.30
15.35 Effective group improvisation    love and betrayal in a cross-cultural relationship and 15.35
15.40 Christopher Norton the issue of enslaved peoples, both historically and 15.40
15.45 Gospel choir workshop  Composer Christopher Norton (Microjazz, contemporaneously. Participants will take part in 15.45
15.50 Karen Gibson Micromusicals) leads this workshop on improvisation. playful games and exercises, mask work, musical work 15.50
15.55 Participants will become a gospel choir for this hands- Focussing on group work, this session will help 15.55
16.00
and will relate the story to contemporary life. 16.00
on, practical workshop led by multi-award winning you find the ‘inner voice’ of every student, leading
16.05 16.05
conductor and TV show judge Karen Gibson. Find out to greater instrumental proficiency and increased
16.10 16.10
how to start and run a successful gospel choir and confidence. Not to be missed!
16.15 16.15
learn fun and inspirational warm-ups, innovative ways
16.20 16.20
16.25
of teaching pulse, rhythm and syncopation and the 16.25
16.30
importance of extemporization in gospel music. 16.30
Key  Drama  Instrumental Teachers  Secondary Music Teachers  Early Years  Primary  Leader/Hub/Administration
REGISTER FOR YOUR FREE TICKET AT WWW.MDEXPO.CO.UK/MANCHESTER 57
MT0617_056-057_Expo North_AS_RP.indd 57 17/05/2017 15:40:12

MT | LUNCH BREAK
A winning solution will be drawn at random on 15 June, and the participant will receive a personalised MT goody bag.
Email your solutions to competitions@rhinegold.co.uk
CROSSWORD set by Fustis
QUIZ
1 Which opera by Jonathan Dove is based on a Romanian folktale? The
Opera Group’s production is pictured below if you need a clue…
2 Who wrote four symphonic poems based on ballads by Czech folklorist
Karel Jaromír Erben?
3 Which Czech composer wrote his own funeral march in 1889?
4 Which variation in Britten’s Variations on a Theme of Frank Bridge is a
funeral march?
5 The board of which opera company wanted to appoint Britten as its music
director in the early 1950s?
6 What do Arturo Toscanini, Carlo Maria Giulini and Claudio Abbado hold in
common?
7 Who told the teenage Abbado that he had the potential to become a
conductor?
8 Which ensemble, founded by Abbado in 1976, is now conducted by Vasily
Petrenko?
9 Petrenko is chief conductor of which orchestras, based in the halls
pictured below?
10 Who preceded him at both orchestras?
© CATHERINE ASHMORE
ACROSS DOWN
1 Bird sounds like Sir James in 2 Verdi hero loved by Leonora (2,9)
high wind (11) 3 Sullivan opera featuring
5 Goes with Pag (3) Friar Tuck (7)
8 Prima donna loved by Hoffmann 4 Slowly (5)
(6) 6 Ralph wrote a song about one
10 Musical symbols (8) across and the cuckoo (7,8)
11 First and last note (3) 7 Frederic’s phonic arrangement
13 Billiards game for Elise (9) (6)
14 Daughter of Erda (4) 9 J.M. Keynes’ wife, née Lopokova
16 Dance of the Hours composer (5)
(10) 12 Dry (5) 1
19, 25 Sworn urban location of 15 Shipmate of Pussycat (3)
1 across (8) 17 Tommy Dorsey’s song from
21 Boring instrument (5) Sadko (5)
23 She sings in silence in 18 Short spoof (4)
Suor Angelica (4) 19 Labrosones (5)
25 See 19 (6) 20 Count of Luxembourg composer
26 Frank in the midst of (5)
bobbysoxers in a trance (7) 22 Tribe producing French composer
27 Alcestis’ husband, sad, mute, (5)
upset (7) 24 Suor Angelica, for one (3)
MAY SOLUTION
9
Saraste
10 Gerard Schwarz and Jukka-Pekka
Orchestra
Orchestra and the Oslo Philharmonic
9 The Royal Liverpool Philharmonic
8 The European Union Youth Orchestra
7 Leonard Bernstein
La Scala
6 They were all music directors of
5 The Royal Opera, Covent Garden
4 Number eight
3 Josef Suk
2 Antonin Dvořák
9
1 The Enchanted Pig
QUIZ ANSWERS
MT0617_058_Puzzle page_RP2_AS.indd 58 17/05/2017 12:54:06

MT | MUSICIANS’ UNION
WORKING TOGETHER
of the MU and as well as meeting up to
Chris Walters, music education official at the network with other hub reps, there is
Musicians’ Union, reports on how the MU is supporting access to funded training opportunities
in areas including negotiating skills,
the work of music education hubs through its growing public speaking, employment law and
network of hub representatives more. Hub reps are also eligible for a
reduction in their membership fees.
T
he MU has more than 30,000 At the MU we have tried to address these Influencing change
musicians as members, with two issues by providing advice and guidance If these measures are what the MU
thirds of them working in roles for our members, as well as contacting is doing to help teachers navigate the
across the education sector as part of hub leaders on what we consider is best hub landscape, what are we doing to
their increasingly portfolio careers. This practice in these areas. For example, influence and change that landscape for
means that more than 20,000 members we can direct hub managers towards the better?
are working across the country as music appropriate templates for contracts and First, we are attempting to identify
teachers, with many in England involved offer bespoke training packages to help what the most pressing issues are. As
with music education hubs. What then hubs meet their professional development well as the concerns reported by our
is the MU’s responsibility in this area? obligations, helping their teachers hub reps, we are also aware of a number
When hubs were formed in September develop both skills and knowledge. of challenges for hubs at a government
2012, many of our members who had policy level, among them an inadequate
previously worked for local authority funding allocation and a cumbersome
music services got in touch with reporting system that requires them to
questions about their new employment submit large amounts of data to Arts
situations. As well as working to address Council England. This process seems
their concerns, we found members’ neither transparent nor productive, so
individual stories to be useful in the MU will be pushing for an improved
building up an overall picture of how the process to help hubs show the value
newly formed hubs were functioning. of what they do in a way that avoids
The next logical step was to establish unnecessary bureaucracy. This and other
a network of MU hub representatives, recommendations will form part of the
mirroring our established rep networks MU’s fourth Hub Report, which will be
in the orchestral and theatre sector, Making progress published in September this year.
and it is these networks that have been As a result of this work we are beginning MU members who teach privately
vital in helping us gather detailed and to see some hubs supporting their or are employed directly by schools
comprehensive information on changes teachers better, but we acknowledge might feel that hub-related issues don’t
in our members’ working conditions. that there remains a great deal more apply to them. In fact, hubs were set up
to be done in this area – which is with the express intention of bringing
where you can get involved. Are you the many different providers of music
Hub practices an MU member working as part of a education together, so hubs should really
The MU hub rep network was formed music education hub? If so, would you be relevant to everyone – if they are
in 2013. Since then a number of key be interested in helping us expand working well, that is. The MU would like
themes have emerged, including: our rep network by becoming an to see a properly funded and supported
»» An increasing trend to move from MU hub representative? This would network of hubs with professional terms
employment to self-employment require you to: of engagement for teachers, underpinned
»» Teachers working under contracts »» Keep the MU informed of any issues by a coherent policy for music education
that are not for purpose, or with no or changes within the hub which that extends fully into schools. Sadly we
contracts issued at all affect the workforce are some way off this at the moment,
»» Patchy provision of training and »» Ensure that the terms and conditions but we’ll continue to fight for it. MT
professional development are observed
»» Inconsistent policies around pay for »» Encourage MU membership. Contact teachers@themu.org if you would
travel between schools – both mileage Hub reps are instrumental teachers who like to find out more about becoming a
and time – and for holiday pay. want to become more active in the work hub rep
MT0617_059_MU Column_RP2_AS.indd 59 17/05/2017 14:50:55

