ISM Music Journal July/August

July/August 2018 Highlights of this summer’s music festivals How scientific research is helping performers Report from the 2018 ISM Members’ Day and AGM

ISM MUSIC JOURNAL JULY/AUGUST 2018

Welcome Summer is now fully upon us. Not only does this mean that we have reached the other side of the implementation of the Data Protection Act 2018 (hurrah!) but it also means that Brexit continues to dominate the news. As a sector we have always recognised the importance of funding for arts and culture so it is great to see that the EU has decided to increase its culture budget by €400m with effect from 2021. The UK will have, in all probability, left by then, but we know that many of our members work extensively in Europe. Our new research into the impact of Brexit on the sector found that more than a quarter of music professionals (27.33%) receive a majority of their income from work in the EU (outside of the UK); so this increase in funding might still be beneficial to you.

Above: Deborah Annetts Photo: Mark Thompson

There has been much talk about revising the National Plan for Music Education (NPME). Some have even suggested that it might focus on culture rather than just music. With music and the arts under so much pressure in schools, any revision of NPME has to be carefully undertaken. Therefore, we will be consulting with members in relation to what you think should happen.

The blind spot this government has for music education is made yet more puzzling by recent research from the British Phonographic Industry (BPI) which found that one in every eight albums purchased worldwide in 2017 was created by a British artist. UK artists led by Ed Sheeran, Rag‘n’Bone Man, Sam Smith and classic acts including The Beatles and Roger Walters accounted for 13% of global music consumption in 2017. Music is the UK’s international calling card. A fifth of all albums consumed across Europe have been created by British artists.

So, it is all the more perplexing that the DfE does not respond to the concerns being raised by the likes of Sir Simon Rattle, who recently said ‘it is every child’s birthright to have access to music... Our children need to have the artistic vitamins that will help to build a better society.’ We can all agree with that. So please do play your part and respond to the survey which will be launching at the start of July. We need to know what you think needs to happen in terms of music education, and then we will make sure that your views are heard by Government.

Front Cover Latitude Festival Photo: Matt Eachus

deborah@ism.org

See feature on pages 18–21 ISM Members’ Day See page 7

2 7 9 13 15 17 18 22 29 33 39 39 40

News & campaigns Members’ Day 2018 Annual General Meeting Business advice Data protection and GDPR – what you need to know Professional development Royal College of Music Centre for Performance Science Summer Festival Guide News from our members News from our corporate members Local events listings Classified advertising Ask me a question

Volume 85/ Number 2 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: Ariane Todes/ Francesca Treadaway

See feature on pages 22–25 Inset images: Centre for Performance Science

Contents

In the March/April issue of Music Journal, in the Ask Me a Question feature on page 40, member Wai Sum Chong stated she delivered music therapy to dementia patients in care homes. Wai Sum wishes to clarify that she is not a trained music therapist who offers music therapy sessions. Her work with Lost Chord and Music in Hospitals and Care focuses on harnessing the therapeutic benefits of live music to help people with dementia. Further guidelines on the usage of the term ‘music therapist’ and ‘music therapy’ can be found on the Health and Care Professions Council website.

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Design: cogdesign.com Typography: marcmarazzi.com Advertising: Cabbell Publishing Ltd, T. 020 3603 7940 E. jane@cabbell.co.uk Editorial and advertising copy date: 1 August for Sept/Oct 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.

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ISM MUSIC JOURNAL JULY/AUGUST 2018

News & campaigns NIC contribution changes: how does this affect you?

Musicians earning less than £6,205 per year can currently make voluntary payments of £2.95 a week towards the state pension and other contributory benefits, in the form of Class 2 National Insurance Contributions (NICs).

Henry Vann, Head of External Affairs, is leaving in August after almost nine years at the ISM. He would like to thank members for their valuable input and contributions over his time at the ISM and wishes everyone the best for the future, as the organisation goes from strength to strength in supporting the art of music and the music profession.

From April 2019 the Government plans on abolishing Class 2 NICs. This means that self-employed workers earning below £6,205 will still be able to make voluntary contributions towards their state pension, but only in the form of Class 3 NICs, which are £14.65 a week.

The new change means that self-employed workers earning below £6,205 might end up making a contribution of £761.80 per year, which is a fivefold increase on the Class 2 annual contribution of £153.40.

