Music Journal Sept Oct 2018

September/October 2018 The Empowered Musician: Building a music career in uncertain times Sound and Music at 10 Expo North: CPD and more in Manchester

Knowing I had the support of Help Musicians UK was incredibly reassuring during a volatile and unpredictable time.

Your support means we can help more musicians like Oli make the transition from student to professional.

Donate at helpmusicians.org.uk or call 020 7239 9100

Registered Charity No. 228089

ISM MUSIC JOURNAL SEPT/OCT 2018

Welcome Music is central to our lives – the Proms and many festivals across the UK and Europe are testimony to this. But we know music is disappearing from our schools. We need your help to find out how bad things are. The wonderful Kevin Rogers, formerly County General Inspector for Music at Hampshire Music Service and ISM Board Member, is leading a survey on primary school music which closes on 30 September. I know from talking to teachers that music has virtually disappeared from our primary schools, but we need your first-hand experiences so we can talk to the Department for Education, Parliamentarians and government.

Above: Deborah Annetts Photo: Mark Thompson

There is also the state of music in our secondary schools which is fast disappearing because of the EBacc. Please respond to the University of Sussex’s survey by the brilliant music educationalist Dr Ally Daubney and Duncan Mackrill, senior lecturer in music education at the University. Their survey closes at the end of September so please again respond to the survey and share it with your friends and colleagues. This is particularly important since the University of Sussex has built up extensive knowledge over what is happening to music in our schools through many years of longitudinal research. Their surveys are also reviewed through the ethics committee which means the University of Sussex research is robust. Government cannot argue with it. So play your part in making government listen.

There is much talk of a review of the National Plan for Music Education.

Again we want your views on what has gone well and what has not been so good. To answer these critical surveys and make your views heard, please go to ism.org/surveysmusic.

Front Cover Stravinsky’s Firebird at the Ten Pieces Prom in 2015 Photo: BBC/Pete Dadds See feature on page 7 Inset images: A Sound and Music supported project at Huddersfield Contemporary Music Festival

And finally, many of you will be renewing your ISM membership over the next couple of months. Council – the ISM’s governing body which is made up entirely of ISM members – has taken the decision to slightly increase most subscription rates to keep in line with inflation. Student membership will remain at £15 per year, graduate membership will fall to £50 per year (in response to rising graduate debt) and there is a discount of £10 for full membership when paying by annual direct debit. But even with a slight increase in rate, the ISM membership is still the best value membership around, providing musicians with comprehensive insurance, specialist legal services including a 24-hour legal and tax helpline, and professional advice as well as vital development opport unities and numerous discounts. All these benefits together are worth hundreds of pounds. The ISM provides you with everything you need to support, protect and promote yourself in your career as a musician for less than £180 a year. See pages 6–8 for further detail.

See page 20

News & campaigns BBC Ten Pieces Your ISM membership in 2018/19

12 16

The Empowered Musician Dignity at Work: Women and Equalities Committee Professional development Ten years of Sound and Music

19 20 23 24

27 32 37 38

Music Education Expo Manchester: 11 October 2018 Keeping in sync – licensing music and recordings for media use News from our members News from our corporate members Local events listings & Classified advertising Ask me a question

Volume 85 / Number 3 Published by: The Incorporated Society of Musicians 4–5 Inverness Mews, London W2 3JQ T: 020 7221 3499 E: membership@ism.org W: ism.org Incorporated Society of Musicians is a limited company registered in England No. 36882. Registered Office as address above.

Editor: Deborah Annetts Sub-editors: Kimon Daltas/ Francesca Treadaway Proof reading: Christine Gwyther-Scott

Design: oakshed.co.uk Typography: marcmarazzi.com Advertising: Cabbell Publishing Ltd, T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 October for November/ December issue Price: £7 per copy Subscription: £35 per year Circulation: 10,000 named recipients Views expressed in MJ are not necessarily those of the ISM. The publication of any advertisement does not imply endorsement of the advertiser or the product advertised.

Printed by Optichrome, Woking GU21 5HX

Music Education Expo See page 23

2 7 8

All ISM publications are copyright

Photo: Liam Banga

Photo: Alex De Palma

Contents

ISSN 0951 5135

deborah@ism.org

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ISM MUSIC JOURNAL SEPT/OCT 2018

News & campaigns Sheku Kanneh-Mason pledges support to Bacc for the Future The esteemed young cellist Sheku Kanneh-Mason has called for the EBacc to be urgently reversed or reformed to save creative education in schools.

ISM gives evidence to the House of Lords on EBacc

Sheku, the former BBC Young Musician of the Year (2016) who performed at the recent Royal Wedding, added his voice to the 100,000-plus individuals who support the Bacc for the Future campaign saying:

‘Without the amazing opportunities I had in my secondary school I would not be where I am today. I am supporting the ISM’s Bacc for the Future campaign and joining the On 3 July our Chief Executive Deborah Annetts gave thousands of voices calling for the EBacc policy to be urgently oral evidence to the House of Lords Communications reversed or reformed to save creative education in schools.’

Committee, as part of its investigation into To find out more about how you can support the Bacc for education in the arts and STEM (science, technology, the Future campaign, visit baccforthefuture.com for engineering and mathematics). campaign resources including a template letter you can Deborah explained to the committee the damaging impact the English Baccalaureate (EBacc) was having on music education in schools. She described how the EBacc incentivises schools to drop music from their curriculum, noting how there has been a fall of 25.6% in the number of arts subjects taken at GCSE since 2015, and emphasised the danger this posed to the future of the British music profession.

Deborah warned the committee: ‘We are seeing the broad and balanced curriculum we all want being narrowed by the EBacc.’ She underlined the power of creativity to children and young people as well as the strength of the UK’s thriving creative industries. The signs are good that this influential committee can help us make the case for the EBacc to be scrapped or reviewed urgently.

Read the transcript at: bit.ly/2vND51L If you want to take action about the harmful impact the EBacc is having on music in secondary schools, visit baccforthefuture.com for campaign resources including a template letter you can send to the Prime Minister and an advocacy pack giving details of the key arguments and how you can help.

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send to the Prime Minister and an advocacy pack giving details of the key arguments and how you can take action.

‘Without the amazing opportunities I had in my secondary school I would not be where I am today.’

Sheku Kanneh-Mason, Photo: Lars Borges

ISM MUSIC JOURNAL SEPT/OCT 2018

House of Lords European Union Committee backs mobility for musicians The House of Lords European Union Committee has endorsed the importance of free movement for the creative industries. Its report titled Brexit: movement of people in the cultural sector cited evidence in relation to short-term touring from the ISM, our friends at the Association of British Orchestras and One Dance UK. The committee explicitly recommended the creation of a multiple-entry touring visa.

The key findings highlighted in the report were: · The cultural sector makes a profoundly important contribution to the UK’s society and economy, and to its international image and influence. Cultural sector workers are highly mobile, and have thrived on collaboration with people from all over the world. · The report argues that the cultural sector urgently needs more clarity on free movement post-Brexit. The Government wishes to ‘take back control’ of the UK’s borders by ending the free movement of persons.

However, by the time of writing, it had provided little detail about what this would mean in practice. · Despite the lack of detail about the Government’s plans, the Committee suggests that future immigration from the EU to the UK will be shaped by one of two broad imperatives. The UK immigration system will either give preferential treatment to EU27 citizens, or treat them in the same way as people from third countries. · The Committee recommends that the Government be flexible. The UK’s negotiators must recognise that any restrictions on EU citizens wishing to enter the UK may be matched by restrictions on UK workers in the EU. A decline in skilled workers from the EU would not only damage the UK’s cultural sector, but also represent a significant loss to the audiences that benefit when talented people from across Europe perform in the UK.

ISM launches Brexit and Musicians report On 31 July we launched our Brexit and Musicians report, looking at how musicians will be affected by potential restrictions on freedom of movement with EU countries when Britain leaves the EU next March.

Our report uses survey evidence from over 1,600 musicians to show the crucial role access to other EU countries plays in their work. It shows how 39% of musicians travel to the EU more than five times a year, and 12% more than 20 times a year. Having to wait for visas would significantly impact musicians’ ability to take up work: more than one in eight performers told us they had less than seven days’ notice between being offered work and having to take it.

The ISM has been campaigning to protect freedom of movement for musicians with our FreeMoveCreate campaign. You can get involved via the website freemovecreate.org, where you can find a template letter to send to your MP.

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ISM MUSIC JOURNAL SEPT/OCT 2018

Latest Brexit news Latest EU White Paper positive on culture and education The Government White Paper released on 12 July 2018 is potentially good news for the creative industries as their contribution to the UK economy is explicitly recognised in the negotiating paper.

It follows an intensive campaign, FreeMoveCreate, led by the ISM and our partners, and the sharing of critical evidence with Government. The White Paper sets out Government plans for the future relationship between the UK and the EU and mentions mobility for musicians, proposing a new ‘UK-EU culture and education accord’.

Responding to the White Paper, Deborah Annetts, ISM Chief Executive, said: ‘The majority of professional musicians are self-employed and perform in small and medium events. While we welcome steps to allow temporary movement of goods for major gigs, any system that is developed must be practical and reflect the realities of all those working in the creative industries, including actors, artists and technicians,

Dignity at work update

Below: The ISM’s Deborah Annetts, left, with Naomi Pohl, assistant general secretary of the Musicians’ Union

The Parliamentary Women and Equalities Committee has released a five-point plan to tackle sexual harassment in the workplace. After vital work and powerful advocacy from the ISM’s Chief Executive Deborah Annetts and Senior Communications Manager Francesca Treadaway to improve the workplace for musicians, we are pleased to see that the Government have listened to our recommendations and recognise the need for change across all sectors including the music industry. More on page 16 .

and for smaller scale musical events as well.’

You can support FreeMoveCreate via the website freemovecreate.org, where you can find a template letter to send to your MP.

The ISM and Musicians’ Union launch music sector’s Code of Practice The ISM and the MU have launched a joint Code of Practice to help eradicate bullying, harassment and discrimination in the music sector. The new set of principles will aid employers in meeting their legal requirements as well as setting out a shared vision for promoting and maintaining a positive working culture. Read or download a copy of the Code at ism.org/dignityatwork

ISM speaks at Brighter Sound, Change the Record On 2 July, the ISM’s Senior Communications Manager Francesca Treadaway travelled to Gateshead to discuss roles, representation and recognition of women in the music industry at Brighter Sound’s ‘Change the Record’ event.

Speaking alongside musician Nabihah Iqbal, Francesca discussed imposter syndrome and tokenism and the effect these have on women’s careers, and also the results of the ISM’s Dignity at work report. Find out more about the event at brightersound.com/event/ change-the-record External affairs team

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ISM MUSIC JOURNAL SEPT/OCT 2018

We need your expertise and specialist knowledge – join our Special Interest Groups Are you a composer, performer or educator and have experience and expertise in any pressing policy matters affecting musicians? You could be part of our three Special Interest Groups.

The ISM consults its three Special Interest Groups – for composers, performers and educators – on matters directly involving musicians including government policy, Brexit, royalties, GCSE music and the National Curriculum through to copyright reform and live music regulations.

