London Music Show 2010 cancelled, postponed to 2011
19 August 2010
The London Music Show 2010 has been postponed until 2011 'due to exceptionally tough market conditions', according to the event's director, Chris Down. The show had been due to take place on 8-10 October at the ExCel conference centre in London's Docklands.
Organisers had set up a range of performances and workshops from high-profile artists such as guitarist Joe Bonamassa and Jim Davies, formerly of the Prodigy.
Youth Music had also been preparing to run a schedule of events on Friday 8 October as part of a dedicated education day.
'We’re absolutely determined that the first ever London Music Show will offer the most exciting and interactive music show in the UK,' said Down, 'and we won’t compromise on this promise. We will provide details on the 2011 event in due course.'
All ticket purchasers will receive a full refund: ticket company SEE will contact buyers shortly. Further enquiries may be directed to 0871 620 7059 or email firstname.lastname@example.org
Reading's Mtpp becomes MA in Instrumental Teaching
18 August 2010
The University of Reading has rebranded its former Music Teaching in Professional Practice (Mtpp) course as an MA in Instrumental Teaching. The change has been made to reflect the fact that, according to course director Nils Franke, ‘after 15 years of the MTPP, it seemed the right time to say “this is what it does”.’
Franke told MT: ‘We found that students identified their practice very much with instrumental, not classroom, teaching and we wanted to acknowledge that.’
The course content has also changed, putting greater influence on ‘blended learning’, the pedagogy of different learning environments. As with the MTPP course, the bulk of the MA is correspondence-based with a residential August summer school, and the new course will make use of this structure, for instance by regularly referring back to shared lessons or lectures held at the summer school or by developing a ‘peer review blog’ which will allow participants to develop, as Franke puts it, ‘a feedback loop’.
The course is split into five modules, paid for individually to give some flexibility to those who take it, and is generally taught to a wide range of peripatetic teachers who are looking for a way to develop their careers as teachers or to move into academia. ‘Often they apply because there isn’t a formal career progression for music teachers,’ says Franke, ‘or because they want to set themselves apart from the crowd of other teachers’.
MT will have a full report from this year’s summer school in MT October.
NAME conference to tackle ‘pupil voice’, Sing Up and music service funding
18 August 2010
The National Association of Music Educators (NAME) Conference will be held at Yarnfield Park Training and Conference Centre, Staffordshire, from 17 to 19 September. The theme of this year’s conference will be ‘Finding the pupil voice’, and it will aim to answer such questions as ‘Why seek the pupil voice?’, ‘Does music education today respond to this voice?’, and ‘How do we develop young people’s leadership in music education?’.
Guest Speaker at the event will be percussionist Evelyn Glennie, with keynote speeches from early years consultant Marjorie Ouvry; Mark Phillips, Ofsted’s national adviser for music; Mark Stephens, the director of children and young people’s services for Cheshire West and Chester; and Mick Waters, president of the Curriculum Foundation, which campaigns for and helps schools to develop a broad curriculum.
The conference is aimed at all music teachers or practitioners working at all levels, as well as lecturers in higher and initial teacher education, advisors, consultants, music service staff, and musicians working in the community. Workshops, debates and research presentations will be held on a variety of subjects, with an emphasis on classroom-based teaching.
For instance, sessions on primary music will include Em Whitfield Brooks sharing techniques for encouraging whole-class or whole-school singing at KS1 and KS2; Richard Charles exploring whole class music-making with sticks, using the Tamboo Bamboo bands of Trinidad and Tobago as inspiration; and David Wheway giving ideas on how to use IT at KS1 and KS2, using the free sound editing program Audacity.
Research presentations will include John Finney’s examination of the inferred and actual needs of a pupil, and how a better understanding of how these might work together could clarify the role of the ‘pupil's voice’; Jonathan Barnes on music at the heart of cross-curricular learning for 3-14 year-olds; and Joanne Cheetham’s ethnographic analysis of her school’s extra-curricular rock school.
Debates will also be held on the following topics: ‘What is the Sing Up legacy and how can it be sustained post-2011?’; ‘A crisis in secondary music?’ led by Robert Bunting; ‘What do we want funding to achieve within music education services?’; and ‘The role of the pupil voice’, a plenary debate led by John Finney.
‘Come and share your thoughts and experiences,’ said Rob Nash, chair of NAME. ‘The NAME conference will inspire and challenge any teacher – and meeting colleagues working in all areas of music education will keep teachers informed and up-to-date.’
