Government 'lets children down' in music
10 December 2014
Leading figures in the music industry say the Government has broken its promise to give every child in Britain the opportunity to learn a musical instrument.
Julian Lloyd Webber, Sting, Alison Balsom and the heads of the Royal College of Music and Royal Philharmonic Orchestra are among the signatories to a letter to the Telegraph demanding that all children have the chance of learning to play an instrument. They want Ofsted rules to be changed so that a school cannot be rated 'good' or 'outstanding' unless it offers good or outstanding music provision.
The Government unveiled its National Plan for Music in 2011, claiming it would ‘enable every child to have the chance to learn to play a musical instrument for at least a term, ideally a year’.
However, the funding model has become a postcode lottery, and access to instruments is ‘simply out of reach’ for a great number of children, according to James Rhodes, concert pianist and lead signatory to the letter published in the Telegraph on 23rd November.
Mr. Rhodes visited schools for a recent Channel 4 series, Don't Stop The Music, and found children using dustbin lids and yoghurt pots in place of real instruments. He said headteachers feel under pressure to meet targets for English and maths, and music lessons often become the lowest priority
‘I don't think anyone would say music doesn't deserve to be studied. But if you are a headteacher in a school where you know you will live or die by ticking Ofsted boxes on literacy and numeracy, that is all you're going to focus on’.
‘We have not moved on from the idea that music is a privilege and a luxury if you have the time and the budget. But learning to play an instrument gives you self-esteem, discipline, confidence. In what other field ... when there's an app for everything, and everything is instant, do you have the chance for slow, incremental, messy improvement?’.
Julian Lloyd Webber initially lent his name to the National Plan for Music but said it had failed to deliver.
‘The biggest frustration of all to me is the idea that it's an 'either/or' situation. It's not a case of, 'If my child learns to play the cello they are not going to learn their maths as well'. In fact, it's the reverse. Having access to music is a help, not a hindrance. It takes discipline to learn an instrument - it is a complex thing to do.’
he Department of Education declined to supply any information on how many schools have met its 2011 target.
Recruiting opens for Glyndebourne Academy
22 December 2014
In January 2015, Glyndebourne opens recruitment for Glyndebourne Academy
a new scheme for singers aged 16-26 with exceptional potential, whose circumstances, economic, social or geographic, have excluded them from the traditional route towards a singing career. Glyndebourne Academy has evolved as Glyndebourne’s contribution towards breaking down barriers into the profession.
Following recommendations from the 2008 ‘Singers of Tomorrow’ conference at the National Opera Studio, Mary King, Glyndebourne Vocal Talent Consultant and Glyndebourne Academy Artistic Director, worked with Glyndebourne’s former Head of Education, Katie Tearle, to create a training course for young talented amateur singers.
The Glyndebourne Academy pilot scheme took place in 2012. It provided a select number of young singers, several of whom were entirely new to opera, with seven days of intensive instruction in operatic vocal technique and performance. Academy sessions covered vocal coaching, training in movement and drama, language coaching, work on notational literacy, discussion sessions about vocal types, career considerations, support networks and the range of skills development needed for an operatic career.
Throughout the winter of 2012, each singer received continued support in the form of advice and resources concerning how he or she could continue their operatic development until such time as they were able to attend music college or other formal training.
The 2015 course follows on from the pilot scheme and successful applicants will enjoy a residential week, trips to the Festival and a performance opportunity of their own at Glyndebourne.
Recruitment for the 2015 Glyndebourne Academy training course opens in January 2015.
or further details see the Glyndebourne Academy website http://glyndebourne.com/academy
Student composer for ENO children’s opera
19 December 2014
A PhD student at Birmingham Conservatoire has composed the score for English National Opera’s first ever show for children this December.
‘The Way Back Home’ is an opera adaptation of Oliver Jeffer’s children’s book of the same name, which follows the journey of a boy who crash lands on the moon and comes face to face with a stranded Martian.
Joanna Lee who composed the opera’s score, has been described by the Guardian as a “considerable talent, capable of creating vivid musical images’. Her previous compositions have been shortlisted for a British Composer Award and an Arts Foundation Opera Composition Award.
Suitable for children aged between five and eight years old, The Way Back Home runs for 40 minutes and has been created by Katie Mitchell and Vicki Mortimer, the pair behind the hit stage adaptation of Dr Seuss’s ‘The Cat in the Hat’.
Joanna sees it as ‘ a wonderful project to bring contemporary opera to a young audience, something which seems vital to inspire future generations of musicians and ensure the longevity of this genre’.
Professor Martin Fautley, Director of the Centre for Research Education at Birmingham City University, said: ‘Music education is a vital part of the education of young people. We know that the UK is a world leader in the creative economy and equipping our young people to play a part in this is vital for our future development. This venture with the English National Opera offers children an exciting opening into the world of serious music, as well as sparking their creative imaginations’.
More information at: www.eno.org/waybackhome
New Faces at Royal Welsh College
18 December 2014
The Royal Welsh College of Music and Drama (RWCMD) report that the UK’s most virtuosic percussion duo, O Duo will be joining their teaching staff, with percussion guru Kevin Hathway as inaugural Ev-entz chair of percussion.
The percussion department at RWCMD offers performance opportunities embracing all musical styles. The course of study enables each student to work with leading professionals of international standing, creating versatile and employable future professionals. As part of the ongoing development of the College’s facilities, percussion practice space and resources have recently been enhanced with a large rehearsal suite, three purpose-built practice booths and a variety of new instruments.
The College has excellent links with professional percussion artists both locally and internationally, with masterclasses punctuating the academic year and students receiving one to one tuition and specialist advice throughout their course from acclaimed professionals. Musicians with locally based orchestras WNO and BBC NOW provide tuition and mentoring support to students and offer unique access to rehearsals.
Head of Percussion Kevin Price said, ‘Percussionists are the unsung heroes of the music world. Their chosen specialism means they not only need expertise in a huge array of tuned and un-tuned percussion instruments and timpani, but also the ability to access and appraise instruments according to the requirements of each score, and then to carry and set up everything well in advance of each rehearsal or performance. The ensembles at RWCMD which include percussionists is varied and diverse and includes six orchestras, two brass bands, a wind orchestra, brass ensembles and a specialist percussion ensemble – all requiring the commitment and expertise of specialist percussion students and tutors’.
El Sistema - a new publication polarises the music education community
17 December 2014
A storm of words has erupted following the publication of ‘El Sistema: Orchestrating Venezuela's Youth’ (OUP).
Geoff Baker, a Reader in the music department at Royal Holloway, University of London, wrote the book following extensive travel and research in Venezuela.
The reaction to this book has deeply polarised the music education community and there have been heated discussions on many blogs and websites both supporting and rejecting Baker’s findings.
A central thesis of the book is that El Sistema has become an institution serving the middle classes, rather than those less fortunate. In an opinion piece, published in the Guardian
“Far from the shining example of how classical music can change vulnerable young lives many claim it to be, Venezuela’s El Sistema fails the country’s most deprived children”
The author does point out that these allegations only refer to the situation he perceives in Venezuela and do not necessarily imply criticism of Sistema inspired initiatives in other countries.
Baker is organising a conference for those who want to find out more and engage in the debate. The event, El Sistema and the Alternatives: Social Action through Music in Critical Perspective, will take place in the Senate House, University of London on 24 April 2015.
Page: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130