MT | FRETTED STRINGS
STUNNING POETRY
thoughtfulness behind this guitar. In
my book, fretboard markers are the
least beautiful part of any guitar. Those
on the surface of the fingerboard also
have negligible value, being useless to
Al Summers reviews the new Shergold Masquerader any player with good posture (although
from Barnes and Mullins having a use as a visual guide to students
if and when the tutor is demonstrating,
particularly in small class situations).
It is fitting that Barnes and Mullins The modern design has less fussy Here something at best prosaic is turned
supplies this range: the Shergold switching than many of the original into the poetic, adding to the guitar’s
marque’s origins can be traced back to Shergold (and related brands’) guitars, simple and stunning looks.
the late 1960s via a distinct link with this a notable improvement to both operation While giving a respectful nod in the
long-standing British music distributor and looks. direction of the old Shergold looks,
stalwart. To build on Jack Golder’s The mahogany body has a semi- the sleeker headstock – with straight
original Shergold vision, there is perhaps transparent finish which shows off string-pull angle giving the strings an
no one as appropriate as guitar designer the pleasing wood grain, and the easy journey over the high quality TUSQ
and engineer Patrick James Eggle. colour is described as ‘dirty blonde’ – synthetic nut – is the best of old and new.
a pretty alternative to traditional 1950s Eggle’s own bridge design, an upgrade
butterscotch finishes. of the down-to-earth Leo Fender
REVIEW A plateless bolt-on rosewood neck, invention, has three bridge pieces
The instrument reviewed here (the with rosewood binding and fingerboard designed to give good intonation on all
SM01SD) is in some ways the most basic topped with excellent-quality locking six strings: pragmatic and handsome.
model, and is perhaps also the most tuners, all belie the modest price tag. In practice, the instrument is as good
interesting, given its unusual pickup This is a lot of guitar for well under the as any I’ve played and sounds superb.
configuration of a neck P90 and bridge £1,000-plus that many of us might have Several of my students (from young
humbucker (with a coil tap, giving guessed its retail value to be. novice to experienced and hardened
a wider choice of tones), both from The subtle and graceful linear professional) tried it: each delighted at
Seymour Duncan. aluminium fret markers typify the every aspect of it. Those with collections
A colleague had a very rare 1964 Burns Orbit 3 amplifier and kindly loaned it for the MT photoshoot. The sounds of Patrick James Eggle’s redesigned Jack Golder guitar model through this amplifier (from early in Jack
Golder’s career) was wonderful, bringing old and new together
Matt Curtis Photography
MT0617_060-061_Fretted strings_RP2_AS.indd 60 17/05/2017 12:57:20

MT | FRETTED STRINGS
of historic instruments with which ‘Holder’ then, as now) after their work the Modulator, the Marathon and the
to compare were all astonished at its and associations with Burns, Hayman, Cavalier were variations on a theme, the
extraordinary appointments and value. Ned Callan, Shaftesbury and other Masquerader being part of this family.
Two other models are available similar guitar brands – including making Eggle has designed the new Shergold
currently. These have more customary some guitars for the current range’s guitars. His wealth of knowledge,
configurations: the Masquerader SM02SD distributor, Barnes and Mullins. expertise and experience has enhanced
(£835), which has two single-coil Famed and respected for Golder’s ideas to a point where it is
pickups and a single humbucker; and the craftsmanship, Golder was friendly, difficult to imagine any improvement.
Masquerader SM03SD (£809), which has modest and enthusiastic, retaining his For those less familiar with the
three single-coils. Perhaps these reflect own determined approach to producing contemporary luminary of guitar design
versions of Leo Fender’s later designs, and some of the finest British-made guitars and luthiery, in the early 1990s, Eggle’s
they do at the least make useful reference and basses. I remember his guitars guitars were considered by many to be
points for those acquainted with more particularly for their excellent woodwork the UK equivalent of such top names as
familiar guitars. All are available in the – the necks especially being lovely to play. PRS. In 1994 he parted company with
review model’s colour, as well as two This instrument takes me straight back the brand. His significant contribution
other see-through finishes of cherry and to these superlative necks: a joy to play. continues with high-quality acoustic and
black, and a solid battleship grey. Shergolds were among the best electric guitars under the PJE and Faith
production guitars in the UK at that time names, the latter an esteemed acoustic
and, given the attention to detail from guitar range launched in 2002, distributed
HISTORY AND BACKGROUND such a small company, near-handmade to the trade by Barnes and Mullins.
Golder, described by guitar historian (as some special orders actually were). The Shergold Masquerader SM01SD is
Paul Day as ‘the godfather of the English Mike Rutherford is perhaps the most available from Barnes and Mullins at £765.
electric guitar’, set up Shergold with famous user: he used a Shergold double-
Norman Houlder (frequently misspelled neck with Genesis. Models such as www.bandm.co.uk
“My Luis and Clark

carbon fiber cello
produces a rich
ringing tone so
effortlessly…
I would rather play it
than a wooden cello.”
Gerald Appleman,
Assistant Principal Cello (retired),
New York Philharmonic
Photo © Kevin Sprague
Made in America
617-698-3034 luisandclark.com
MT0617_060-061_Fretted strings_RP2_AS.indd 61 17/05/2017 12:57:20