Tickets start at £104 for a day pass and rise to £395 for all three days, including meals and accommodation.
3 Choirs Festival unveils new youth choir
18 August 2010
A NEW youth choir formed with the aim of reducing the average age of singers taking part in the Three Choirs Festival made its debut in Tewkesbury Abbey last month. Singers aged between 16 and 25 from the area between Bristol and Birmingham were invited to audition for the choir, which involved attending two rehearsal weekends at John Masefield School, Ledbury, Herefordshire in April and July ahead of the performance on 13 August of Handel’s ‘Coronation’ anthems and J S Bach’s Magnificat, with the Corelli Orchestra and conducted by Adrian Partington, director of music at Gloucester Cathedral and artistic director of this year’s festival.
It is Partington’s first year in charge of the Three Choirs Festival, which takes place in rotation at Hereford, Gloucester and Worcester and has its origins in ‘music meetings’ founded almost 300 years ago. The introduction of a youth choir is one of his major innovations. Announcing his plans a year ago, Partington admitted that he had ‘a bee in my bonnet’ about getting younger people involved in choral singing. ‘Because of the decline in parish church choirs and changes to music in schools the vast majority of children don’t get the opportunity to sing “real” music,’ he said, adding that even those who do have experience of traditional choral repertoire are reluctant to join adult choirs because of the commitment involved. So this new venture was based on a couple of short, sharp bursts of activity aimed at giving them a taste of the Three Choirs experience, in the hope that they would get hooked.
The project was supported by a number of individuals, trusts and foundations and was awarded an ‘Inspire’ mark by the London Organising Committee for the Olympic Games (signifying the project’s good management, lack of commercialism, and inspirational qualities). The choir was drawn predominantly from the Gloucester area and included a large number of singers from the cathedral’s existing youth choir, and many former choristers from the Three Choirs cathedrals. Their skill and confidence was evident from the quality of the performance, but Partington insisted afterwards that there were others in the choir who had very little experience of singing this kind of repertoire. ‘As usually happens in this sort of situation, they were pulled along by the people around them and learned very fast.’
Jessie Pywell, 22 and a music student at Leeds University, told MT that she was bitten by the choral singing bug as a schoolgirl when she joined the Gloucester Cathedral Youth Choir ‘and now it has taken over my life’. She was keen enough to take part in the last Gloucester Three Choirs Festival in 2007 as a member of the adult chorus, and says she enjoyed singing with older people who know the repertoire very well. ‘They were very friendly, and it’s just phenomenal to sing something like The Dream of Gerontius or Mahler 8 with a huge choir. As a young singer you normally don’t get that opportunity.’ But she admits that not every teenager or 20-something wants to put themselves in that position, and having a substantial cohort of younger singers at this year’s festival was ‘really nice’.
It is hoped that more singers from Herefordshire and Worcestershire will join the youth choir for next year’s festival, in Worcester. Partington will continue to direct the youth choir in order to consolidate the progress made this year. ‘Rather controversially, we are going one step further and taking on an evening concert, performing Beethoven’s Mass in C with the Philharmonia orchestra. We had 40 singers this year but we’ll need around 90 for that. It’s a very exciting but rather daunting prospect, but I think we’ll do it – this lot will be very loyal. In fact at our last rehearsal I made them promise that they will come back next year!’
Call for players: Orchestra in a Weekend at Water City Fest, 1-3 October
6 August 2010
Amateur musicians in East London are being called to form an ‘Orchestra in a Weekend’ on 1-3 October. Organisers are looking for participants of at least 15 years old and Grade 5 standard to become founder members of the Water City Orchestra.
The new orchestra’s first programme will feature Vaughan Williams’s ‘The Lark Ascending’, Borodin’s Symphony No.2 and a medley of Bollywood film music, conducted by Rupert Bond and led by the highly experienced, prizewinning violinist Michael Bochmann.
The orchestra will meet at Trinity Buoy Wharf in London's Docklands for a period of rehearsal before an informal concert at the end of the weekend. It is being formed as part of the Water City Festival, which aims to 'create an international festival in East London with a reputation and longevity comparable to the Edinburgh Festival as part of the long-term legacy of the 2012 Cultural Olympiad.'
Application forms are available from Richard Mallett Arts Management, Studio A05A, Newnham Terrace, SE1 7DR, or email email@example.com
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