Lesley-Ann Smith joins Kent Music as Head of Teaching and Learning
29 January 2015
Lesley-Ann Smith joins Kent Music as Head of Teaching and Learning
Music teacher and double bass player Lesley-Ann Smith has joined Kent Music as its new Head of Teaching and Learning, leading a network of more than 150 instrumental and vocal tutors working with up to 12,000 people a year across Kent and Medway.
Originally from Prestwick in Ayrshire, Lesley-Ann graduated with a Bachelor of Music Degree and Post Graduate Diploma in Music Performance from the Royal Conservatoire of Scotland in 2007.
She has played as a freelance double bassist with professional orchestras across Scotland, including the BBC Scottish Symphony Orchestra and Scottish Opera. Her early career was spent working as an instrumental instructor with multiple Instrumental Music Services and as a community musician for Artlink Central.
As Education & Projects Officer at Enterprise Music Scotland, Lesley-Ann designed and managed their first music education conference, Music Education Matters, in 2014. There she designed and administered over 90 music education workshops annually across Scotland as well as chamber music projects and training events. She was most recently Team Leader Music Development at West Dunbartonshire Council where she managed the Instrumental Music Service.
Peter Bolton, Chief Executive of Kent Music, said: “Lesley-Ann is a talented musician with wide experience of organising music tuition at all levels and I am delighted to welcome her to Kent as our new Head of Teaching and Learning.”
Government publishes new GCSE, AS and A Level subject content
28 January 2015, Thomas Lydon
The Department for Education has published details of the
subject content for the GCSEs, AS Levels and A Levels in music to be taught
from autumn 2016. It is anticipated that exam boards will soon publish their own
specifications, based on these guidelines.
The headline here is that the much-criticised compulsory 1700
to 1900 area of study at all levels has been widened to the more conventional stylistic boundaries of 1650 and 1910, largely due to the efforts of the ISM's Protect Music Education campaign. The other specification at all levels has also been re-framed, now stating that one
other area of study ‘must not be drawn from the Western Classical Tradition’. Otherwise,
there are no huge surprises here, with the final content guidelines being
based largely on the consultation
documents published last July.
Some of the more proscriptive language around the demands on
the composition element at all levels has been dropped (no longer must students
be able to show that they have achieved their work through one or more of a set
list of ‘means’, including experimenting, developing, or critical refinement).
At GCSE, the ‘musical elements’ have been updated to include
sequences (listed at A Level in the consultation) chord progressions and simple
At AS and A Level, we're pleased to report that the ISM’s sub-campaign to save the gerund has been
successful, and the terms ‘performance and composition’ from the consultation
documents have been re-phrased as ‘performing and composing’, presumably in
response to the ISM’s stated preference for stressing the ‘musical processes’
rather than the ‘end products of study’. Elsewhere, in the ‘musical elements’
section, all reference to identifying sonorities of different instrumental
groupings has been removed, and there is some genuinely interesting new wording
in the 'musical context' section. Lastly of note, in the ‘appraise’ section, the
requirement to be able to make critical judgement about your own work has been
The GCSE content can be found here.
The AS and A Level content can be found here.
If you want to play a game of 'spot the difference', here are the consultations documents for GCSE and AS/A Level.
Glyndebourne opens training scheme for young singers
28 January 2015
Glyndebourne is now recruiting for a new scheme to help young singers pursue professional training.
The Glyndebourne Academy is for singers with exceptional potential aged 16-26 whose circumstances, whether economic, social or geographic, have prevented them from following a traditional path towards a career.
The scheme was devised in response to a seminar discussion about the lack of diversity amongst young opera singers in professional training at the 2008 conference, The Singers of Tomorrow, held at the National Opera Studio and attended by Glyndebourne’s vocal talent consultant, Mary King.
Following the event, Mary and Glyndebourne’s education team sought to pinpoint the reasons for this lack of diversity and design a programme which might help. Contributing factors included the patchiness of music education provision in schools, a decline in school singing outside the curriculum, cuts to local music services, making subsidy for individual singing lessons harder to come by, and the intensity of competition for conservatoire places.
Mary King, artistic director of Glyndebourne Academy, said: ‘Operatic voices don’t spring up ready-made. If you go to a fine school with a great music department and your interest is awakened and recognised early, then all can be well. But if not, and you don’t discover your potential until the age of 15 or 16, you’ve got a lot of catching up to do. With no access to good musical education and advice, it is difficult for a late starter to really compete at conservatoire entrance-stage. We wondered; could we identify a small group of exceptionally talented singers who had fallen through the gaps and take them through a process that would make a difference?’.
A pilot run of the programme in 2012 provided a select number of young singers, several of whom were entirely new to opera, with intensive instruction in operatic vocal technique and performance. More than half of the participants have moved on to further training.
The deadline for applications to Glyndebourne Academy is Monday 16 February 2015. Visit glyndebourne.com
for further information.
Vivienne Price Memorial Concert - 1 February at the Royal Festival Hall
27 January 2015
Vivienne Price, much-loved founder of the National Children’s Orchestras of Great Britain, (NCO) died last November. A special memorial concert to celebrate her life and achievements will be held at the Royal Festival Hall on 1st February, at 5pm.
Vivienne founded the NCO in 1978 to provide inspiration and first-class musical training for children. Her enthusiasm and dedication helped to transform the lives of countless young musicians, stimulating a life-long love music in both musicians and their families. This concert will celebrate the enduring impact of Vivienne’s commitment to music and young people.
Invited guests will combine to form the Vivienne Price Memorial Orchestra. The programme will include Vaughan-Williams' The Lark Ascending
, the 2nd
movement of Tchaikovsky's Symphony No. 5
and Marquez's Danzón no.2
. The concert will end with Strauss's Radetzky March
which Vivienne herself conducted at the first NCO concert.
Principal conductor, will be Roger Clarkson, supported by guest conductors Daniel Harding, Natalia Luis-Bassa, Peter Stark and Howard Williams.
Tickets from www.southbankcentre.co.uk
Nicky Morgan announces music funding for 2015-16
26 January 2015
Education Secretary Nicky Morgan has announced £109 million funding to support children’s cultural education programmes in the 2015 to 2016 financial year.
On 22 July 2014, the Department for Education announced that an additional £18 million would be made available to support music education in 2015 to 2016. Of the £18 million, £17 million would be made available to the 123 music hubs, bringing the total to £75 million in 2015 to 2016. The additional £1 million will be provided to support the Music and Dance Scheme, bringing the total to £29 million for 2015 to 2016.
It has also been announced that £1.1 million will be allocated this year to support education through six In Harmony programmes and National Youth Music organisations, including the National Youth Orchestra, Music for Youth’s School Proms, National Youth Jazz Collective and National Youth Choirs of Great Britain.
Deborah Annetts, chief executive of the ISM said: ‘This is wonderful news for our excellent music education system. We are delighted that the increase of £17m will be going directly to music education hubs to enable them to continue with their vital work, delivering the National Plan for Music Education. Stable funding is desperately needed for music education and we hope that this announcement is the starting point for continued funding at least this level over the next five years.’
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