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MT_0617.indd 62 17/05/2017 15:18

MT | REVIEWS
Piano solo, easy to very advanced

PESSON, GÉRARD, MUSICA FICTA
BEETHOVEN’S SONATAS Vol.1 (£16.99) & Vol.2 (£19.99), Lemoine HL 28948/9
Ed. Jonathan Del Mar (Bärenreiter)
Op.2, Nos.1-3, BA10859, £21.00 MAŘATKA, KRYŠTOF, GLACES À VOLONTÉ
Op.14, Nos.1 & 2, BA 11855, £8.00 Jobert JJ 2194/Lemoine, £6.50
Op.27, Nos.1 & 2, BA 10853, £9.50
Op.28. BA 11814, £6.00 I reviewed Jonathan Del Mar’s take on Beethoven’s
Op.53, ‘Waldstein’, BA 11856, £8.00 ‘Pathétique’ in April 2014 and the ‘Appassionata’ in February
Op.101, BA 11811, £5.50 2015. The same scrupulous care permeates these most
recommendable follow-ups, probably the last word in textual
NIKOLAI KAPUSTIN accuracy and historical back-up – though not the only source
Schott for performers. There are no fingerings bar Beethoven’s own,
Sonata No.18, Op.135, ED 21874, £12.99 and music for both hands is sometimes crowded onto one stave
Sonata No.19, Op.143, ED 21875, £13.50 – inconveniently hard to read, however authentic. Out-of-range
Toccatina Op.40 No.3 (from ‘8 Concert Studies’), ED 22493, £7.50 ossias are ignored.
Etude courte mais transcendante, Op.149, ED 22271, £7.50 Ukrainian jazz pianist Nikolai Kapustin seems to write
Nobody Is Perfect, Op.151, ED 22272, £9.99 music in less time than it takes to play – or at least to learn.
A Pianist in Jeopardy, Op.152, ED 22273, £9.99 His huge fan base will seize on these new titles sight unseen.
Wandering, Op.153, ED 22274, £7.50 They are all exhilarating to listen to, and very hard to play;
hyper-virtuosos will lap them up, while the mere mortals
ZYGMUNT KRAUZE: MONODY AND FUGUE among us will have to stick to the other Toccatina Op.36 and
PWM/Schott, €7.95 the Sonatine Op.100. Schott’s layout and binding is tidier than
in MusT’s pioneering Kapustin editions: fingerings will help
MEZZA, VITTORIO, FRAGMENTS: 10 JAZZ COMPOSITIONS courageous strugglers, and staples rather than perfect binding
FOR PIANO SOLO will withstand those unavoidably frantic page-turns.
UT Orpheus/Universal Edition XXS 110, €24.95 Now a praiseworthy batch of easy-to-intermediate
contemporary music. Zygmunt Krause’s atonal Monody
GUTMAN, DELILAH, ONE FOR 5 PIANISTS AND 1 PIANO keeps hands a semiquaver apart throughout, an excellent
(2003) coordination study; the Fugue alternates hard-driven repeated
UT Orpheus/Universal Edition XXS 113, €11.95 chords with a sparse chorale. The jazz promised in Vittorio
Concertos composition students can usefully debate their necessity, and

then analyse what made Mozart and Beethoven great – but
not Hummel. The presentation is excellent, save for
one misplaced slow-movement 8va sign.
HUMMEL: PIANO CONCERTO IN A MINOR, Ravel was seriously ill when proof-reading his
OP.85, TWO PIANOS REDUCTION Concerto for the Left Hand, and numerous misprints
Breitkopf & Härtel NR 8900, £22.99 escaped him. Most of the solo ones are cleared up
in this excellent new Bärenreiter – but not the first
RAVEL: CONCERTO FOR THE LEFT HAND, SOLO bar of the final cadenza, still shown an octave too
PART AND TWO PIANOS REDUCTION high. Common sense should correct this, though
Bärenreiter BA 7881-90, £29.50 for the pair rarely does, and is outside the editorial remit – as
is the traditional though unsignalled slow-down
SAINT-SAËNS: CONCERTO NO.2, OP.22, TWO for the Saint-Saëns second concerto scherzo’s ‘big
PIANOS REDUCTION tune’ (at rehearsal letters C and L). Henle makes
Henle Urtext HN 1355, £20.50 no reference to this, even in the end-notes. The
edition is otherwise very good, and its second-piano
Two standard-rep concertos and one gradually reduction better than, say, Schirmer’s – although
becoming so. A generation ago, the Hummel was twice the price.
only known through a pioneering Vox vinyl LP. Breitkopf’s
new score reveals several cuts made during that, and MICHAEL ROUND
MT0617_063-064_Piano reviews_RP2_AS.indd 63 17/05/2017 16:10:24

MT | REVIEWS
Mezza’s sub-title is not obvious: these 84 pages rely more on ficta, likewise aimed at beginner-to-intermediate pianists. The
obsessive and percussive pattern-building. Non-synchronised two volumes include duets, a few percussion parts, one piece
barlines and notes-in-boxes for improvisation teach useful with three metronomes and lots of technically easy fragments
contemporary techniques; untranslated footnotes will test your – but apart from some pastiche Stravinsky, there’s very little
Italian. One system spreads over six staves! humour, as indeed anywhere in this batch.
Repetition pervades Delilah Gutman’s ingenious One for 5 Piano owners already wincing at superballs should avoid
Pianists and 1 Piano. Pianists move on and off stools en route, Kryštof Mařatka’s ice-cream-inspired Glaces à Volonté: the
and play on the strings with a ‘superball (the Wham-O toy) opening ‘Strawberry’ movement is played – right-hand anyway
spiked by a knitting needle’ as well as normally. Despite the – with a chopstick. Other movements are hard to read, tricky
available manpower, luxuriance does not feature: sparseness to play, and all atonal; ‘Coffee’ is by far the easiest.
prevails, aside from two episodes of demented hammering.
Gérard Pesson is one of 15 composer contributors to Musica MICHAEL ROUND
MT adC 123 x 88_. 14/02/2017 15:10 Page 1
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The Workbook guides the student through all
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A unique range of
modulation between related keys.
The Resources present all of Bach’s own
educational tools to harmonisations of the exercises in the Workbook as
model answers, edited from the original sources,
demystify Indian together with new harmonisations for comparison.
music and make it Together they form an ideal resource for the study of
harmony, and especially for the new A-level courses.
accessible to all. Published by The Choir Press
www.authentic-chorales.com
Read & Play tuition books A series of books
incorporating our brand new universal notation system for
Indian drums. Easy to learn, easy to play, easy to teach.
Workshop programmes Inspiring workshops combining
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Online resource materials Video tutorials and sheet- incorporating The Alexander Technique
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MT0617_063-064_Piano reviews_RP2_AS.indd 64 17/05/2017 16:10:26