If musicians earn below £6,205, this will mean a minimum contribution of 12.3% of their income.

Proposed cuts to East Sussex Music Service East Sussex County Council has announced plans to close the county’s music service by 2019 due to a funding shortfall of £80,000. East Sussex Music Service, which has been providing music tuition to the county since 1934, delivers music lessons to around 7,000 children in schools each year, and almost 1,000 children aged between 4 and 18 attend its music centres every week. The ISM is supporting local efforts led by music teachers to save the music service.

You can support their petition online at bit.ly/saveeastsussexmusicservice.

Teenage pianist wins BBC Young Musician 2018 Lauren Zhang, aged 16, is this year’s winner of the BBC Young Musician 2018. Zhang took the title with a performance of Prokofiev’s challenging Piano Concerto No 2.

Zhang, who has studied at the Junior Department of Birmingham Conservatoire since 2010, said, ‘I’m pleasantly surprised and I can’t believe it.’

Kerry Andrew, Chair of the judging panel commented: ‘Lauren’s performance left us all breathless.

Her exceptional level of technical skill and intelligent musicality shone through in a beast of a piece.

We see great things in her future.’

The BBC Young Musician competition began in 1978, and previous winners have gone on to become successful professional musicians globally, including Nicola Benedetti, Freddy Kempf and Sheku Kanneh-Mason.

Above: Lauren Zhang, who won the BBC Young Musician 2018 with her intelligent musicality Photo:Greg Milner

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ISM MUSIC JOURNAL JULY/AUGUST 2018

Bacc for the Future: campaign update Music education in Wales at risk Following the cuts to Wrexham music service and the closure of other music services in Wales, the ISM has been taking our concerns to the Welsh Assembly Government to ask for urgent action to be taken to save musical opportunities for children and young people.

There is no ring-fenced funding for music services in Wales and some local authority areas now have no music service at all. The ISM is fighting closures where possible, but we are also campaigning to secure ring-fenced funding for music services.

If you want to support the ISM’s efforts you can get in touch with the ISM’s external affairs team by emailing Francesca.Treadaway@ism.org

ISM discusses future of cultural education at Westminster Education Forum On 10 May 2018, the ISM’s Chief Executive, Deborah Annetts, spoke at Westminster Education Forum about the future of cultural education in England at both primary and secondary level. As well as championing the work of Sistema England and Gallions Primary School, she emphasised the importance of keeping the ‘supply of talent’ feeding through to our creative industries, and discussed how the EBacc is impacting creativity in our schools.

ISM champions music at The Great Escape Festival 2018 On 16 May 2018, the ISM spoke at the Complete Music Update (CMU) Insights, Urban Development and British and Irish Music Institute (BIMM) Education Conference as part of The Great Escape 2018, alongside representatives from across the music industry. The conference focused on the current state of play of music education and discussed whether it should be more closely aligned with the music industry.

Before the ISM’s Communications Manager Francesca Treadaway discussed the future of music education (in a debate titled ‘Is Music Education in Crisis?’) alongside the Musicians’ Union, Arts Council England, Live Nation, Youth Music and Urban Development, she gave a presentation on the EBacc and its role in the sidelining of music in the curriculum.

To find out more about CMU’s work, visit completemusicupdate.com.

ISM launches Bacc for the Future instrument stickers Enclosed in your hard copy edition of Music Journal is a Bacc for the Future instrument case sticker.

You can show your support for the arts in schools by sticking this on an instrument case or giving it to a friend or student.

To find out more about Westminster Education Forum visit westminsterforumprojects.co.uk.

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ISM MUSIC JOURNAL JULY/AUGUST 2018

ISM supports campaign to protect music venues Thursday 10 May 2018 marked the deadline for venues to back proposals that would form part of the Government’s draft National Planning Policy Framework (NPPF). The proposals promise greater protection to venues facing the threat of closure.

Agent of Change means developers would have to take account of the impact of any new scheme on pre-existing businesses like music venues before going ahead with their plans.

Right: Proposals by Agent of Change seek to protect the future of music venues

Employment rights under review The UK Government is considering what it will do in response to the Taylor Review of modern working practices, which looked at the ‘gig economy’ and the rights of self-employed workers, including musicians.

Many musicians have portfolio careers, taking on more than one job and so the ISM is calling for changes to the law which will improve protections for musicians working across the music sector.