Budding bloggers – we want to hear from you!

Have you got a burning issue you wish to share with the music industry? Are you fundraising for a special cause? Or do you simply want to share your experiences? If any of these sound like you, we invite you to contribute to the ISM blog series.

To contribute a blog post, simply email jessica. salter@ism.org for our guidelines.

We look forward to reading your posts. ism.org/blog

This is a unique opportunity to inform the ISM’s work. To apply to be a member of one of our Special Interest Groups, send your CV to Deborah@ism.org by 1 October.

Oliver Knussen CBE (12 June 1952 – 8 July 2018) was born in Glasgow in 1952 and grew up near London, where his father was principal double bass of the London Symphony Orchestra. At the time of his death he lived in Suffolk and was Artist-in-Association with the Birmingham Contemporary Music Group and Richard Rodney Bennett Professor at the Royal Academy of Music.

We are deeply saddened to learn of the passing of our member Oliver Knussen, one of the world’s most eminent and influential composer-conductors. He was a wonderful musician: a composer, conductor and champion of new music in the UK and his extraordinary contribution to the musical community was acknowledged when the ISM awarded him the Distinguished Musician Award 2016. This only added to his many accolades. Our thoughts are with his friends and family, including his daughter, the soprano Sonya Knussen. He will forever live on in his music.

The recipient of many honours and awards, including the Nemmers Prize in 2006 and the Royal Philharmonic Society Conductor Award in 2009, he served as Artistic Director of the Aldeburgh Festival (1983-98), Head of Contemporary Music at the Tanglewood Music Center (1986-93), Principal Guest Conductor of the Hague Residentie Orchestra (1993-97), Music Director of the London Sinfonietta (19982002), and Artist-in-Association with the BBC Symphony Orchestra (2009-2014). He was appointed CBE in 1994 and received the Queen’s Medal for Music 2015.

Among his best-known works are the operas Where the Wild Things Are and Higglety Pigglety Pop!, written in collaboration with Maurice Sendak, as well as three symphonies, concertos for horn and violin, and many smaller-scale instrumental and vocal works including Ophelia Dances, Coursing, Songs without Voices, Two Organa and Requiem: Songs for Sue. Biography courtesy of Harrison Parrott.

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BBC Ten Pieces What is BBC Ten Pieces?

BBC Ten Pieces is a project led by BBC Learning and the BBC Performing Groups that aims to open up the world of classical music to 7-14 year olds and inspire them to develop their own creative responses to the pieces through music, dance or digital art. The initiative comprises a series of films and resources that are available to schools, home educators or any kind of arts organisation.

BBC Ten Pieces was born from an idea by the late journalist and BBC Learning Executive Producer Katy Jones, who realised that there was an opportunity for the BBC to offer a programme that was both unique and met a need in music education. Katy began the project by running a pilot film screening with 17 schools in London and Manchester.

According to a blog she wrote (available at bbc.co.uk/ blogs/aboutthebbc, 7 October 2014) just before the launch of the Primary stage of the initiative, it was found that ‘70% of the children had never been to a classical concert.’

The first stage, BBC Ten Pieces Primary launched in 2014 with a week of free screenings of a cinematic film featuring ten pieces of music, and expanded to BBC Ten Pieces II Secondary in 2016. BBC Ten Pieces III launched in 2017.

Every phase of BBC Ten Pieces has commissioned a contemporary composer to write a new work. First was Londoner Anna Clyne’s Night Music, which combines electro-acoustic music with the classical orchestra.

Next was Scottish composer Anna Meredith’s Connect It – a body percussion piece written for the children taking part in Ten Pieces II to learn and perform.

This year’s new piece was No Place Like, by another British composer, Kerry Andrew. She asked children around the country to answer questions about their homes, and received hundreds of responses from which she created her multi-layered piece. It premiered at the BBC Ten Pieces Prom this year on Sunday 29 July 2018 (you can listen back at bbc.co.uk/events/e94wxj) Resources (including live lessons, lesson plans, downloadable arrangements and MP3 recordings) for all phases of Ten Pieces, latest news and upcoming events are all available online at bbc.co.uk/programmes/p04pc0j8 You can work with as many pieces as you like, and as BBC Ten Pieces is a flexible project, you can use the resources to fit in with your own suited timetable of learning.

Find out more at about BBC Ten Pieces at bbc.co.uk/programmes/p04pc0j8

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ISM MUSIC JOURNAL SEPT/OCT 2018

Your ISM membership in 2018/19 Whether you’ve been a member for 60 years or this is your first ever issue of Music Journal, it’s worth making sure you know the myriad ways the ISM can support you and your career. If you have any feedback or a suggestion for a new service that would benefit your work, please contact us on 020 7221 3499 or email membership@ism.org. Your feedback is incredibly important to us as it helps us shape the support, advice and services we develop for you.

For over 130 years the ISM has looked after the interests of music professionals. Now in 2018, we represent nearly 9,000 musicians and teachers and are proud to offer our members a unique set of premier services designed specifically to support you at all stages of your career. Our specialist expertise, responsive staff team and personal service are second to none. As the UK’s professional body for musicians, the ISM is in the best position to help you advance your career.

‘The ISM is like a lifeline. It’s security that has always been there to listen and there to help. Everyone is lovely to deal with and talk to. It feels like a family. For as long as I’m doing the work I am I will be an ISM member.’

Kathleen Summers, ISM member since 1979

The ISM Music Directory replaces the ISM’s three online Registers as the UK’s most comprehensive online directory of professional musicians. The Directory provides an extremely valuable opportunity for ISM members to promote themselves to potential employers and is hugely beneficial in terms of finding work. To set up or edit your listing, log in at musicdirectory.ism.org/login.aspx If you teach music privately, you can apply for ISM Registered Private Teacher status to help you stand out from the crowd and attract more pupils. This widely recognised status is only offered to ISM members.

Because of our professional body status, self-employed members can claim back the tax on their membership fee.

Legal help Our in-house legal team are experts in the law affecting musicians and music teachers and can advise on anything involving your career in music and education: from simple queries to complex issues, and from contracts, employment and self-employment matters to intellectual property rights and royalties, unpaid fees, redundancy, unfair dismissal, and health and safety. You can contact your legal team from 9.30am to 5.30pm, Monday to Friday on 020 7221 3499. This bespoke legal provision is unique to the ISM and is available to all student, graduate and full members.

In addition, if you have an urgent legal issue or if an issue arises out of office hours, you can contact our 24-hour legal helpline which is staffed by qualified legal advisers: 01275 376 038.

Our specialist legal service is always here for you.

‘ISM membership provides a sense of family. Knowing a support network is always there is a great comfort.’

Craig Ogden, ISM member since 2003

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ISM MUSIC JOURNAL SEPT/OCT 2018

Insurances If you are a student, graduate or full member of the ISM, your ISM membership provides you with essential insurance cover, including public, employers’ and product liability cover of up to £10m and legal expenses insurance up to £100,000. You simply cannot play gigs or teach without this cover. We also offer discounts of up to 20% on musical instrument and equipment, home, buildings, health, income protection, motor and travel insurance, allowing you to tailor-make your cover and get the best deal.

Responsive staff team Our staff, many of whom are musicians themselves, are dedicated to supporting musicians and teachers and providing a great personal service to members.

As well as work problems, we can advise and provide information on a wide range of matters affecting your career including fees, data protection, business, career development, safeguarding and child protection, DBS checks, insurances and how to make the most of your ISM membership. You can call us from 9.30am to 5.30pm, Monday to Friday: 020 7221 3499. You can also find a wealth of advice, information, contracts and template documents in the advice centre on our website: ism.org

We also have a 24-hour counselling and personal advice helpline if you would like to talk in confidence to a qualified counsellor: 0800 042 0136. This service is free for members and available 365 days a year.

‘The strength of the ISM lies in the strength of community – united we stand, and in today’s troubled times, that’s essential.’

Paul Harris, ISM member since 1978

Professional development All our members receive generous booking discounts for our award-winning seminars and events, which provide a valuable opportunity to learn and network with other musicians. We also continue to host free webinars covering diverse topics across the music profession. Find out what’s coming up and catch up with our free webinar recordings at ism.org/ professional-development

Recommend a friend and save £10 Tell your friends and colleagues about the ISM and encourage them to become part of our thriving community of professional musicians. We’ll give you £10 off your next year’s membership every time someone you recommend joins us as a full or graduate member.

To claim your discount, send the name and email address of the friend(s) you are recommending to membership@ism.org.

Ask your friend to quote the code FULLREC if they are joining us at the full rate or GRADREC if they are joining at the graduate rate. If they join at the full rate we’ll give them £10 off their membership fee too.

Please note: the number of rewards you can redeem is limited to the value of your subscription upon renewal.

Continued overleaf È

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ISM MUSIC JOURNAL SEPT/OCT 2018

Save money As well as a huge range of discounts to save you money with matters directly relating to your music career, from hearing services and music shops to web services and sheet music, this year we’ve added a whole host of new discounts giving you savings on Apple products, accommodation, days out, gym memberships, private GP consultations and more. Find out what you can save at ism.org/my-ism/your-discounts

To find out about all the other benefits we offer to our members, you can call us on 020 7221 3499 or find the full listing in Your guide to ISM membership and your ISM Handbook.

2018/19 subscription rates So that we can continue to offer you services of the highest quality, our full membership rate will increase very slightly from September 2018.

We have increased our discount for members paying the full membership rate by annual Direct Debit. You now get £10 off your membership.

New graduate membership rate – £50 We understand that the start of a musician’s career can be a difficult time financially. We’ve listened to your concerns – in response to increasing graduate debt and feedback from our members, we have reduced our graduate membership rate to £50, increasing to £110 in the fourth year of membership. This represents a saving of £452 over four years. If you were previously a student member, we will give you an extra year of membership at £50.

2018/19 rates Full member Full member (graduate, upgrade from Student)

£50

Full member (graduate, year 1)

£50

Full member (graduate, year 2)

£50

Full member (graduate, year 3)

£50

Full member (full, upgrading from graduate)

£110

Full member (retired)

£89

Full member (student)

£15

Friend of the ISM Trust

£62

New discounts for ISM members Don’t forget that as an ISM member, you can save money with music-related and high street discounts via the ISM discount scheme and ISM Discount+, including several exciting new discounts.

Take advantage of 15% off custom in-ear monitors and hearing protection from ACS, 20% off group public liability policies from Musicians Insurance Services and 15% off best available rates at two stunning music-themed hotels in Europe, Aria Hotel Prague & Aria Hotel Budapest. ISM members are now also eligible for free mortgage advice from Cavendish Brooke Financial Management.

Save money on music courses with 20% off live events and online courses from Music Education Solutions and £500 off the Institute of Contemporary Music Performance’s (ICMP) Masters (MMus) in Popular Music Performance or MA in Songwriting.

Find out more at ism.org/my-ism/your-discounts

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Get up to speed with the latest developments, challenges and opportunities for musicians at all stages of their careers.

“Being an empowered musician in 2018 means being aware of the potential triggers of mental health issues and how to manage, and in some cases overcome, struggles with mental health and the music industry. Raising awareness is the key to empowerment where mental health is concerned.