MT | REVIEWS
Flute sheet music: Beginner to intermediate

Staying in Latin America, Argentinian composer Diego
POP FOR FLUTE 1 Collatti’s Tango Passion is a collection of famous
Schott, £14 tango melodies, as well as his original compositions,
arranged for two flutes. The most well-known are
THE FLUTE PLAYLIST Piazzolla’s ‘Libertango’ and Gardel’s ‘Milonga del
Schott ED 13870, £10.99 900’. Collatti’s performance notes give detailed
guidance on articulation and rhythm, as well as
SERGIO ARRIAGADA: 10 PIÈCES LATINO- sketching the background of the tango’s place in
AMÉRICAINES POUR LES PREMIÈRES ANNÉES Argentina. Players of Grades 5-6 standard will
Editions Henry Lemoine, €24 appreciate this collection.
Jacques Lesburguères’ Une flûte itinérante is
DIEGO COLLATTI: TANGO PASSION an album of six pieces inspired by different music
Universal Edition 36730, €15.95 traditions from around the world. The pieces are
challenging for players around Grades 4-5, and
JACQUES LESBURGUÈRES: UNE FLÛTE ITINÉRANTE require occasional use of extended techniques such
Editions Henry Lemoine, €21.32 as pitch bends. I’m not sure how to work practically
with these pieces, which is a shame as they would
GLAZUNOV: TROIS MINIATURES OP.42 certainly appeal to my students. There is only a
Arr. Mark Tanner flute part; without a score or a piano reduction, the
Spartan Press SP1343, £9.95 flautist’s only option is to play along with the CD.
While the recorded flute part is excellent, the backing
(RE)INVENTIONS FOR FLUTE AND VIOLONCELLO tracks don’t use live instruments – the freedom to
J.S. Bach arr. Lamb/Rummel interpret is also lost without the possibility of live
Paladino, €19.95 accompaniment.
Spartan Press has been publishing lots of new
Schott recently published two compilations for flute: editions and arrangements of 19th-century music.
Pop For Flute 1 and The Flute Playlist. Music shops Mark Tanner’s arrangement of Glazunov’s Trois
are full of pop song books transcribed for various Miniatures Op.42 for piano is very appealing and clearly
instruments, and they often suffer from the same laid out, with sensible page turns. A lilting ‘Pastorale’
problems. Firstly, the short lifespan of pop songs is followed by a lively ‘Polka’, and the final light and
means that the young people at whom the book is breezy ‘Valse’. Players of Grades 5-6 level will be put
aimed may not be interested. Secondly, many songs through their paces with the changes of mood, key
rely on elements besides melody: lyrics, production, signature and speed – the ‘Polka’ is a great stamina
the video and the pop stars themselves. When workout for articulation and fingering, while the outer
transcribed, the melody can be repetitive. movements demand elegant, sustained phrase shaping.
Pop For Flute has avoided both pitfalls by including J.S. Bach wrote a lot for the flute – his one solo
60s classics alongside Taylor Swift. All 12 songs are and six accompanied sonatas are returned to often
arranged for two flutes, and are suitable for players of by players. Plenty of his music for other instruments
Grade 2 level. has also been transcribed and arranged for flute, and
The Flute Playlist offers great value with its 50 pieces – a these (Re)Inventions – taking as a starting point Bach’s two-
good resource for players of Grade 3-4 standard. There are a part ‘Inventions’ for keyboard, but also including some of his
few more challenging selections, such as Debussy’s ‘Prélude à other works – are a welcome addition. The two contrapuntal
l'après-midi d'un faune’. Students will grow in confidence by voices are given to flute and cello, and cover a wide range of
playing these familiar, thoughtfully arranged melodies. difficulties; some will be accessible to early-stage players, and
I’m a fan of Sergio Arriagada’s Latin American studies and others won’t. The pieces are well-chosen – Anna Magdalena
often work on them with my students, so I was delighted to Bach’s ‘Minuet’, and others that a flute player is less likely to
see he’s written some for beginner players in the form of 10 be familiar with – a good way to get flute students listening
pièces latino-américaines pour les premières années. These charming to Bach beyond the flute repertoire. There are bowings and
pieces for flute and piano are in styles from countries including fingerings suggested in the cello part, while the flute part is
Colombia, Uruguay, Bolivia and Chile. ‘Milonga campera’ edited with a light touch, leaving room for players and teachers
will challenge the student to produce elegant phrases, as will to interpret together.
‘Lonkomeo’. Other pieces, such as ‘Sanjuanito alegre’, require
crisp articulation and rhythmic delivery. CLARISSA PAYNE
MT0617_065_Flute Revs_RP2_AS.indd 65 17/05/2017 13:04:22

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MT_0617.indd 66 17/05/2017 15:18

MT | REVIEWS
New products
KEYLAB ESSENTIAL
Arturia has launched its latest range of
controllers, designed with the budget-conscious
musician in mind. Featuring an array of piano
keys, faders and drum-pads, the keyboards
STRUM BUDDY ZT LUNCHBOX AMPS
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MT0617_067_New products_RP2_AS.indd 67 17/05/2017 13:01:30

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MT_0617.indd 68 17/05/2017 15:14