Keep an eye out in News & Campaigns and in our legal news section to see how these changes might affect you in the future.

Henry Vann, Head of External Affairs, ISM 020 7313 9327, henry.vann@ism.org

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ISM MUSIC JOURNAL JULY/AUGUST 2018

Members’ Day 2018 Jessica Salter reports from this year’s meeting, where members were inspired by composers both past and present, and the AGM reported an extraordinary growth in membership Right: Sir James MacMillan reflected on his career, in conversation with Katy Hamilton Below: Kathryn McDowell, Managing Director of London Symphony Orchestra, received the ISM Distinguished Musician Award 2017

The ISM’s annual Members’ Day took place in the stunning setting of Jerwood Hall, LSO St Luke’s, on Thursday 26 April. We welcomed over 100 musicians from across the UK to the 18th-century church in Old Street, London, for an eventful day of sessions, networking and catching up with colleagues and friends.

The day officially started with the award of the ISM Distinguished Musician Award 2017 to the renowned musician and business person Kathryn McDowell CBE DL, Managing Director of the London Symphony Orchestra and former Chair of the Association of British Orchestras, for her extraordinary services to music as a leading figure in the orchestral sector.

Receiving the award, Kathryn expressed the power that music has across the world and recognised the work of her fellow musicians, saying, ‘I have been privileged to work with so many inspiring composers, performers and fellow producers with a passion to share music-making as widely and deeply as possible.

It’s particularly touching to be given this award by that very same group.’

We were delighted to welcome Sir James MacMillan for the first session of the day. The Scottish composer and conductor was interviewed by researcher, writer and presenter Katy Hamilton. Sir James reflected on his musical upbringing and his successful career to date.

He spoke about his access to music education in school and within his local community in Ayrshire, Scotland.

‘I had that organiser’s mindset where I wanted to organise groups of my friends. I had a street band, The Bank Avenue Band, and immediately I was writing for them and we would perform on the streets and outside people’s houses on Halloween and Christmas.

I had that organiser’s instinct and I suppose that’s why I ended up conducting.’

‘ Sir James MacMillan’s talk was the most inspiring I have ever heard in my life. Others who I chatted with agreed.’

He spoke eloquently of his higher education experience and his PhD at Durham University with composer John Casken. Sir James also enlightened us about his composing style, traditionalism and the influence composers Dmitri Shostakovich and Benjamin Britten have had on him: ‘Shostakovich proved to me that tradition can be a living thing. It can be part of modernity. Just because it has a deep past doesn’t mean it doesn’t have a vibrant present.’

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As the interview ended, Sir James took questions from In between performances of the composer’s finest audience members, who were very willing to find out works, from On The Town to West Side Story, more about his day-to-day life and composing process. Jeremy captivated the audience with insight into After the first session drew to a close, the AGM took place, Bernstein’s career and creative process, citing where members heard about the ISM’s activities over Bernstein as the ‘finest composer who wrote musicals’. the course of the financial year (see page 9 for details).

Right: Members’ Day offered a chance to network and catch up with colleagues Across: Professor David Saint took up the Presidency of ISM for 2018/19

After networking and catching up with colleagues and friends at lunch, it was time for the final session of the day – Bernstein and musical theatre: a celebration, with Jeremy Sams. In celebration of Leonard Bernstein’s centenary, Jeremy treated us to a journey through the composer’s musical theatre repertoire, inviting West End singers Charlotte Vaughan and Damian Humbley to perform a collection of pieces, accompanied by Theo Jamieson on the piano.

‘ I thoroughly enjoyed the Members’ Day. Both sessions were superb.’

To end the day, it was time for Sue Sturrock, our wonderful President for 2017/18, to pass the presidential medal to our new ISM President 2018/19, Professor David Saint. He said: ‘It is a great honour to be taking up the Presidency of the Incorporated Society of Musicians for 2018/19. As I do so, I am deeply aware both of my very distinguished predecessors in the role and of the incredibly important work undertaken by the Society on behalf of musicians and our profession. We live in challenging times but, in meeting these challenges, the ISM is discovering new and exciting opportunities. I greatly look forward to supporting it and its excellent staff in the year ahead.’

‘ I thoroughly enjoyed Jeremy Sams’ contribution, enhanced by fantastic singers. Thank you for his refreshing input.

The man is a genius!’