We need to break the stigma and show musicians that they are not alone by giving them and other music industry professionals the information and tools to deal with issues in a supportive and constructive way.’’

Rachel Jepson – Counselling for musicians

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ISM MUSIC JOURNAL SEPT/OCT 2018

Musicians have always faced challenges and obstacles in the course of their careers but, in these unstable times, the challenges are increasing and becoming more complex. It’s easy to feel daunted and underprepared.

The ISM Trust, the sister charity of the ISM, has devised a unique one-day event to help support and empower musicians at all stages of their careers with the latest advice and insights to help them get ahead in their careers.

Join us at Milton Court in London for an exciting day of discussion and discovery, with innovative musicians and leading music industry experts sharing their experiences, crucial insider knowledge and invaluable tips for success during four in-depth, interactive panel discussions. This event will give you the opportunity to get up to speed with the latest developments, challenges and opportunities in music.

The Empowered Musician will bring together hundreds of musicians and leading practitioners from across the industry and will include live music from Fitkinwall, the Beatbox Collective, Riot Jazz and award-winning percussionist Louise Goodwin.

You will have the opportunity to network over refreshments, lunch and post-event cocktails, all of which are included in the ticket price.

The Empowered Musician

Booking prices

Where?

Milton Court, Silk St, London EC2Y 9BH When?

Thursday 4 October Main Event: 9.15am – 5.30pm Cocktail reception: 5.30 – 7pm

ISM members

£10

Non-ISM members

£20

Musicians have always faced challenges and obstacles in the course of their careers but, in these unstable times, the challenges are increasing and becoming more complex.

What it means to be an empowered musician in 2018 Dr Alison Daubney & Gregory Daubney An empowered musician is someone who has GHYHORSHG WKH SV\FKRORJLFDO ÁH[LELOLW\ WR QRW only handle the stresses and strains that come with being a musician, but also use those same pressures to consistently optimise their performance and mental health.

7KH\ ÁRXULVK E\ KDUQHVVLQJ WKH SRZHU RI their thoughts, feelings and emotions through dedicated and focussed attention to developing the mental skills, self-awareness and selfcompassion necessary to empower themselves and their music. Their continuous development is further enhanced by their knowledge and application of the relevant industry and wider expertise available to them.

Above: Dr Alison Daubney & Gregory Daubney Left: Fitkinwall Photo: Ryan Sharpe

Rachel Jepson – Counselling for Musicians Being an empowered musician in 2018 means being aware of the potential triggers of mental health issues and how to manage, and in some cases overcome, struggles within mental health and the music industry. Raising awareness is the key to empowerment where mental health is concerned. We need to break the stigma and show musicians that they are not alone by giving them and other music industry professionals the information and tools to deal with issues in a supportive and constructive way.

Continued overleaf È

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Top left: Eleanor Wilson (General Manager, NMC Recordings); Top right: Composer Alex Parsons will feature on the ‘Making it happen’ panel; Left: Rachel Jepson, and professional musician and trained counsellor, runs Counselling for Musicians; Above: Beatbox Collective; Below left: Beatboxer, looper and producer SK Shlomo will be offering advice on the ‘Digital futures’ panel Below right: Appearing on the ‘Digital futures’ panel, Chris Carey is a former Global Insight Director for EMI and Universal Music.

ISM MUSIC JOURNAL SEPT/OCT 2018

Panel 3: Looking after yourself The demands of being a musician can take their toll on your health. An expert panel of health professionals will discuss ways of managing the unique stresses of our profession. The session will cover mental health, physical health, nutrition and performance anxiety.

The panel discussions: Panel 1: Nuts and bolts

Far left: Sue Sturrock (Founder and Director, Music Talks, arts consultant and ISM Past President); Left: Victoria Barrett (VLT Legal) will participate on the ‘Nuts and bolts’ panel

Speakers: Dr Alison Daubney (Researcher and Senior Teaching Fellow, University of Sussex), Gregory Daubney CPsychol (Chartered Sport and Exercise Psychologist), Michael Eakin (CEO, Royal Liverpool Philharmonic Orchestra), Rachel Jepson (Founder, Counselling for Musicians), James Collins (Nutritionist).

Chair: Sara Mohr-Pietsch, BBC Radio 3.

Hear from industry and legal experts. This is a chance to learn the essentials of making it in the music business including contracts, copyright and Panel 4: Digital futures royalties, publishing, marketing and promotion, PR This session will consider future trends and and crucial legal know-how. opportunities for musicians in the digital arena.

Speakers: Victoria Barrett (VLT Legal), David Jones How do you map out your career while keeping (Director, Serious), Becky Farrell (General Manager advances in digital technology in mind? What and Senior Vice President Global Marketing & might the future hold for musicians?

Communications, IMG Artists UK), Amy Collins Speakers: Chris Carey (previously Global Insight (Head of Promotions, Your Army).

Director, EMI and Universal Music) and Suzi Beese Chair: Sue Sturrock (Founder and Director, Music (Commercial Director, Music Glue), SK Shlomo Talks, arts consultant and ISM Past President).

(Beatboxer, Looper, Producer) and Chris Cook (Complete Music Update).

Panel 2: Making it happen Musicians from across the sector will share their experiences and give advice on how to plan a SURMHFW RU FRPPLVVLRQ IURP VFUDWFK DQG PDNH LW à \ Speakers will include composers working in TV, ÀOP JDPLQJ DQG RUFKHVWUDO VHWWLQJV UHFRUG ODEHO experts and leaders in digital.

Speakers: Kirsty Devaney (Composer), Eleanor Wilson (General Manager, NMC Recordings), Ian Carter (Co-Founder, From Here Records), Alex Parsons (Composer).

Tickets are ÂŁ10 for ISM members and ÂŁ20 for non-members and include refreshments, lunch and post-event cocktails.

Book your place online at ism.org/empowered or call us on 020 7221 3499 by Monday 24 September.

Find out more about our speakers at bit.ly/EmpoweredMusician #EmpoweredMusician

Chair: James Murphy, Royal Philharmonic Society.

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ISM MUSIC JOURNAL SEPT/OCT 2018

Dignity at Work: Women and Equalities Committee If you have been affected by any incidents of sexual harassment, discrimination, bullying or inappropriate behaviour, call our counselling helpline on 0800 042 0136. As an ISM member, you are also entitled to confidential advice from our experienced in-house employment lawyers by contacting the ISM legal team at legal@ism.org. You can access our 24-hour advice line on 01275 376 038.

Above: Maria Miller, chair of the Women and Equalities Committee

Last month the Women and Equalities Committee released a five-point plan to tackle sexual harassment in the workplace.

We welcome this timely report and encourage the Government to give serious consideration to its recommendations. The Committee explicitly notes the vulnerability of those working in the music industry and other similar sectors. Our own recent research found that 60% of musicians responding had been sexually harassed and that 77% of those who had been harassed had not reported the incident. The main reason for non-reporting was fear of losing work.

The report from the Women and Equalities Committee endorses our recommendation for the reintroduction of rights around third-party harassment. The report also recognises the limitations of the Equality Act and we urge the Government to consider steps to ensure that selfemployed professionals are protected. We are also strongly of the view that the use of discrimination questionnaires, which was repealed in 2014, should be reintroduced.

Statutory changes are only part of the solution.

Of equal importance is a shift in culture in the workplace and in the training environment. As

16

Key extracts Surveys commissioned by media and other organisations, of which there was a spate following the emergence of #MeToo, therefore provide valuable insights into prevalence. The impression such surveys give of a widespread problem across many sectors is borne out by evidence we have received about, for example, the entertainment industry, teaching, journalism, hospitality, retail, healthcare, the music industry and the international charity sector. Throughout the world of work, in spite of the law, sexual harassment is an everyday, common occurrence.

We support the recommendation of the Equality and Human Rights Commission that the Government should place a mandatory duty on employers to protect workers from harassment and victimisation in the workplace.

If the judgment in Unite the Union v Nailard stands, the Government should bring forward legislation to place a positive duty on employers expressly to protect workers from harassment by third parties and to ensure that employers can be held liable for failure to take reasonable steps to SURWHFW VWDͿ IURP WKLUG SDUW\ KDUDVVPHQW the respondents to our survey said, we also need ongoing training so that everyone understands their rights and obligations and within the creative sector there needs to be a comprehensive sign-up to all the Codes of Practice that have now been developed following extensive consultations.

Only in this way will we be able to change on a sustainable basis how employers and workers engage with one another.

To read the committee’s report in full, visit parliament.uk/womenandequalities

ISM MUSIC JOURNAL SEPT/OCT 2018

Training

Code of Conduct & Code of Practice

We have also produced training and guidance in ISM members will be aware that there are various relation to sexual harassment and discrimination and policies and procedures, including a Code of your rights.

Conduct, that ISM members are required to adhere to upon joining the ISM.

Webinars

7R ÀQG RXW PRUH DERXW the ISM’s work, visit ism.org/dignityatwork

Clause 8 of the Code of Conduct states as follows:

Sexual harassment & discrimination: Know your rights

‘Members are required not to discriminate on the grounds of gender, disability, ethnicity, class, sexual orientation, age, religion or political belief.’

Simone Braithwaite, Legal Advisor, discusses sexual harassment, discrimination, your rights and the law.

There is also a discussion about the recent guidance on sexual harassment at work produced by ACAS (Advisory, Conciliation and Arbitration Service).

The ISM is committed to dignity at work for all musicians. We have therefore introduced a Dignity at Work Code of Practice which covers all forms of GLVFULPLQDWLRQ 7R ÀQG RXW ZKDW WKLV PHDQV IRU \RX please go to ism.org/about/governance.

Watch at ism.org/webinars Sexual harassment & discrimination: Know your obligations

ISM-MU Code of Practice

Simone Braithwaite, Legal Advisor, discusses your REOLJDWLRQV DQG UHVSRQVLELOLWLHV DV DQ HPSOR\HU À[HU or engager as regards inappropriate behaviour in the workplace. In addition, this webinar will also consider best practice for dealing with inappropriate behaviour.

The ISM and Musicians’ Union have launched a joint Code of Practice to help eradicate bullying, harassment, discrimination and other forms of inappropriate behaviour within the sector. These principles also aim to aid employers in meeting their legal requirements as well as setting out a shared vision for promoting and maintaining a positive working culture. See more at ism.org/dignityatwork

Watch at ism.org/webinars

Health and wellbeing support If you’re feeling low or are in distress for any reason, you don’t need to suffer in silence.

As part of your membership, you have access to a free 24hr counselling helpline staffed by professionally qualiďŹ ed counsellors.

The helpline is open 365 days a year and is contactable on 0800 042 0136.