MT | PRACTICAL CLASSROOM TECH
Can’t read,
(www.musictechstudent.co.uk), my students fully engage with and
use the resources for homework, revision and research.
Obviously I am not saying that no student reads – this
won’t read
would be a massive generalisation – but I have noticed that
the students in this particular cohort don’t like to. Every year
I seem to go through the same battle with my classes about
revision, study and reading. It is not as if the students are lazy
Tim Hallas has found that many of his – far from it – and they are very keen to learn. It just seems
that a book is not a place from which my students feel they
students can’t or won’t read their study can best find information. I would be interested to know if
guides. In this month’s column, he shares this is just a problem I have with my students or whether it is a
wider issue.
some alternative learning resources, and It has led me to think about the manner in which I present
wonders whether the decline in reading is information. As well as presenting my students with large
a widespread issue swathes of text and copies of new books, I am thinking about
other means by which to encourage independent learning
and revision.
I have spent the last few weeks putting the finishing touches to
a study guide for the new A-level in music technology – and I
have learnt a few things about my students during the process. VIDEO
When I was asked to write the book, I had assumed that I have thought about the idea of presenting each of the
it would be a resource to support students sitting the exam different elements of recording skills as a short YouTube video.
around the country – but while carrying out research and By capturing the process of setting up microphones around
speaking to my students about what they would like to see, certain equipment on video rather than describing it on a page,
something worrying appeared. My students don’t read. it might offer a more complete picture of the recording process.
During my teaching career, I have regularly recommended In addition, captioned videos of the sequencing process could
excellent revision and study guides written by the likes of be helpful, allowing the pupils to see exactly how I work and
Jonny Martin, which outline the course and give basic tuition the controls I adjust within the software.
to the students about achieving certain tasks within the
studio. The problem is that I don’t think a single student in
my current cohort has read these guides. I have put them in SLIDES
the school library, left copies lying around on my desk and The Music Tech Student website has provided resources that
in the trays in my classroom – but none have been touched. are captured as revision slides. Could this option work for
Interestingly, when I recommend other resources such as my pupils? Although the website provides suitable resources
YouTube or the frankly brilliant Music Tech Student website for the general student, I am considering creating the
information that I would have previously presented within
a written document, on PowerPoint slides with embedded
pictures, audio and video to support any information that
is provided.
SUMMARY
Although these are useful resources to support our
teaching, they do exactly that – support. Nothing is better
than a session taught with good techniques. However,
with increasing pressure on lesson time and exam content,
I want my pupils to be able to access as much learning
material and revision information as possible – and to
actually use it.
As the current generation of student becomes ever more
reliant on new forms of media to access information, do I as
a music educator need to update the way I present my course
information to them? I think that I do. Over the next year I
suspect that I shall be creating an awful lot of YouTube videos
for my students – and I’d be interested to hear what other
resources you are creating for students who can’t, don’t or
won’t read a study guide.
MT0617_069_Tech col_RP2_AS.indd 69 17/05/2017 13:02:25

MT | REVIEWS
Tech review
usefully undocked to view on separate monitors if desired.
The program includes a generous selection of orchestral
instruments, drums, synthesizers, guitars and basses, all
mapped across the General MIDI specification. You can mix
and master within the software and there are quick links for
ACOUSTICA MIXCRAFT 8 publishing music and videos directly to social media sites.
www.acoustica.com The program also offers surprisingly powerful video
£56 excluding VAT; discounts available for multiple licences capabilities, enabling you to import and export MP4 files
When considering a digital audio recording (DAW) program for easy editing. This great video feature allows you to add a
for educational use, there are important factors to consider: musical soundtrack and sound effects to a video; create slide
affordability, flexibility and ease of operation. In each of these shows of still images; add titles, lyrics or credits; and accurately
aspects Acoustica Mixcraft 8 scores very highly. Mixcraft 8 is sync video to sound. You can also crossfade video clips, create
available only for Windows platforms. It comes in two editions transitions and use video effects.
– Recording Studio and Pro Studio – and both versions are very
affordable.
While the Pro Studio version offers additional virtual Generous array
instruments and effects, both work well in an educational The Pro Audio edition comes equipped with six additional
context. I am focusing primarily on the basic version Mixcraft virtual instruments and 28 additional effects. It also includes
8 Recording Studio for this review, but both editions provide Celemony’s renowned ‘Melodyne’ tuning software integrated
a complete self-contained package that includes a generous into the program. While the Pro Audio edition is definitely
selection of instruments, effects and loops alongside the worth the extra cost, both versions include everything you
editing tools you need for high-quality recordings. Within really need for a full recording session.
Mixcraft 8 you can add unlimited audio and MIDI tracks for
your recording project, and Mixcraft 8 is now fully compatible
with VST3 instruments and effects. Comprehensive documentation
The user interface is clear and intuitive, which makes it The documentation for Mixcraft 8 is excellent, with Acoustica
ideal for a teaching environment. The audio or MIDI tracks providing a detailed user manual outlining every aspect of
line up on the left of the screen with output level and panning the program. The company is fully committed to working
controls, while the lower section incorporates either a media in education, and the program is used in many schools
browser for instruments and loops and mixer, or an editing throughout the world. Acoustica offers generous discounts for
window, depending on the context. This lower section may be educational establishments and a comprehensive range of site
Acoustica Mixcraft 8 screenshot
MT0617_070-071_Tech Revs_RP2_AS.indd 70 17/05/2017 15:35:13

MT | REVIEWS
STUDENTS BEGIN
WITH MIXCRAFT
Affordable Site License pricing
Mixcraft 8: Simple to operate, but well-equipped No Annual Fees
Free work-AT-home teacher’s license
Free Teacher’s Guide
licences are available. Acoustica also provides the ‘Mixcraft
(MSI) Microsoft-compatible installer
7 Teacher’s Guide’, which is available as a free download, or
a printed edition which can be purchased at a modest cost. I
expect this will eventually be updated to Mixcraft 8 but the
basic contents are still very relevant.
I was impressed with the practical help on offer from this
guide: there is extensive information about setting up Music
Labs, plus many interesting projects for students to attempt.
There are also additional materials available from
Acoustica’s website, with sample projects, videos, photographs
and student handouts. The projects in the guide include
Vocal FX, MIDI Beats, Live Loop Improvisation, Remix, Rap
Improvisation, Film Scoring, Beatboxing and Commercial
Projects. The guide provides a wealth of helpful information for
anyone teaching music technology, and it is to the company’s
credit that they have produced such a detailed volume.
In conclusion
While Mixcraft 8 is very simple to operate, it is nevertheless a
well-equipped and powerful DAW application, and because it
includes a huge range of instruments and loops it is fully ready
to use without requiring additional purchases. The excellent
on-board instruments, sounds and audio loops combined with
ease of operation make the program fun to use and ideal as
an introduction to recording in schools. Acoustica Mixcraft
8 Recording Studio and Mixcraft 8 Pro Audio also represent
outstanding value for money. I strongly recommend that you
check them out.
www.acoustica.com/edu/
TONY CLIFF
MT0617_070-071_Tech Revs_RP2_AS.indd 71 17/05/2017 15:35:14

