Hubs funding kept at £75m for 2016/17
18 December 2015, Alex Stevens
Department for Education has confirmed that funding for England’s music
education hubs will be maintained at £75m for 2016-17.
individual allocations remain unconfirmed by distributing body Arts Council
England, although significant changes would seem unlikely given the short time
until the funding period begins.
fact that the funding level has been announced for only one year, despite last
month’s spending review confirming spending limits past 2020, will raise
speculation that ACE might run a more comprehensive process for hub funding from
Annetts, chief executive of Incorporated Society of Musicians, said: ‘We are
absolutely delighted that the Government has confirmed their continuing
commitment to music education by announcing that the funding for music
education hubs for 2016-17 will be maintained at £75m.
ISM would like to thank the secretary of state Nicky Morgan and the schools minister
Nick Gibb for their continued support for music education and in particular
maintaining the current level of hub funding. This is hugely welcome.
funding is a critical component in supporting the fantastic work of the music
education hubs and services up and down the country and ensures that all
children have sufficient access to music education.’
Sinfonia Viva launches residency celebrating Roald Dahl
17 December 2015
About 100 young people from the Derby area will take part in Sinfonia Viva's 'Marvellous Musical Medicine' project.
The residency marks the centenary of Roald Dahl
, who was educated at Repton School, Derbyshire.
Students from Becket and Firs Estate primary schools, St Benedict Catholic Academy and Derby College will work with composer Jack Ross and musicians from Sinfonia Viva to create their own music and songs.
The works will be performed in concert at Derby Theatre on 26 January.
Sinfonia Viva education manager Marianne Barraclough praised the diversity of Dahl's work, saying: 'it is perfect to inspire young people from a wide age range.'
Charlotte Moore, music coordinator at Firs Estate Primary School, said: 'We are thrilled to be part of a project which will enable the children to develop their music skills to a whole new level.'
‘Marvellous Musical Medicine’ is presented in association with Derby Theatre.
New Centre for Music would be ‘transformative’
16 December 2015
Sir Simon RattleJohann Sebastian Hanel
Sir Nicholas Kenyon
A newly released feasibility study suggests that the creation of a new Centre for Music in London ‘is needed, that it is timely, and that it is possible to deliver it.’
The Centre would work with orchestras and music and education organisations from across the country to develop opportunities for everyone to experience, participate in and learn about all aspects of music, reaching hundreds of thousands of people directly and millions through digital learning resources.
The report states: ‘Every household within the M25 should have had at least one interaction with the Centre for Music.’
In their foreword, Sir Nicholas Kenyon, Kathryn McDowell and Professor Barry Ife state that a new centre would be ‘transformative for a new generation of audiences and participants, offering performance excellence and developing engagement and discovery for all’.
A number of individuals objected to the idea of a new concert hall when the feasibility study was commissioned in February 2015, with many taking to social media to express their thoughts that the money would be better spent on music education.
The document outlines the economic advantages of the new £278 million centre, predicting that it would deliver a net present value of over £890 million to the UK economy. It argues that London currently lacks a concert hall with world-class acoustics.
With the Museum planning to relocate to West Smithfield, the area surrounding its current site would be transformed to ensure greater accessibility for visitors. The City of London Corporation is willing to make land available for the site, which would reduce the amount of external funding required.
The nearby Barbican Hall would be redeveloped as a home for contemporary music and performance, while LSO St Luke’s would be adapted to enhance its community work and digital recording facilities. Combined with the Guildhall’s new Milton Court, this would create a collection of linked venues at the heart of London.
The Centre would be home to the LSO and would provide a venue for guest orchestras (including the BBC Symphony Orchestra, which would continue as associate orchestra across the Centre and the Barbican).
The next stage of the project will involve completing the full business case for the project, agreeing the terms for the acquisition and development of the preferred site, developing the concept design to RIBA Stage 2 and beginning the private sector fundraising with a view to securing a lead funder.
The government will provide £5.5m to fund a business plan and analysis of costs and benefits, work on the initial design, explore the options for funding, and undertake further consultation with the arts and education sectors.
Professor Barry Ife, principal of the Guildhall School of Music & Drama, said that the development would be ‘transformative’, adding: ‘This development will be a beacon for music education, stimulating interest in live performance and inspiring the next generation of music makers.’