We also have a list of organisations and helplines that offer conďŹ dential support and a listening ear when things get difďŹ cult. You can ďŹ nd a list of mental and physical health organisations and helplines at ism.org/help If you are worried about hearing damage or need hearing protection, don’t forget that ISM members get a discount on hearing tests, audiology consultations and custom hearing protection with Hearology, Read Audio, Musicians’ Hearing Services and Capital Audiology. Find out more at ism.org/my-ism/ your-discounts/hearing-services

17

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Mae Prifysgol Aberystwyth yn cynnig un o’r pecynnau gorau o Ysgoloriaethau a Bwrsariaethau ym Mhrydain

ISM MUSIC JOURNAL SEPT/OCT 2018

Professional development Webinars

PRS Foundation’s funding fundamentals

Monday 29 October 1–2pm Get to grips with PRS for Music Foundation’s Get to know the ins and outs of music exams and make funding programmes with this free webinar. Find the best decision for your students. This September the out who and what they fund, with discussion of the ISM presents a series of free webinars to help music Open Grants programme, the Open Fund for Music teachers understand music exam boards and how Creators and Organisations and Women Make their exams work. London College of Music, Trinity Music. You’ll also discover how the foundation’s College London, ABRSM and Rock School will tell you talent development schemes work, get some top DERXW KRZ WKHLU TXDOLÀFDWLRQV KHOS SXSLOV SURJUHVV tips for submitting an application and learn what and provide the latest information on their syllabuses. happens after you’ve applied.

Back to school exam board series

To book, go to ism.org/webinars

ABRSM

Thursday 20 September 4–5pm

Rock School

Tuesday 25 September 1–2 pm

Seminars

London College of Music

Thursday 27 September 1–2pm

Your view: Secondary music exam reform

Trinity College London

Friday 28 September 1–2pm

Recording essentials for musicians with Cubase Tuesday 9 October 1–2pm Find out how to create a recording that can be posted on social media or a website in this free webinar.

Composer, music producer and Steinberg product specialist Dom Sigalas will explain the importance of recording yourself and how it can help you develop a portfolio music career. Dom will also be able to talk about recording certain instruments and voices and basic mixing techniques to achieve a polished professional sound.

Wednesday 24 October 3–6pm 2ͿHU \RXU H[SHUWLVH DV D PXVLF WHDFKHU WR KHOS assess the reformed GCSE, AS and A level exams.

(QJODQG·V TXDOLÀFDWLRQ UHJXODWRU 2ITXDO LQYLWHV peripatetic, VMT and classroom teachers to the ISM R΀FHV LQ /RQGRQ ,GHDOO\ \RX ZLOO KDYH WDXJKW RU helped to prepare students for the GCSE or A level TXDOLÀFDWLRQ LQ ERWK WKH ROG DQG QHZ YHUVLRQV 7KLV LV so you can comment on the changes and challenges RI WKH QHZ TXDOLÀFDWLRQV DQG KRZ WKH\ KDYH EHHQ addressed. Your feedback will contribute to planning for future evaluation activities. There will also be an RSSRUWXQLW\ WR ÀQG RXW DERXW 2ITXDO·V UROH LQ WKH GHYHORSPHQW RI WKHVH TXDOLÀFDWLRQV DQG KRZ WKH\ monitor and regulate them.

This seminar has limited places, so book early to secure a place.

Play: A psychological toolkit for optimal music performance ,60 PHPEHUV UHFHLYH RÍ¿ ZKHQ WKH\ SXUFKDVH pioneering toolkit Play from the ISM Trust website.

The toolkit is available as an e-book priced at just £4 for members (usually £5) or a limited edition printed book priced at £8 (usually £10). A sample chapter is also available from the website ismtrust.org/play.

Play: A psychological toolkit for optimal music performance is a groundbreaking guide by Gregory Daubney, CPsychol, MSc and Dr Alison Daubney. Play is packed with approachable practical strategies to help musicians of all ages manage performance anxiety and overcome common psychological obstacles.

19

ISM MUSIC JOURNAL SEPT/OCT 2018

Ten years of Sound and Music Sound and Music has been creating and maximising opportunities for composers for the past ten years. Its Chief Executive Susanna Eastburn tells the ISM’s Jessica Salter about the organisation’s development, its core objectives and its aspirations for the next ten years and beyond.

Above: Susanna Eastburn (Chief Executive, Sound and Music)

œ6RXQG DQG 0XVLF R΀FLDOO\ VWDUWHG RXW DV D PHUJHU of four founder organisations ten years ago: SPNM (Society for the Promotion of New Music), BMIC (British Music Information Centre), Sonic Arts Network, and the Contemporary Music Network.

7KHUH ZHUH VRPH GL΀FXOW \HDUV LQ WKH EHJLQQLQJ ZKHQ 6RXQG DQG 0XVLF ZDV ÀQGLQJ LWV IHHW EXW ZH have learnt a lot along the way, we have continued WR H[SDQG RXU LQà XHQFH DQG QHWZRUNV DQG GHYHORS a good reputation,’ Susanna says.

6XVDQQD LGHQWLĂ€HV LW LV LPSRUWDQW WKDW \RXQJ people are given the support to create their own music and express their own ideas in a structured way. ‘We see this at the Summer School and across various projects. We see the impact on a young person, of hearing what they have created brought to life by professional musicians. To see the light go :H DUH DW WKH 6RXQG DQG 0XVLF R΀FHV LQ 6RPHUVHW on and the quality of expression that they are able +RXVH ZKHUH 6XVDQQD DQG WKH WHDP DUH PDNLQJ Ă€QDO to create and what it does for their thinking and preparations for the tenth Sound and Music Summer imaginative skills – it is extraordinary.

School (which took place 5-11 August). ‘We want to take that message and make sure

Education ‘The Summer School is one of the projects I inherited when I started, and it is an amazing thing,’ Susanna tells me. ‘Every August there is a residential week for 75 young people aged 14 to 18 who work very intensely on creating their own music. That might be PXVLF IRU Ă€OP PXVLF IRU YRLFH PXVLF IRU LQVWUXPHQWV etc. Along with those 75 young people in residence, we also have an amazing team of professional tutors who are composers and musicians. The quality of the experience and the amount of time and expertise the young people have access to during that week is absolutely transformative. We believe that it is completely unique.’

Left: The Music for Young Players project at HuddersďŹ ed Contemporary Music Festival 2017, for which Sound and Music was a partner Photo: Liam Banga

debates about music education happening and they are so vital as it really is under threat from all kinds of directions. It needs protecting and championing.’

that many other people understand that composers are not born as fully formed adults – they come from education. Learning to express themselves through music really helps people’s imaginative and creative processes. We believe that anybody can compose if they are given the right kind of support, access to tuition and expertise. ‘We’ve seen people who’ve been through the summer school in the past who are now composers at universities and conservatoires and beginning to make a name for themselves in the profession, and that is incredibly gratifying.’

Susanna explains that Sound and Music is particularly focused on supporting and championing the right of children and young I ask Susanna if they have any special plans for the people to create their own music as part of a tenth anniversary of the Summer School and why it is rounded music education, and this forms one of the charity’s three core areas. The other two being: artist so important that the programme continues. development and audience development. ‘In terms of special plans, we are going to have a low-key celebration at the Summer School as we want to focus on the students themselves. But we are using the anniversary as a springboard to really push ‘We have really invested in forward our campaigning work around the place of our competence, skills and our music composition, and young people creating music network of coaches’ both in and out of school. There are many important

21

ISM MUSIC JOURNAL SEPT/OCT 2018

‘We see the impact on a young person of hearing what they have created brought to life by professional musicians’ Artist development Artist development has been a key objective for Sound and Music since its launch ten years ago and is now considered part of the organisation’s legacy.

One essential element of this strand is the annual New Voices programme, for which ‘we select a number of composers from around the country ZKR DUH ZRUNLQJ LQ D QXPEHU RI GLÍżHUHQW ZD\V and come from a diverse range of musical styles,’ Susanna says. ‘We work with them to co-design a programme of artist development which will include creating one or more new works for some kind of public performance which may or may not have a digital aspect to it.

They will also be supported through mentoring and coaching.’ Susanna emphasises the importance of coaching within New Voices: ‘We have really invested in our competence, skills and our network of coaches, DV LW LV RQH RI WKH PRVW HÍżHFWLYH ZD\V RI VXSSRUWLQJ composers and artists, and helps them formulate their own ideas about what they want.

‘There is such a wide range of really brilliant composers and artists at many different levels, creating new work in all kinds of ways’ ‘It is a tough life being a freelance composer or a creative of any sort. Coaching is one of the best ways that an organisation can support someone to really take control of that competitive, confusing and sometimes fractured environment, when they are trying to get work and make a living. New Voices also provides the opportunity for composers to create their own relationships and networks between other composers and artists who would never really talk to each other.’

‘New Voices has gender equality built into it, but also a less binary approach to gender diversity,’ Susanna continues. ‘We want it to be a much more representative group across the board in terms of artists or composers who face barriers and so end up giving up or falling away. For an organisation like ours which focuses on artist development, to see the potential that is being lost is heartbreaking – that’s what is behind our commitments to diversity and inclusivity.

Overall, Susanna is optimistic. ‘It is a great time for new music in the UK,’ she says. ‘There is such a wide range of really brilliant composers and artists DW PDQ\ GLÍżHUHQW OHYHOV FUHDWLQJ QHZ ZRUN LQ DOO kinds of ways. We have everything from composers who are writing fantastic music for orchestra to ones who are creating incredible electronic and virtual reality work, using very up-to-date technology to aid new ways of composing.’

Audience development 7KH Ă€QDO FRUH DUHD IRU 6RXQG DQG 0XVLF LV DXGLHQFH development. Susanna expresses that public engagement with new, innovative music is essential in changing and challenging perceptions: ‘I feel there is tremendous potential and there is a lot of work for Sound and Music and for others to do around increasing public engagement with adventurous new PXVLF 3HRSOH DUH OLVWHQLQJ WR DOO NLQGV RI GLÍżHUHQW music, but often the ways we talk about and present QHZ PXVLF LQ WKH ´DUWÂľ ZRUOG FDQ EH TXLWH RÍż SXWWLQJ I want to get rid of these barriers.’ I ask Susanna about her aspirations for Sound and Music and what she hopes will be achieved over the next decade. ‘I hope at some point in the future, Sound and Music can shut up shop and we don’t need to exist any more. At that point, the ZRUOG ZLOO ORRN GLÍżHUHQW LQ D QXPEHU RI ZD\V and every organisation involved in adventurous music, however you describe that, will see a proper representative diversity of artists. That won’t be a “specialâ€? thing, it won’t be something on the side, it will just be normal. People from whatever background should have the chance to become composers and creative artists and have support and opportunities to hear their work represented.’

Susanna also discusses the importance of diversity and inclusivity in the New Voices programme and Jessica Salter &RPPXQLFDWLRQV 2΀FHU ,60 across all of Sound and Music’s work: ‘In March 2017, ZH ZHUH WKH Ă€UVW >FRPSRVHU@ RUJDQLVDWLRQ WR PDNH D public commitment to gender equality. We made a public statement that by March 2020 at least 50% of the composers we work with will identify as women, which Sound and Music’s core areas: had a massive national and international impact and it has been fantastic to see other organisations follow 1. Artist development suit and make similar commitments. It has given us the VHQVH WKDW Ă€UVWO\ WKHVH LVVXHV DUH LPSRUWDQW DQG SHRSOH 2. Audience development are beginning to think of them, but also that one of the 3. Education responsibilities of a national organisation like Sound and Music is not only to campaign but to lead by example.