SUBSCRIBE TO *
MUSIC TEACHER AND SAVE UP TO 30%!
AVAILABLE IN
MT | TRINITY LABAN CHAPEL CHOIR MT | TRINITY LABAN CHAPEL CHOIR
PITCH PERFECT
ambitions now encompass regular tours
and twice-annual large-scale oratorio
PRINT & DIGITAL

performances with a professional
orchestra and soloists from the choir –
Felicity Hayward speaks with members recent highlights include Bach’s Mass in
B Minor and St John Passion – alongside
of the Trinity Laban Chapel Choir, at its a weekly Sunday morning service and
home in the stunning Old Royal Naval choral evensong each Monday at 5.30pm.
College Chapel in London’s Greenwich
FORMATS
Expertise is key
Allwood’s expert leadership and
tremendous experience (he was director
of music at Eton for 26 years and
continues to direct Eton choral courses
for aspiring singers) seem to be paying
T
he striking beauty of the Old hundreds of years, the choir which now choral scholarships from Trinity Laban. dividends. Notable previous scholars
Royal Naval College Chapel in sings there has not. The Old Royal Naval College Trinity include James Newby, baritone and joint
Greenwich, a Wren masterpiece, Prior to Trinity Laban Conservatoire Laban Chapel Choir is the only collegiate winner of the Kathleen Ferrier Award in
needs little introduction and has of Music and Dance’s arrival in chapel choir to be affiliated with a 2016; and mezzo-soprano Emma Lewis,
featured in too many Hollywood Greenwich in 2001, it was home to a UK conservatoire in this way. Under who took up a place on Genesis Sixteen,
blockbusters to mention – Rowan very good volunteer choir, but choral the direction of Ralph Allwood for The Sixteen’s graduate singer scheme
Atkinson’s blundering turn in Four singing has gradually evolved into a the last four and a half years, and his and the Monteverdi Choir Apprentices Money talks: Raising cash
Weddings and a Funeral, anyone? But
while the chapel has been there for
thriving ensemble of around 28 singers,
of whom 15 each year are awarded
predecessor Richard Tanner before then,
the choir’s ambitions have grown. These
Programme after graduation.
Both are quick to praise Allwood’s
for your music department.
ability to help young singers to MUSICTEACHERMAGAZINE.CO.UK
Choral evensong at the Old Royal Naval College Chapel, Greenwich
JUNE 2017 £4.95 See page 47
develop their skills, acknowledging
The choir’s ambitions, under the direction of Ralph Allwood, have grown exponentially how important this is in the current
VOCAL &
TERRY JEAVONS
professional climate, particularly in
the early years of a career. ‘When
young singers enter the profession, the
THEY CAN HOLD PHRASES FOR AN ASTONISHINGLY LONG
majority of the work they will pick up TIME AND THEIR PIANISSIMOS ARE SPINE-TINGLING
at the beginning is choral singing,’ says
CHORAL
Emma Lewis, ‘and I think it’s important
to give them a strong grounding in us several times to work with us and all the teamwork and the collaboration of
that training.’ the students loved him. He’s also a deep- having worked in a choir – and all the
For James Newby, Allwood’s expertise thinking Christian, so lots of the pieces singing teachers agree.’ Some of the
was key. ‘I think what he does very well mean a terrific amount.’ scholars also take on extra duties within
is bridge that gap between professional Current scholar Matthew Norriss the choir, such as librarianship or other
and student,’ he says. ‘Ralph has
obviously got a great amount of
experience with younger singers, so he
agrees: ‘[Roderick was] always focused
on the vision of his pieces, rather than
what was explicitly written on the page.
YOUNG VOICES
administrative tasks, building a lasting
sense of camaraderie and ownership.
Providing access to high-level choral
really knows how to develop the singers
that come in at 18 or 19; and he is a
Very often when he was coaching us on
his works, we found there was a much
Behind the mass choir
training alongside Trinity Laban’s
vocal studies courses has clearly been
great musician, so it’s really worthwhile
for the older members as well.’
deeper meaning behind the music.’
A pattern that emerged when speaking phenomenon
a successful strategy. ‘The choir makes
a glorious sound,’ says Allwood. ‘What
The choir has recently been on tour, to people about the choir was an links them all is that they think and
A NEW SONG
performing for services and giving recitals agreement that it has a strong collective, breathe singing. The vocal training
in Bristol Cathedral, Romsey Abbey, collaborative identity – something which carries through directly: they can hold KS35
KS Getting started with songwriting
Tewkesbury Abbey and Southwark is already deeply ingrained in the Trinity phrases for an astonishingly long time
Scotland’s new National