‘The Centre for Music is not just viable but could be transformative, significantly raising the profile and visibility of music and offering world-class arts and learning opportunities for all,’ said Sir Nicholas Kenyon, managing director of the Barbican Centre. ‘The elements are all there now to create a unique opportunity: we want to work with all our partners to shape and realise the vision in a way that can be inspirational for all.’
Mayor of London Boris Johnson said that the project would be ‘of huge importance to the UK economy, as well as music education, not just for local youngsters, but for young people up and down the country.’
Towards a World-Class Centre for Music
Dartington International Summer School & Festival 2016
15 December 2015
The programme for the next Dartington International Summer School & Festival has been announced.
The 2016 event will be the second under Joanna MacGregor’s artistic directorship. Her inaugural year saw 700 students attend and concert ticket sales increase by 200%.
Dartington's new name acknowledges its role as a music festival as well as a learning institution.
The four-week event will take place from 30 July – 27 August 2016 on the Dartington estate in South Devon, comprising more than 80 concerts.
Courses include jazz, opera, folk, contemporary, classical, music theatre, world music and electronica, as well as poetry, literature, dance, multimedia and film.
Each week of the summer school and festival is themed: week one is 'Early and Middle Eastern Music, improvisation, poetry, and fairy tales'; week two is 'Baroque Orchestra, Baroque Opera, Folk Music and Creative Writing'; week three 'Conducting and Orchestral Music, Opera, Music Theatre and Brazilian Music'; and week four 'Carmen and Composition, Film and Multimedia, Gospel and Jazz'.
Week one includes a ‘Shakespeare and Theatre’ course led by the City Musick and playwright Peter Oswald; a Dowland project directed by Emma Kirkby and David Miller; Monteverdi’s 1610 Vespers with Stile Antico; and a session on Middle Eastern music and Arabic poetry with oud player Abdul Salam Kheir and writer and cultural historian Marina Warner.
The programme for week two includes Jane Glover conducting Handel’s Alexander’s Feast and Margaret Faultless directing Purcell’s Dido and Aeneas; folk tuition with Kathryn Tickell and the Dartington Folk Choir; and courses in vocal and baroque practice from Hilary Summers and principals from the Orchestra of the Age of Enlightenment.
Week three is aimed at pianists and string players, with lectures from Alfred Brendel and tuition from Hamish Milne, Joanna MacGregor, Chloé Hanslip and the Heath Quartet, while week four includes a composition workshop with Judith Weir and a jazz course led by Andy Sheppard and Eric Vloeimans.
Other tutors, lecturers and performers include Alison Balsom, Adriano Adewale, Škampa Quartet, Simon Armitage, Jo Shapcott, Steven Osborne, and Paco Peña.
Courses and concerts cost £425 (students £385; under 12s £215); this does not include accommodation or catering. Bursaries are available.
Dartington Summer School 2016
Pilot music programme for disabled children to launch in Birmingham
14 December 2015
A pilot programme ensuring that music-making is accessible to disabled children is to launch in Birmingham.
The programme is aimed at children who have an upper limb deficiency and who may have been excluded from musical activities due to their disability.
Funded by the One Handed Musical Instrument (OHMI) Trust, the programme will involve 15 children from 13 schools.
The children, who have been taught using specially adapted instruments which can be played using one hand, will participate in one-to-one music lessons, masterclasses, and ensembles.
For the pilot programme, the students will use the AAFAB/Peter Worrell one-handed recorder and the adapted trumpet by Michael Prestage.
The pilot taster event took place on 25 October at the CBSO Centre. Seven of the participants brought their families to meet their teachers, and had short lessons on their instruments. The day, which culminated in a performance from students, was covered by BBC Midlands Today
'There is a lot we still don’t know about teaching and learning in music generally, but especially where pupils are disabled,' said Professor Martin Fautley, director of the Centre for Research Education at Birmingham City University. 'This research will help us to understand the processes of learning and provide support for teachers. The children themselves are the focus of this work as it opens doors to the future of everyone with a physical disability.'
Ciaran O’Donnell, head of Music Service at Birmingham Services for Education, said: 'Within the Music Service we felt that we were leaving some children behind – those children disadvantaged by a physical (upper limb) disability. It has been a great privilege to work with OHMI to identify these children, train our music service staff and commission specially adapted instruments to break down the barrier for children in Birmingham. I see it as a crucial step towards a wholly inclusive offer for young people.'
The OHMI Trust aims to remove barriers to music-making faced by the physically disabled, providing suitable instruments for those without two fully functioning hands and arms.
One Handed Musical Instrument Trust
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