22

ISM MUSIC JOURNAL SEPT/OCT 2018

Music Education Expo Manchester: 11 October 2018 Within six years the Music & Drama Education Expo by Rhinegold Media & Events has become the biggest brand in music & drama education in Europe. The Expo, hosted in London, quickly outgrew its first venue and now attracts leading brands in the industry.

Expanding on this success, the team decided to take the show on the road to Manchester in 2017 to give every music & drama pedagogue the chance to take part in what has become a ‘must-attend’ in their CPD calendar.

The Expo (or ‘Expo North’) will take place for a second year on 11 October 2018, and is a one day CPD event for everyone in the performing arts education sector. As ever, the team aim to provide teachers, hub leaders, manufacturers, students, publishers – indeed anybody associated with music, drama and cultural education – with a one-stop-shop for engaging ideas, useful resources, and the opportunity to network with colleagues old and new.

Below: Alex De Palma Photography

Why attend?

Who does the show cater to?

The conference programme encompasses a number of sessions applicable to: • • • • • • •

Early Years practitioners Primary classroom teachers Secondary classroom teachers Instrumental teachers Drama workshop leaders Heads of Department Hub and Music Service Leaders, Management & Administration

What types of sessions are there?

Expo North will present a wide variety of sessions from award-winning educators, institutions and organisations via: • • • •

Interactive workshops Lectures Panel debates Q&As

...covering a range of topics including: • Warm-ups, schemes of work and lesson plan ideas • New educational trends & approaches • Policy & funding • Technology • SEND & Inclusion

It will draw together a day of seminars and workshops covering policy and funding; curriculum and exams; Best of all, Expo North is FREE to attend, plus practical music-making and hands-on drama so do register for your ticket at workshops presented by several top speakers and musicanddramaeducationexpo.co.uk/manchester award-winning educators.

Francesca Treadaway, In addition, there will be an exhibition space with Senior Communications Manager, ISM stands from over 60 of the leading publishers, organisations, retailers and manufacturers servicing both music and drama. Delegates will be able The ISM Trust at Music & Drama Education to connect with suppliers, browse and compare Expo Manchester hundreds of products under one roof and take advantage of exclusive at-show discounts.

ISM Trust: Psychological Wellbeing: Strategies for

Handling Music Performance Anxiety Rhinegold Theatre, 11 October, 13.45-14.30 This large-scale workshop explores many of the common symptoms, causes and consequences of musical performance anxiety DQG DLPV WR GHYHORS FRQÀGHQFH LQ WHDFKHUV· ability to identify, understand and then help students handle this ubiquitous condition.

This workshop is based on the ISM Trust resource Performance anxiety: A practical guide for music teachers, written by Dr Alison Daubney & Gregory Daubney

23

ISM MUSIC JOURNAL SEPT/OCT 2018

Keeping in sync – licensing music and recordings for media use All composers of music of any genre know how important it is to retain control of the copyright in their work, whether they manage it themselves, or via a publisher whom they trust and know will be working for them to optimise their earnings from exploitation of their music.

Synchronisation licensing – that is, putting music over visual media such as television programmes, advertisements, films, computer games and so on – is an important and growing element of overall revenues to music publishers and record labels: in 2017 the Music Publishers Association reported that synchronisation licensing of music and sound recordings generated about £80m in total in the UK, £50m of this going to music publishers, and the remainder to record labels or other owners of rights in sound recordings.

How this translates to revenues for musicians will depend on a range of factors, such as the scale and a duration of the project requiring a licence, the territories for which a licence is needed, the profile and status of the composer or performer on a recorded track and so on.

In this article we take a brief look at the some of the key issues involved in a synchronisation (often referred to as ‘sync’) licensing deal, and tell you where you can find more information.

What rights are licensed in a sync deal?

Two types of copyright work are generally involved: the musical work – a composition, a song, any lyrics – and usually a recording of the musical work (note that sometimes media commissioners will want to license the composition but to make a new recording of it).

24

Rights in the composition may be controlled by the composer directly or via a publisher. So if you are approached for a licence to sync one of your works, check whether you have placed the work with a publisher, and if so, on what terms. If you have assigned the rights in the work to your publisher, it is the publisher who must authorise or otherwise any sync licence proposal.

Sound recording rights are generally owned by recording companies – but many composers make their own recordings these days, in which case they will own the rights in the recordings (unless assigned to another party such as a record label or distributor).

Usually a deal is offered on the basis that the upfront sum will be split equally between the composition rights and the sound recording rights owners, and to secure this 50:50 arrangement, it is common to request that deals are agreed on a ‘Most Favoured Nations’ (MFN) basis, i.e. that neither party will receive more than the other.

Make sure music rights and sound recording rights owners are in touch with each other If using a recording of a musical work, the sync agent/ music supervisor of the media company involved must clear both rights before they can proceed. Ideally, then, the publisher/music rights owner and sound rights owner will work together collaboratively to secure a deal – there are plenty of stories of one party being willing to accept an offer, but the other wanting to achieve a higher figure, with the result that the media company withdrew and looked somewhere else for the music.

Media company music supervisors will welcome anything which makes clearing rights easier – so if your publisher and your record label have a good line of communication between them this may help in securing your deal.

ISM MUSIC JOURNAL SEPT/OCT 2018

your work in a programme. If you own rights in a sound recording, join PPL. If you are a performer on recorded tracks, you can join PPL in this capacity too.

ISM template synchronisation contracts We have developed two sync licence templates for members: one for synchronising your musical composition, and the other for synchronising your master sound recording. These contracts come with guidance notes to help you. The principles discussed in the guidance are relevant to any contract you may be offered so they are a good starting point. You can find the templates in the Members’ Area of the website here: ism.org/advice-centre/contracts

Changes to your work How much can a sync deal be worth?

Sync licensing can be highly lucrative and as such it is a highly competitive market: publishers and labels often have teams working on seeking out sync opportunities because of the significant revenues a sync licence for a film or TV advertisement can generate.

Sync licensing can be highly lucrative and as such it is a highly competitive market: publishers and labels often have teams working on seeking out sync opportunities…

The ISM template agreements state at clause 2 that the licensee cannot change the lyrics, music or character of the music (and also music embedded in a sound recording).

You should be prepared all the same to be asked for flexibility, as advertisers in particular may want to make edits in order to make the music fit with the visuals. You do not have to agree to this, but if you do, you should seek to negotiate a contractual right of refusal if you decide that you are not happy with any proposed edits or changes.

Next steps and further information

As noted this is a highly competitive area, with wellestablished teams trying to place songs and recordings with music supervisors of media companies. If you have a publisher, make sure they know if you want them to seek out sync deals for you. If you are looking to secure deals yourself, be prepared to invest time Fees are negotiable, depending on the size of the project, the territories licensed, the status of the artist and energy in getting noticed in a very crowded market. You will also need to think about the type of performing on a track and so on. Fees could range music you make – and with whom it may be relevant from as little as £50 for some small social media to for licensing. Your Schoenbergian-influenced music six-figure sums for advertising or games deals. may be perfect for an independent arthouse film, but There are no fixed rates for synchronisation licences, except for TV programmes and broadcasts, where the it might not be right for an agency looking for music copyright collecting societies PRS, MCPS and PPL apply for a new family car ad, for example. blanket agreements with television companies and The Association of Independent Music (AIM), the broadcasters to cover respectively the performing organisation representing independent music right and mechanical copyright in a composition, and companies, offers an electronic guide to synchronisation the performing right in a sound recording. licensing. It is free to AIM members. You can join AIM if you have your own label or you are a DIY artist. ISM Join the copyright collecting societies! members are entitled to a 25% discount. Alternatively, the e-guide is available to download for a fee at musicindie.com/resources.

In addition to upfront fees paid for ‘committing’ your music or recording to a film or advertisement, there are also royalties payable for the public performance of your music and recording if the items they are in are broadcast. Make sure you are registered with PRS and MCPS if you write music so they can collect royalties on your behalf for broadcasts and the initial inclusion of

ISM Legal Team Members can contact our legal team at legal@ism.org if you have any questions or if you would like us to review a sync licence you have been offered.

25

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NEWS FROM OUR MEMBERS We welcome your news (max. 150 words) and high-res photographs. Please email mj@ism.org.

The next deadline for copy is 1 October for the November/December issue.

Premiere of Kerry Milan’s Rapture

May & June prove busy for Robert Howard

The premiere of Kerry Milan’s new song cycle Rapture, performed by Yvonne Howard and Roy Wightman, is on Sunday 30 September 2018 in the Carol Ann Duffy recital room of Entrust’s Riverway Centre, Riverway, Stafford ST16 3TH.

Following the successful US premiere of Robert Howard’s Ave Verum Corpus during Holy Week, several performances of his other works also featured this May. Prescot Parish Church Choir revisited Ave Verum Corpus during Eucharist at Prescot Parish Church on Sunday 13 May. The The concert, which starts at 3pm, is being composer also played some of his co-hosted by Ardross House publishers, Terms & Conditions – own solo bassoon pieces on Tuesday the Entrust Music Service Staffordshire 15 May as part of a concert with the Guido Spannocchi and FOSYM, the Friends of Staffordshire South Liverpool Orchestra, which Young Musicians, of which Yvonne is Terms & Conditions is Guido he conducts. Last year’s choral work a patron. The afternoon begins with Spannocchi’s second album. The Alleluia was also successfully sung as performances by two of the county’s Vienna-born and London-based part of the RSCM Liverpool Come & young music students, Edward Robinson saxophonist rearranges folk lullabies Sing event at St Nicholas’s Church in (RNCM) and Alice Dix (Leeds College of and soothing melodies in unique Sutton on Thursday 17 May. Music), then Yvonne and Roy perform harmonic structures with a fresh The Ave Verum Corpus and Alleluia the 20 songs which comprise this rhythmical approach. He works were also sung in June as part of this substantial cycle of poems taken from together with his international year’s Prescot Festival, of which he is Carol Ann Duffy’s 2005 award-winning ensemble, consisting of Japanese book of poems, Rapture, with its brilliant Founder and Artistic Director. double bass player Mao Yamada, chronicling of the sometimes turbulent Brazilian drummer Cyro Zuzi and Looking ahead, on 6 October St Helens course of a contemporary love affair.

Brazilian electric bass player Matheus Choral Society will perform three of Nova. The album was recorded at Robert’s motets at St Helens United The music uses serial technique Total Refreshment Studios by Kristian Reformed Church at 7.30pm, and then throughout, and with sprechgesang Craig Robinson, recording engineer of being indicated on three occasions – but on 17 November Liverpool Mozart acts such as Comet is Coming, Sons of Orchestra will feature his 2015 work think Berg, rather than Schoenberg!

Kemet and many more on the forefront Cortege as part of a WWI remembrance of the new London jazz scene.

Scores are available to view and concert in Liverpool’s Capstone Theatre. purchase from tutti.co.uk and A highly individual sound and roberthowardmusic.co.uk the recording will be available to approach within the vibrant scene download in due course. of the British metropolis, this genredefying record combines urban club rhythms and solid jazz. The refreshing interplay of the ensemble makes this an exciting journey into the versatile and ever surprising compositions of Guido Spannocchi.