Cathedral. In addition, they have just Laban ethos. and their pianissimos are spine-tingling.’
recorded a CD, due for release later this ‘I took on this important choir Perhaps most importantly, Trinity
Anna Gower by Anna Gower
year on the Signum Classics label, which because it is unique,’ says Allwood, ‘and Laban is clearly giving some thought
Singing Framework
works for Trinity
showcases the compositions of baritone because Trinity Laban’s vocal studies to the skills its vocal graduates need College London,
after many years
Roderick Williams, an association that department is forward-looking enough to be successful, as well as providing teaching music in
Allwood is proud to have established: ‘He to accept that if you want a solo career them with a musical experience to
secondary schools
and as a freelance INTRODUCTION
IN THE CHAPEL
was the perfect choice for us. He’d visited as a singer you need the musicianship, remember. MT
Judith Weir and the Heath Quartet with advanced composition students
music education
consultant. She Songwriting. An ageless craft of storytelling, sharing our deepest feelings, emotions and experiences,
also has created
communicating messages of love, sadness, resistance, protest? An accessible form or structure for composing
28 MUSIC TEACHER | JUNE 2017 www.musicteachermagazine.co.uk www.musicteachermagazine.co.uk MUSIC TEACHER | JUNE 2017 29 and developed
A PLACE OF OPPORTUNITY
resources and for students and teachers alike? A nice synergy of musical elements, and familiar to most of us with thousands
A unique conservatoire
approaches to of songs available at the push of a button on our smartphones or when we turn on the radio or TV, or walk
music teaching and
into a shop? Or a relevant hook into the music that engages and drives students who may have been writing
learning for Musical
GRAND UNION
their own songs for years and never shared them, or who feel an affiliation with the genre through their own
chapel choir
Futures in the UK
MT0617_028-029_Trinity Laban_RP2_AS.indd 28 17/05/2017 12:27:08 MT0617_028-029_Trinity Laban_RP2_AS.indd 29 17/05/2017 12:27:11 and overseas. commitment to the music they enjoy and are passionate about, often in very personal ways?
Whatever our motivation for setting our students off with a songwriting task, there’s always a danger that
YOUTH ORCHESTRA
This year, the Dartington International Summer School and conductors as they coach and coax
the best out of their groups. There are
with familiarity comes an assumption that it’s something they’ll be able to ‘just go off and do’. This resource
is designed to be a series of starting points, tasks and activities that can scaffold the process for students in
and Festival will be offering bursaries for teachers in the a lot of different types of music-making order to make it a valuable and engaging experience for all.
Ten years of breaking local region for the first time. Toby Deller speaks to – from singing and playing to creating
Dip in and out as appropriate across your KS3 curriculum to start to build confidence and familiarity with lyrics,
new music, improvising, and working
pianist and artistic director Joanna MacGregor about the with artists, poets and filmmakers.
grooves or chord progressions. Or cherry-pick your way through to designing a songwriting scheme of work
boundaries courses and opportunities in store And the programme ranges from core
classical repertoire to jazz, folk, opera,
that’s relevant to your students and resources, and fits within your departmental and personal musical values.
The key to success with songwriting is building confidence within each student to try out their ideas, whether
electronica and world music.’ that’s in terms of lyrics, a rhythm, a melody, a chord sequence.
MAKE MUSIC DAY W

ith the academic year
behind you, the prospect of
least one reason why her programme of
courses and concerts might appeal to Festival atmosphere
We live in a world where if it doesn’t sound perfect first time, students can be reluctant to risk giving it another
go in case it takes them out of their confidence zone in front of their peers. Bite-size, achievable tasks can form
the stepping stones for building that confidence, and thereby open a new world of expression for students.
Time for UK
spending another week or those who spend their working lives in In truth – although it is a school in They often have a lot that they’d like to be able to share if we’re able to give them access to the musical
two at school may not be immediately the classroom. name, makes use of what were once language, forms and structures that allow them to be heard.
appealing. But Joanna MacGregor, the ‘It’s a good point! But you don’t have educational facilities of the former
to get involved? renowned pianist who is now in her

third season as the artistic director of
to take responsibility – you’re in the
hands of other teachers for a change
Dartington College of Arts, and runs
according to a daily timetable of classes
A BRIEF HISTORY OF SONGWRITING
PLUS
the Dartington International Summer and can sit back and enjoy listening to and activities – Dartington is not
School and Festival, says there is at instrumentalists, composers, writers really a scholarly environment. The » Sometimes branded the ‘informal’ relation to the more formally titled ‘composing’ tasks, songwriting is sometimes
shoehorned into a rock and pop scheme of work or can become the fall-back for the free composition briefs
» ARE WE TEACHING THE RIGHT MUSIC? www.musicteachermagazine.co.uk MUSIC TEACHER | JUNE 2017 19 According to
at GCSE and A level.
the Measuring
Music Report
from September Songwriting provides plenty of opportunities for box-ticking our way through the criteria, but with a rich historical and
» ASSOCIATION OF BRITISH CHORAL DIRECTORS MT0617_019-021_Dartington Festival_RP2_AS.indd 19 17/05/2017 12:15:17

2016, musicians,
composers,
songwriters and
social heritage and links across a wealth of musical styles and genres, songwriting may deserve a little more depth
and breadth than the informality of its title suggests, or than it is often given credit for in many KS3 schemes of work.
» FULL PROGRAMME FOR MUSIC & DRAMA EDUCATION EXPO | NORTH

lyricists contributed
£2bn of the £4.1bn Grounded in oral traditions, the history of song falls into three strands, each of which remains current today and
of music revenues
which, in many cases, define the popular musics of their time:
in the UK market in
2015. Music for worship
Folk music
Music for storytelling/dramatic performance, satire, entertainment and communication
MT0617_001_Cover F01.indd 2 17/05/2017 11:07:18 The writing and study of music led to new genres of song such as art song and opera, where technique,
conventions of form and structure and expression became more formally integrated with poetry and language.
Alongside these genres grew the ‘popular’ equivalents, music hall and musical theatre.
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MT0617_072_Subs.indd 72 17/05/2017 13:15:08

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JULY 2017
PERCUSSION AND BEATS

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MT0617_073_Next issue.indd 73 17/05/2017 13:06:54