The album is available on kudosrecords kud.li/audioguido02 and all major online stores and streaming platforms.

Continued overleaf È

27

ISM MUSIC JOURNAL SEPT/OCT 2018

ISM Lea Valley Group The Adult Pupils’ Musical Afternoon on 20 May at the home of Anne Hodges in Broxbourne, Herts, was a great success with 17 items performed.

We were thrilled to welcome Fru Chilvers, a new ISM member, with four of her singers, to join the pianist pupils of Naomi Spiro and Carolyn Richards.

Twenty in all attended that afternoon and all said they had appreciated the experience and the lovely tea.

The programme ranged from ‘A Nightingale Sang in Berkeley Square’ to the Sonata no.8 in G minor by Zinck, with duets by Elsie Wells, Diabelli and Vivaldi, offering a good cross section from Grade 1 to Grade 8 standard.

Claire Williams re-awarded RCM Fellowship in Harpsichord/Continuo

Overall it was an interesting afternoon rounded off by a glorious strawberry and cream tea enjoyed by all in the sunny garden.

Claire Williams is delighted to have been re-awarded the Fellowship in Harpsichord/Continuo at the Royal College of Music in London, for a third consecutive year. She is an alumna of the RCM, having gained both her Bachelor of Music degree and Postgraduate Diploma there.

Many thanks to Anne & Brian Hodges.

As part of a team of Accompaniment Fellows, Claire works alongside RCM professors in the Historical Performance Department, accompanying and coaching students. She has also performed in high-profile projects organised by the RCM, including the UK premiere of Rameau’s opera-ballet Les fêtes d’Hébé. Future projects with the HP department include trips to Salzburg, Potsdam, and Italy. clairewilliams.co.uk

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Steven Devine records complete Rameau harpsichord music Steven Devine’s latest recording on the Resonus label is the complete solo harpsichord music of JeanPhilippe Rameau (1683-1764). This comprehensive collection contains the three books of Pièces de clavecin and the Cinq Pièces (derived from the Pièces de clavecin en concerts), and the individual work La Dauphine.

Also included is the substantial compendium Les Indes galantes – keyboard transcriptions that Rameau himself made from his own operaballet of the same name composed in 1735/6. In these transcriptions Devine is joined by harpsichordist Robin Bigwood who lends a third hand in select movements. The entire set is recorded on a copy, by Ian Tucker, of the Ruckers/Hemsch harpsichord in Hatchlands’ Cobbe Collection.

Released in July, this three CD set has been receiving rave reviews, including the Observer saying ‘you won’t find a better exponent than Devine’ and Gramophone mentioning ‘Devine’s meticulous technique and sensitivity in registration’. resonusclassics.com stevendevine.com

ISM MUSIC JOURNAL SEPT/OCT 2018

Our new members We offer a warm welcome to the following members who joined by 31 July.

Full members

Guildford

Birmingham

Elaine Faulkner BAHonsRead LTCL ARCM Isabel Lucy Hatcher BMusGoldsmiths Sonia McLean BAHonsHuddersfield Claire Robins BMusHonsRNCM

Rebecca Chandler LLCM Manraj Lall BAHonsLCOM Emma Syska MACantab James Thorpe BMusHonsRCM

Bournemouth Sean Tucker GTCL(Hons)

Brighton Rachel Taylor PGCE

Bristol Mikhail Asanovic BMusHonsRNCM PGDip Jacob Bright BAHonsBrisol Sally Jenkins MARWCMD QTS PGCE BABristol Christopher Jones BMusHonsBCU Daniel Wilberforce BAWestmin

Cambridge Emily Ashton BACantab MARAM

Channel Islands Luke Brown Katherine Grant PGDipRAM

Cheltenham Jon Peter Godfrey Robert Harbron BAWestmin

Croydon Mario Basilisco PGDip(TCM) BMusTCM Martin Ford MMusRCM

Devon & Cornwall Kim Geldard BAHons Amanda Grant BMusHonsSurrey Chris Morris

Eastbourne & Hastings Beatrice Everett BABIMM Leisa Jones BMusHonsGSMD

Kent Sophia Dee BMusGSMD Rosa Guilfoyle BASonomaState Irina Nawrocka MMusMinsk Gordon Stewart BMus Maureen Wolloshin GTCL(Hons)

Lea Valley Rebecca Griffiths BMusGSMD MMusGSMD Plyphon Jones BMusChichester Shea Lolin BAColchesterInstitute DipABRSM

Leicester Kimberley Cartlidge BMusACM Michaela Needham BAHonsAngliaRuskin

Liverpool Adrian Griffiths Paul Holmes Naomi Kayayan BMusHonsRNCM Stephanie McVey BALiverpool

London – North Lidia Amorelli GGSM Clement Hetherington MMusGuildhall Alan McAfee PGCert(TCL) Andrew Ormiston BAMiddx Raphaela Papadakis MMusGSMD David Adrian White Joanna Soane GTCL

London – South East Claire-Louise Auguste BMusTrinityLaban

Petra Hajduchova BMusHonsTCL Cevanne Horrocks-Hopayian MACantab Duayne Sanford BSc Ella Taylor MARAM

Angeline Johns BAYorkStJohn

London – South West

Julia Andrews Benjamin Nicholas MAOxon Aimee Rigby BMusCityUniv

Mauricio Javier Barra Angus Cunningham BAHonsKingston Lyndon Holland MANFTS Jonathan Mapp BMusLCM Philippa Simon BMusManch Christopher Smith BAWestmin Guido Spannocchi Eljon Vejsiu BMusNCMB MMusUWL

London – West Seb Gillot BACantab Elena Marinaki DipAthensCons(Pf) Toby Walker

Manchester Julia Chernyavsky MATchaikovskyConservatoire Adam Hall BAHonsCardiff Becky Jones BMusChichester Andra Vornicu BMusHonsRNCM

Nottingham Nathan Gregory BANott Charlotte Sykes BMusHuddersfield

Oxford

Reading Claire Ellis PGCE Israel Onoriode

Scotland-Highlands & Islands Ruth Potts BMusAberdeen

Scotland-South East John R Duffy BMusHonsNapier Carolyn Pollard DipAberdeen

Scotland-South West Islay Roberts Nicole Stefani BMusHonsRCS Susannah Wapshott Stout Lorna Williamson BAHonsLeeds

Sheffield

Scott McCall BAHonsDurham Fay Patricia Millard BAHonsBathSpa John Goodall Smith

Suffolk Karen Emms BAColchesterInstitute Rachel Sokolowski AGSM

Warwickshire & Northamptonshire Alexa Butterworth PhDSAMD Lisa Foxwell LTCL CTABRSM ATCL Melissa Humphriss

West Yorkshire Charnell Fogarthy-Durkin Jen Hartley MAYork Maria Mullin BAYork

Overseas Davide-Kristof Acs FLCM LLCM ALCM DipLCM MMusUniversita’ DellaCalabria

Student members Birmingham Kate Allsop Paul Aspel Max Gibson Sophie Leaver Susan Whittaker

Freya Josling BMusChichester Catherine Pugh BAHons(mus)UCE

Eastbourne & Hastings

South Wales

Guildford Emmanuel Bach

Christopher Watson BAHonsNewcastle

Grace Butter BMusTrinityLaban Giordano Ferla MmusRWCMD Marina Griffiths DipAzertbaijan Christie Wells BAHonsBathSpa

North Wales

Southampton

Christopher Alan Williams PGCE(music) BAHonsSalford

Jamie Harris BAHonSoton Mark Warren BMusRoyalHolloway

Mid-Wales Casey Greene JazzDiploma SydneyConservatoire

Norfolk Elizabeth Woolnough MAAngliaRuskin

North of England

North Yorkshire Paul Feehan ARCM LTCL PGCE PGDip BAHons

St Albans

Natalie Molloy

Kent Liam Barnard Chris Ioannou

Lancaster Lindsey Fillingham Lea Valley Andrea Carlene Arrindell Jack Clark Jerome Simpson Ashley Wagner

Liverpool Marek Smagala

Susan Anderson LRSM Continued overleaf È

ISM MUSIC JOURNAL SEPT/OCT 2018

London – North

London – West

North Wales

Emanuel Castelo Rhiana Henderson Jess Martin Ileana-Maria Popescu Mario Riccitelli Mark Russell Merit Ariane Stephanos Anusha Stribbling Reylon Yount

Michael Durrant Auguste Janonyte Sarah Kegerreis Hyungi Lee Riccardo Pes Abel Puustinen Judith Richmond

Alex Hughes

Manchester

Rossella Rubini

Corporate Members

Nathaniel Thomas Edwards James Heathcote Matas Jankauskas Poppy Philligreen Beth Willett

Portsmouth

Platinum

Ian Mayes

Scotland-North East

Musicians Insurance Services musiciansinsurance.co.uk 01246252868 admin@musiciansinsurance. co.uk

Adam Auchie

Gold

London – South East Sophie Burrows Brenda-Virginia González-Sancho Hannah Hever Malgorzata Kepa Hamish Nockles Moore

London – South West Kim Foster Davidona Pittock Bartosz Szafranski Emily Varney Karim Younis

Mid-Wales Thomas Coxhead

Norfolk Andrew Harsley

North of England Simon Chorley Fiona Walker

Warwickshire & Northamptonshire

North Yorkshire Victoria James

Catherine Hillier James Talbot

Northern Ireland

West Yorkshire

Peter Easton

Isaac Ehdieb Robbie Lumb

Oxford

Reading Nathan Reeves

Scotland-South West

Naomi Armstrong

The Piano Teachers’ Course UK pianoteacherscourse.org 07831 164430 info@pianoteacherscourse.co.uk

South Wales

Silver

Joshua Jones Caitlyn Thomas

JAMES (Joint Audio Media Education Support) jamesonline.org.uk

Eryl Whiteley

Sheffield

Obituaries List Dr C. Paulette Catherwood of Cambridge Dr Norman Cooper of Aberdeenshire Professor Oliver Knussen of Suffolk Mr J Russell Lomas of Cheshire Mr Roderick Swanston of London Mrs Susan M Wilkins of Ipswich Miss Olga Wilson of London

Bronze RS Event Center rs-event.sg (65)6251 2429 event@rs-event.sg

Letters after your name As a member of ISM you are automatically entitled to use letters after your name: MISM (Member of the ISM) or SMISM (Student Member of the ISM). If you have been in continuous membership for 15 years or more, you gain FISM (Fellow of the ISM) status. Download the appropriate logo from the members’ area of our website to add to your website, personal stationery and marketing materials. We also have a corporate member logo.

If you are a platinum, gold, silver or bronze corporate member and would like to display the logo on your website or in your publications, please contact us on 020 7221 3499 or membership@ism.org.

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STENTOR Inspiring Players of All Ages * Stentor provides good quality instruments to enable players to progress to the best of their ability and enjoy making music. * Stentor’s ideal student and intermediate instruments: • Stentor Student I • Stentor Student II • Stentor Graduate • Stentor Conservatoire * Choose from our high grade orchestral models: - Messina, Elysia and Arcadia * Stentor violins, violas, cellos and double basses are carved from solid tonewoods, with correct measurements and good tonal quality, offering students the best start to their musical careers.