MT | THE TEACHING MUSICIAN
THE TEACHING MUSICIAN

Trumpet teacher Kay Charlton continues with her MA during Easter and develop an idea to
plan and deliver as a group.
on Trinity Laban’s The Teaching Musician course – I also meet my new trumpet teacher!
and there’s a lot to reflect on Friends (non-musicians) have said to me
‘Why do you need lessons?’ but I’m well
aware that there is always something
new to learn. I once had the privilege
channel, test it on my pupils and write a of meeting Hugh Masakela, the great
2,000-word action research report. South African trumpeter, at a school
I’ve also been allocated a trumpet where I taught – he was performing at
teacher for the ‘Learning Mentor’ module. the Barbican nearby and came to do a
Yikes again – it’s many years since I had workshop. I was introduced to him as
an actual trumpet lesson. I will have ten ‘the trumpet teacher’, but as he shook
lessons between now and November, my hand he said, ‘I’m still learning.’ The
keeping a diary reflecting on my learning, session with my mentor isn’t exactly
and with a 4,000-word critical evaluation a trumpet lesson (I only blow into my
written up at the end of the process. mouthpiece once), instead ending up being
And the other two modules are now a discussion about teaching and playing
open. I pitch my idea for the ‘Creative which I’m sure will run and run. More
FEBRUARY Project’ on the Moodle forum and wait playing is planned for the next session, as
The MA start date arrives and I’m to see what the other projects are – will well as swapping lesson observations and
given a Moodle password that unlocks anyone join my idea, or will I actually seeing each other perform.
the door to the Trinity Laban virtual prefer someone else’s? There are 13
learning platform – and I’m off! The students on the course, so a diverse
reading list covers nine pages of range of experience and ideas emerge. APRIL
books and reports. Yikes – although The ‘Contemporary Theorists’ module The four teaching days are approaching;
reassuringly a lot of these authors are is also open, with another large reading preparation includes reading up on music
now familiar to me, and I’ve already read list. I feel a visit to the library coming on! education theorists, including Christopher
some of the reports. Small and David Elliot (music[k]ing) and
The first module is ‘Music Technology’: Keith Swanwick. Timetabled sessions
plenty to learn about here. There are include ‘Creating Resources and Putting
videos to watch on Moodle, including I WILL HAVE TEN TRUMPET Them Online’, ‘Community Music and
some on the ‘Flipped Classroom’, where Inclusion’, ‘Gamification and Scratch
pupils’ learning takes place at home
LESSONS BETWEEN NOW AND Programming’ (certainly new territory for
and practice is done in lessons under NOVEMBER, KEEPING A DIARY me!), a session on contemporary theorists
the teacher’s supervision. The main delivered by John Finney – I follow his
assignment for me is to ‘use an aspect of REFLECTING ON MY LEARNING blog so it will be interesting to meet him
technology that is new to you to enhance in person – and ‘Tech in Music Education’.
your teaching’. My emerging plan is to I am also planning content for my
create my own YouTube channel, where I MARCH YouTube channel: I will film and record
focus on specific repertoire that my pupils I’m getting back into the swing of myself and then put it online in time
are learning. I know – there are thousands studying, and I’ve made myself a for my Year 4 WCET group to work
of trumpet lessons online, but how do timetable – a number of hours’ study with over the summer term. Next I will
pupils find one that is relevant to them? are required and deadlines are already design the Action Research project so
My channel will be specific to my looming. The Creative Project ideas on that I can gauge my pupils’ reaction to
teaching style, pupils (and parents) will the forum are varied and one catches the online learning resource, refining it
feel comfortable watching it, and – how my eye – an idea for an online orchestra, until I’m happy it’s doing the job. If my
it fits with the flipped classroom – they so I pitch a response to this (no one videos help to increase engagement and
can learn new stuff at home on the has responded to the idea I suggested enthusiasm for learning the trumpet –
‘Play Trumpet with Kay’ channel and but that’s OK; it can wait for another and more of them want to carry on into
then show me in the lesson. There is a opportunity). The idea would be that Year 5 and beyond – then I will count
deadline in July to design and make the we get together over the four study days that as a success. MT
MT0617_074_The Teaching Musician_RP_AS.indd 74 17/05/2017 13:07:45

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MT_0617.indd 76 22/05/2017 10:08:22

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MusicTeacher - June 2017

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Money talks: Raising cash

for your music department.

MAKE MUSIC DAY

» ARE WE TEACHING THE RIGHT MUSIC?

» ASSOCIATION OF BRITISH CHORAL DIRECTORS

» FULL PROGRAMME FOR MUSIC & DRAMA EDUCATION EXPO | MANCHESTER

MT0617_001_Cover F01.indd 2 17/05/2017 15:37:05

NATIONAL YOUTH CHOIRS

● Locations nationwide, October-November

MT_0617.indd 2 17/05/2017 15:15

54 ONLINE RESOURCES 70 TECH REVIEW 44 MAKING CONNECTIONS

www.musicteachermagazine.co.uk MUSIC TEACHER | JUNE 2017 3

MT0617_003_Contents_RP_AS.indd 3 17/05/2017 15:32:18

For musicians who teach…

Resources to support you in your career

— Workshops and networking opportunities

theMU.org @WeAreTheMU teachers@theMU.org

MT_0617.indd 4 17/05/2017 15:15

www.musicteachermagazine.co.uk MUSIC TEACHER | JUNE 2017 5

MT0617_005_Editorial_AS NEW.indd 5 17/05/2017 15:24:43

TICK SOMETHING OFF

EXPLORE FOR YOURSELF AND VIEW SAMPLE MATERIALS AT

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Trinity College London offers:

New 2018–2020 Piano syllabus launching in June

/TrinityCollegeLondon /TrinityVideoChannel @TrinityC_L

MT_0617.indd 7 17/05/2017 15:15

HAVE YOUR SAY

8 MUSIC TEACHER | JUNE 2017 www.musicteachermagazine.co.uk

MT0617_008_Letters_RP_AS.indd 8 17/05/2017 14:43:20

OPEN to join the

Music Education Ad 88mmW x 252mmH.indd 1 11/12/2015 12:38

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Yorkshire Young Sinfonia goes digital

Bimm Birmingham appoints Antony Greaves as principal

10 MUSIC TEACHER | JUNE 2017 www.musicteachermagazine.co.uk

MT0617_010-015_News_RP_AS.indd 10 17/05/2017 12:10:33

www.musicteachermagazine.co.uk MUSIC TEACHER | JUNE 2017 11

MT0617_010-015_News_RP_AS.indd 11 17/05/2017 12:10:37

Sign Up Today! www.sheetmusicplus.com/musicteacher

Alfred Choral Warm-Ups

Tel: 01279 828960 | Fax: 01279 828961

MT_0617.indd 12 17/05/2017 15:16

Juilliard names Damian Woetzel as

www.juilliard.edu Damian Woetzel

Josep-Ramon Olivé wins Guildhall School Gold Medal

School’s Gold Medal for 2017, the institution’s most

Josep-Ramon Olivé www.gsmd.ac.uk

www.musicteachermagazine.co.uk MUSIC TEACHER | JUNE 2017 13

MT0617_010-015_News_RP_AS.indd 13 17/05/2017 12:12:09

Being an examiner is a great way to:

54953 Histoy Revealed Ad 182mm x 123mm.indd 1 05/05/2017 11:28:53

Repertoire pieces for music lessons

The Schott Student Edition is designed for use in instrumental

These comprehensive editions contain a wealth of

For more information about the Schott Student Edition and a

MT_0617.indd 14 17/05/2017 15:16

Conference report: Choir Schools Association 2017

The conference was hosted by conference, about the health benefits

www.musicteachermagazine.co.uk MUSIC TEACHER | JUNE 2017 15

MT0617_010-015_News_RP_AS.indd 15 17/05/2017 12:12:59

CPD, COURSES & GIGS

This full-day course led by Elizabeth Stafford,

16 MUSIC TEACHER | JUNE 2017 www.musicteachermagazine.co.uk