Stentor instruments available in all sizes from your local music retailer Contact us for a copy of the Stentor brochure

www.stentor-music.com Stentor Music Co Ltd Tel: 01737 240226 Email: info@stentor-music.com

2018

ISM MUSIC JOURNAL SEPT/OCT 2018

NEWS FROM OUR CORPORATE MEMBERS We welcome your news (max. 200 words for Platinum and Gold members, max. 150 words for Silver members) and high-res photographs. Please email mj@ism.org. The next deadline for copy is 1 October for November/December 2018.

We are very grateful to all our corporate members for their support.

GOLD CORPORATE MEMBERS

PLATINUM CORPORATE MEMBERS

NMC Recordings

Allianz Musical Insurance

Park Lane Group

Black Dress Code

Rhinegold Publishing

Classic FM

Duet Group

Birmingham Conservatoire

Insure4Music

Kawai Lark Insurance Leeds College of Music London College of Music

MGR Music Tuition Musicians Insurance Services

British Youth Band Association Drums for Schools Henri Selmer Paris

Rocksteady Music School Royal Central School of Speech and Drama

Impulse Music Consultants Len Rhodes Music Music Mark National Preparatory School Orchestras Oxford University Press

The Royal Philharmonic Society Trinity College London

Portsmouth Music Hub The Curious Piano Teachers The Piano Teachers’ Course UK Trinity Laban Conservatoire of Music and Dance

Victoria College Exams

Trybooking.co.uk

Yamaha Music Europe

University of St Andrews

For further information about our different levels of corporate membership and a full list of over 160 corporate members, visit ism.org.

32

ALFA Education Ltd

ABRSM

University of Huddersfield Wigmore Hall

ISM MUSIC JOURNAL SEPT/OCT 2018

transcribing and found sounds. As well Music Mark Annual Conference as teaching, she will be working closely with Julian Philips, Head of Composition, Music Mark lobbies on behalf of its to advance diversity and inclusiveness in membership and the wider sector for composition at Guildhall. the importance of an equitable, diverse, and fully accessible quality music education in and out of the classroom.

The Musicians’ Company Music Mark contributes to national At her installation as its third female discussions, carries out extensive Master, Lady Brewer conferred consultation into the future of Music Honorary Freedom of The Company Education and meets with the DfE upon Sir Antonio Pappano. Since then, regularly to ensure continued dialogue distinguished recipients of other as the department prepares to update major awards have included William the National Plan of Music Education.

Bennett OBE (Cobbett Medal), David The focus of its upcoming Annual Pickard (Honorary Fellowship), Joyce Conference on 22 and 23 November is DiDonato and Roderick Williams OBE (Santley Awards) and Dr Brian May CBE Youth Voice and includes youth panels and inspirational young speakers (Lifetime Achievement). and students. Music Mark believes This year’s Prince’s Prize went to their voices, as well as those of their pianist Ariel Lanyi, and the Dankworth parents, must be included in any Jazz Composition Prize to Billy Marrows future National Plan. There will also and Luke Bainbridge. be inspirational keynotes, including MOBO award-winning musician and The Company vigorously maintains chair of Youth Music, YolanDa Brown. its support for young musicians not

Above: Cassandra Miller Photo: Andrew Parker

Guildhall School of Music & Drama Guildhall School alumni and fellows were recognised in the recent Queen’s Birthday Honours List. Thomas Adès (Composition 1989 and Fellow) was awarded a CBE for services to music.

Debbie Wiseman (Composition 1984 and Fellow) and Alice Coote (Vocal Studies 1989) were awarded OBEs for services to music. Vivienne Littlechild, Chairman of the Board of Governors at the Guildhall School, was awarded an MBE for services to culture and heritage in the City of London. Honorary Fellow Gillian Moore, Director of Music at Southbank Centre, was also awarded a CBE for services to music.

Guildhall School is delighted to announce that Cassandra Miller, Canadian composer of chamber and orchestral music, has been appointed as Associate Head of Composition from September 2018. Miller’s teaching philosophy prioritises inclusivity and diversity, and questions canonisation.

Her music reconciles a strongly human expressivity with a very particular interest in alternative kinds of

only with sponsorship, but through its Yeomen Programme, which enables them to share their art with audiences at hundreds of venues across the country, from schools in deprived areas to concert halls in London and beyond.

Its ‘Future of Music’ fund and other charitable initiatives, such as the New Elizabethan Award, are paving the way for ever-wider opportunities to explore and enjoy the ‘art and science of music’, as required by its royal charter of 1604.

Music Mark events are only possible thanks to the level and breadth of expertise of its members. This strength allows Music Mark to facilitate discussion and networking across the country, as well as the exchange of news, events, jobs, resources and guidance. Collectively, the membership helps itself move forward in its efforts to deliver equitable, diverse and fully accessible quality music education.

wcom.org.uk

Music Education Solutions fifth annual Singing Strategy Symposium Music Education Solutions’ fifth annual Singing Strategy Symposium comes to London for the first time in November.

Taking place at the St Paul’s Centre in Hammersmith on Monday 12 November, this event is for anyone interested in singing, choirs and vocal teaching, including leaders and teachers from music education hubs, schools, and private music organisations. ISM members are entitled to a special 20% discount for this event by quoting ISM20.

For further information and booking visit musiceducationsolutions.co.uk/ products-page Continued overleaf È

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ISM MUSIC JOURNAL SEPT/OCT 2018

busy schedule as a conductor, chorus master and singing teacher in London.

He directs a wide variety of choirs including professional ensembles, church choirs, chamber choirs and large symphonic choruses.

The Curious Piano Teachers: Sally Cathcart, left, and Sharon Mark-Teggart

The Curious Piano Teachers The Curious Piano Teachers are delighted to have joined the ISM as a Gold Corporate Member. We were founded by ISM fellows Dr Sally Cathcart and Sharon Mark-Teggart back in 2015, and the opportunity to subscribe to our online membership has been taken up by hundreds of piano teachers already both in the UK and across the world.

With the musical education of tomorrow’s generation role increasingly in piano teachers’ hands, our aim is to help our members develop the confidence to recognise they aren’t ‘just’ piano teachers but actually so much more!

The best place to find out more is with our blog, thecuriouspianoteachers. org/blog. Recent topics have included articles about how to teach special needs pupils, why mnemonics don’t work effectively for most children and tips from teaching experts on how to include improvisation in lessons.

He is currently Head of Vocal Studies at Dulwich College, Musical Director of the Hackney Singers, Director of Music of Lewisham Choral Society and Musical Director of Concordia Chamber Choir. He joined the NCCGB staff in 2012, since when he has conducted both the Senior and the Tour Choirs.

Len Rhodes Music – September/October 2018 We invite you to visit our new look lenrhodesmusic.com website, structured to make your searches for downloadable sheet music easier. As Len continually adds and updates arrangements, we are always happy to hear from ISM members with requests and suggestions.

Len’s most recent listing is Maurice Ravel’s Mother Goose suite (Ma Mère l’Oye) – a charmingly delicate and imaginative collection of fairytale pieces.

Len has carefully crafted a continuous He is fully engaged with the choir’s ‘medley’ for piano solo, featuring all the ethos; his aim is that the courses will continue to be infused with enthusiasm, main movements with subtle connecting passages. This is suitable for a pianist and that choir members will be given around grade 6/7 and above; but would every opportunity to realise their be enjoyable for anyone who loves Ravel ambitions. He is looking forward to and Ma Mère l’Oye in particular. raising NCCGB’s national profile and to developing its vocal philosophy.

There is also new music for choir November will see the choir’s auditions for 2019 membership, at venues throughout the UK. Candidates aged 9-19 are invited to apply for an audition via the choir’s website, nccgb. com, or for further information email auditions@nccgb.com.

ABCD announces its first Gold Commercial Member

including ‘Turn Your Eyes Upon Jesus’ for both SAB and SATB choir.

As Len regularly updates his ‘Composer Dictionary’, he is offering two free upgrade files per year for those who have purchased this comprehensive reference through Len Rhodes Music.

Please request by email, info@ lenrhodesmusic.com A special thank you to all ISM members who regularly visit Len’s website, and do remember all ISM members receive a 15% discount – use ISM2018 at checkout.

Oxford University Press Music Department has become the first organisation to sign up to ABCD’s Gold Commercial status. This new category of corporate membership was introduced Nominations now open We recently launched our own in January 2018 in order to offer a small for the 2019 Music Teacher YouTube channel (just search for the number of companies a wider range of Awards for Excellence Curious Piano Teachers) where you can benefits in return for significant financial catch up with Sally’s regular Tuesday support for ABCD (the Association of Nominations are now open for the Music Teaching Tips videos among others.

British Choral Directors).

Teacher Awards for Excellence, taking place on 6 March 2019 at the Sheraton Enrolment to the Curious Piano Welcoming OUP to the Gold Grand London Park Lane Hotel, Mayfair.

Teachers opens for two weeks from 22 Commercial Membership, the Chair of September to 6 October. If you want to ABCD, Leslie East, said ‘ABCD depends Created to celebrate excellence in find out more just drop us an email at on its members’ support, whether on music and performing arts education, info@curiouspiano.org an individual or corporate basis, so the awards will be presented in 14 this major commitment by OUP is a categories including Outstanding very significant development for both Musical Initiative, Digital/Technological The National Children’s Choir organisations. This new collaboration Resource, Outstanding SEND Resource, of Great Britain will strengthen our ties and enhance Outstanding Music Education Product, ABCD’s ability to deliver its services to the Lifetime Achievement Award, The National Children’s Choir of Great all members and the wider public and sponsored by the Incorporated Society of Britain has exciting times ahead, educational community.’

Musicians and more. when their new Musical Director, Dan Ludford-Thomas, takes up his Nominations are welcome from anyone post in September. Dan enjoys a

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ISM MUSIC JOURNAL SEPT/OCT 2018

involved in music education – from teachers, parents, students and music hubs to publishers, manufacturers and arts organisations. To submit a nomination, please complete the online form before the deadline on 12 October 2018. musicanddramaeducationexpo. co.uk/london/awards/categories

Bulletin from London College of Music, University of West London In 2018 the University of West London’s overall statistic for students in full-time employment or further education six months after graduation has climbed from 97% to a remarkable 98%. Students continuing their degrees have fared no less impressively. Within LCM, examples include students singing in the chorus of Opera Holland Park this summer season and working in its administration department.

The end of academic year 2017/2018 brings down the curtain on the ‘130 Celebrations’ at LCM (founded in 1887). High-profile events included a fully staged on-campus production of Gilbert & Sullivan’s The Gondoliers.

Another highlight of the year was LCM’s Camerata orchestra performing in concert alongside the Band of the Coldstream Guards – with several of those Guards now undergraduate students at LCM. Musical Theatre has continued to flourish, with major productions of Fiddler on the Roof, 9 to 5 and the 2001 Broadway hit, Urinetown. Prestigious theatre productions by the BA Acting student cohort included Jessica Swale’s play Nell Gwynn, Shakespeare’s Twelfth Night, Matthew Dunster’s Orwell 1984 stage adaptation and Arthur Miller’s The Crucible. The year was crowned by a stunning Graduate Showcase extending over the week of 14-18 May.

Impulse know-how ‘Oh heck! How do I do that?’ ‘I should have done what, when?’

How many times have you heard a colleague utter, mutter or even shout in exasperation along those lines?

Over the years, we have seen the

administrative burden on musicians rise, always inexorably and at times exponentially. Staying ahead of the curve is demanding which is why our be a really interactive day combining service to clients includes the key theory and practice, delivered by an component of breadth and immediacy. exciting line-up of presenters. The event is likely to include a half-day workshop We call it simply Know-How, the umbrella term for documents and links on Saturday 24 Novermber with a prominent speaker from the industry. we make available on our website across a wide range of topics, as well as More details coming soon. pointing people to the many excellent resources provided by the ISM. For classical composers, chief of the Impulse offering is the well-known Commission Fee Guidelines which we update year on year. Time and again composers come to us and say how useful these are, giving them third party back-up when approaching negotiations. You can be assured, they are here to stay and you can find them at impulse-music.co.uk/resources.

As part of Impulse Know-How, as well as the online resources, we are very happy to receive questions by email which we will turn around usually in 24 hours. More complex questions can be dealt with by phone or if there is a longer-term issue, we can set up a one-to-one consultation, available to ISM members at a 10% discount.

Musicans’ services are all about brand trust, cost-effectiveness, relevance and speed of delivery – all hallmarks of the Impulse service. Call us today on 01760 4414418 or email contact@impulse-music.co.uk.

British Voice Association Our Autumn study day is Glottal Start: Laryngeal science into practice.

With expert presenters from science, medicine and music, the programme includes lectures, demonstrations and interactive panel discussions that will appeal to all voice professionals.

The day also incorporates the AGM (members only) and presentation of the Van Lawrence Prize, awarded biennially for outstanding/original work in the field of voice science. It takes place on Sunday 9 September at Baden-Powell House, London SW7.

For information and booking see britishvoiceassociation.org.uk

Insure4 Music: Protecting instruments when travelling by plane ISM has campaigned tirelessly to ensure that musical instruments are allowed in airline cabins with their owners, which lessens the risk of damage, loss or theft when put in the hold.

At Insure4Music, we’re backing this campaign – particularly given the shocking story of a precious 17th-century viola da gamba being smashed during a flight or the time an airline lost the Chiaroscuro Quartet’s instruments resulting in a wasted recording session.

We believe that every musician should be able to travel with their instruments without fear of them being damaged, lost or stolen particularly when they act as a source of income for musicians.

If an incident occurs to your instrument with an airline in transit and you didn’t have the right insurance, you could end up paying for repairs or replacements out of your own pocket and risk missing an upcoming performance.

When you travel by plane, our specialist music insurance protects your instruments. We will cover the cost of repairing, replacing or hiring a temporary instrument, providing you obtain a Property Irregularity Report (PIR) from the airline. If you’re travelling abroad, we also offer Worldwide cover to protect your instruments overseas.

Discover how Insure4Music can protect your precious instruments The BVA’s next Rock and Pop conference whenever you fly by visiting is on Sunday 25 November at Cecil Sharp insure4music.co.uk/MJN98 House, London NW1. As always, this will

35

Taming the tertiary track Classical, pop or musical theatre – preparing students for further education applications Autumn Conference

Speakers include

St Paul’s Girls’ School, London

Nick Sears Veronica Veysey Campbell Vicki Stretton Bryan Husband

Sunday 28 October

Representatives from: RAM ¡ RCM ¡ GSMD ¡ LCM RNCM ¡ Trinity Laban Mountview ¡ Oxbridge

Early Bird prices until 30 September: Members ÂŁ60 Non-members ÂŁ80 Students ÂŁ25 Under 18s ÂŁ15

www.benslowmusic-ils.org 01462 420748

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ISM MUSIC JOURNAL SEPT/OCT 2018

LOCAL EVENTS LISTINGS Full listings can be found on our website, ism.org Sunday 7 October

Sunday 18 November

North London Annual Dinner

North London Pupils’ Concert

7pm, Genzo Restaurant, 212-216 High Road, East Finchley, N2 9AY Members are invited to our Annual Dinner to network, make connections with like-minded musicians and to meet the committee members who represent your interests in North London.

Partners and friends are very welcome too!

Cost: £24 per person for a three course dinner including wine.

Contact: Judith Sheridan, 01525 222131 judithclaresheridan@gmail.com

2.30pm, The Cooper Hall, Hall School, 23 Crossfield Road, NW3 4NU Members are invited to put forward pupils to play or sing. Both children and adults are welcome to perform, whether individually, in duets, or in larger ensembles. Please note each pupil must not exceed 7 minutes and each teacher may enter up to 5 pupils. Pupils may be at grade 1 or any level above, but should have their performance item at a concert standard.

Ensembles would be particularly welcome.

An accompanist will be provided if required but must be requested in advance. The hall is available from 2pm for warming-up.

Cost: Adults £5, Children £2. There is no charge for performers and teachers presenting pupils.

Directions: Nearest tube Swiss Cottage (3 min walk) & Belsize Park. Parking unrestricted on a Sunday, but this is a dense residential area so allow plenty of time.

Contact: Sara Medina, 020 8883 2082 (by 2 November)

ISM Representative Vacancies We are currently looking for members to act as ISM Representatives for the following local groups:

Croydon Cambridge (will work with current Representative Stephanie Reeve)

Brighton Looking for ad-hoc volunteers to support the Representatives Volunteering as an ISM Representative is perfectly suited to members who enjoy planning or organising events and meeting other members in their local area.

Supported by ISM, local group events provide networking opportunities, social events, professional development and performance opportunities in your area. They are a fantastic way to meet other musicians and enhance your career.

For more information or an application form please call 020 7313 9323 or email membership@ism.org

Classified advertising TAX AND ACCOUNTING SERVICES. Tax and accounting noise interfering with your melody? Then let us help you tweak the tune of your song. At PAC, we are Specialist accountants on property business, company’s year-end accounts, tax planning and advice. Whatever your tax music, you can rely on us to change your melodic contour – for the better. For no obligation advice, call 02036575696 or email team@ practicaladviceconsulting. co.uk. Visit us on www. practicaladviceconsulting. co.uk

How to Book: Please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7221 3499 with credit card details) to the ISM, 4–5 Inverness Mews, London W2 3JQ or email mj@ism.org by 1 October for the November/December issue.

FRENCH HORNS. Several COR ANGLAIS. B&H. from £150. 01747 828552 Blackwood, Conservatoire, Low E, Serviced. £1,095 VARIOUS BRASS, ONO. 07974 412269 WOODWIND & STRINGED instruments for sale and/ DOUBLE BASS PAESOLD or rental. Tel: 07974 concert model 590.

412269.

Excellent condition. Cost £3,000+ in 1997, £995 STUDENT CELLOS, mostly ONO. 01747 828552 German, various sizes, from £100. Tel. 07974 PERFORMANCE NERVES? 412269 ANXIETY? Call Rosemary Wiseman. Tel. 020 BASSOONS. Several.

8958 8083; www.

07974 412269 rosemarywiseman.com SPINNETT WITTMAYER (German) 4 octaves, C–D, light walnut. VGC needs tuning, hence £495 for a quick sale. Tel. 07974 412269

MUSIC COPYING SERVICE. Quality printed music produced at reasonable prices. For further details contact David Turner, computer based music copyist, at 23 Overbrook, Hythe, Southampton SO45 5BE, Tel: 02380 848146, email: dfturner@ waitrose.com INTERMEDIATE VIOLINS As a Violin Tutor, I’d like to offer two handmade Intermediate Violins for sale. Please Contact for more details: rajaviolin@yahoo.com or 07724143588

Private and Trade 50p per word, minimum £5.

Advertisements from ISM members are half-price (i.e. 25p per word, minimum £2.50). Name, address and contact details must be paid for if included. Box numbers £2 extra. Prices include VAT. A series of six or more identical insertions qualifies for 10% discount.

1/2 SIZE CELLO, North German c1880 for sale.

Length 672mm. Fibreglass hard case (pink) and Brazilian-wood bow. £1300 ono Tel. 01239 698707 or 07977252664 NEW EARLY KEYBOARD INSTRUMENTS for Sale.

Visit www.harpgear.net for details.

HARPS FOR SALE Concert Grand Wurlitzer & Salvi Apollos. harpgear@gmail. com for details.

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ISM MUSIC JOURNAL SEPT/OCT 2018

Ask me a question Jon Brooks Composer

Tell us a little about yourself I compose and produce custom music and library tracks for film, TV and advertising.

I also run my own recording studio based in Stockport working with local and international artists. I studied music at Anglia Ruskin University (Cambridge) followed by a Master’s degree in Composition for Film and TV at Kingston University (London). After my studies I relocated to Malaysia for six years for an in-house composing position before returning to the UK in 2011. I play the piano and French horn and have previously performed alongside Richard Clayderman, for the Queen during her Jubilee Tour, and at the Vatican.

Who or what has most influenced you and your career While I was composing my portfolio for GCSE music a friend said my music sounded like film scores. That’s the moment the passion hit and I realised what I wanted to do. I couldn’t stop listening to soundtracks and began analysing the emotional response and functional marriage of music to picture. Ultimately, film composers have influenced my musical output and career the most.

What would you say is your greatest achievement to date?

I’m proud to have worked with some amazing creatives and written music for well-known brands and clients such as the Walt Disney Company, Coca-Cola, Oxford University Press, Clive Farrington (of When in Rome), Sony, Hats on Sticks Pictures, Cadbury, AstraZeneca and Nescafé to name a few.

The ISM Trust Primary Music Toolkit The ISM Trust, supported by the Schools Music Association (SMA), has published a free online resource for primary school music teachers. The Primary Music Toolkit, written by music education expert Dr Alison Daubney, is a concise six-part guide which aims to help specialist and non-specialist primary music teachers further their knowledge and self-assurance in the classroom. It is packed with practical help and strategies to give teachers the confidence to lead inspiring musical experiences and bring the primary music curriculum to life.

The toolkit is free to access and download from the ISM Trust website: ismtrust.org/primary-toolkit

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Who is your all-time favourite artist and why?

I’m torn between Jerry Goldsmith and Hans Zimmer. After hearing the film score in Backdraft I fell in love with Hans Zimmer’s work. His scores are incredibly expressive and dramatic. Hans’s execution of combining acoustic instruments with electronica is phenomenal. Not long after, I discovered the now late Jerry Goldsmith.

His musical language was extremely versatile, emotionally charged and thematic.

What was the last CD/music download that you purchased?

A cover of Simon and Garfunkel’s ‘The Sound of Silence’ by the American band Disturbed. The original is beautiful, but this powerful version takes it to another level emotionally.

What are your plans for the future?

I plan to continue developing as a composer/producer and produce more film and TV scores. I’d also love to be writing more for video game soundtracks.

Finally, what is your ISM membership to you?

My ISM membership has provided invaluable information, webinars and legal advice. jonbrooks.co.uk youtube.com/jonbrookscomposer

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