To see a photo gallery of the day, visit bit.ly/2sPi1FJ. To watch Sir James MacMillan’s interview, visit bit.ly/2sBMTds. To hear him discuss music education for the ISM podcast, visit ism.org/news/ism-podcast.

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ISM MUSIC JOURNAL JULY/AUGUST 2018

Annual General Meeting LSO St Luke’s 161 Old St, London EC1V 9NG, 12.15pm, Thursday 26 April 2018 In the Chair: Susan Sturrock, President 2017–18 The signatures of the full members present were recorded in the AGM file. The President welcomed all members to the AGM and introduced the Past President, Nicolas Chisholm MBE, President-elect, Professor David Saint, the Treasurer, Peter Dunkley, the Chief Executive, Deborah Annetts, and Sabrina Taylor, Head of Finance, all of whom were on the top table.

ISM staff were also in attendance as follows: Derin Adebiyi, Stephanie Collier, Rebecca Gleave, Samantha Harrington, Neil Higgins, Ruth McPherson, Kirsten Peter, Jessica Salter and Henry Vann.

financial year organisational change has continued on all fronts, with closer working between the ISM Trust and the ISM Benevolent Fund, of which more later.

The External Affairs team covered many different issues over the course of the year, significantly influencing many different policy areas which are vital to ISM members and the music profession.

The External Affairs team had more than 150 external meetings with key stakeholders and partners in 2016– 2017, relating to everything from intellectual property and copyright enforcement to funding for music education and children and young people’s access to musical instruments. We have met with civil servants and government ministers at the Intellectual Property Apologies for absence had been received from Rhonda Office, Department for Culture, Media and Sport and Bachmann-Hammond, Sue Beckett, Walter H Blair BEM, Department for Education, as well as with key funders Hilary Bracefield, Dr Marius Carboni, Gabriella Dall’Olio, of music including the BBC, (including BBC Music, BBC Jay Deeble, Karen Dickinson, Beth Fagg, Ivor Flint, Beryl Worldwide, BBC Radio 3 and BBC Ten Pieces) and Arts Council England. The team also met with a broad range Foster, Nicola Grunberg, Valerie Hills, Karl Lutchmayer, of stakeholders and continued to support the All-Party Robert Pell, Anthony Pigg, Stephanie Reeve, Carolyn Parliamentary Group for Music Education.

Westrip, Susan Wheal and Frankie Williams.

The External Affairs team has continued to engage Members stood while the Chief Executive read out the names of colleagues who had died during the past year. members through the Educators’, Composers’, and Performers’ Special Interest Groups round table meetings.

Minutes of the last meeting

The minutes of the last Annual General Meeting, held at the Royal Central School of Speech and Drama on 21 April 2017 and printed in the July/August 2017 issue of Music Journal, were approved (proposed by Jeremy Huw Williams, seconded John Perrin) with no abstentions.

The minutes were signed by the President.

ISM Annual Report, 2016–17 I am delighted to present the overview of ISM activities over the financial year 2016–2017 (which means to the end of August 2017).

The Incorporated Society of Musicians (ISM) is the UK’s professional body for musicians, established in 1882 to promote the art of music and to protect and support the interests of musicians and the music profession. The ISM continues to grow and develop in all areas, from the range and depth of its services for its members, to its influence and profile and the size of its membership. In order to support the aspirations and ambitions of the ISM, over the course of the past

The ISM featured across a broad range of media platforms in 2016–2017, including radio broadcasts on BBC Radio 3, 4 and 5; national news outlets including The Times, The Guardian, The Telegraph, and extensively in industry press including Music Week, The Stage, Classical Music, Music Teacher, BBC Music, Arts Professional, MIPro, TES and Schools’ Week.

The ISM continued to offer a full range of support and services to its members over the course of the year. These services included legal support and representation, professional insurances, a wide range of resources linked to key issues facing musicians, opportunities for networking and promotion and a variety of events. Our unparalleled legal services to musicians were delivered via our in-house legal team of experts, the legal helpline provided by Law Express, and via our legal expenses insurance. Our external legal and tax helpline, provided by Law Express, handled 602 enquiries – again, an increase on the previous year of 545 enquiries.

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The ISM Music Directory went through development work in February to improve its search capabilities and usability. It continued to be a very popular listing for ISM members, available to the public looking to hire musicians and music teachers, with over 1,200 members of the public viewing profiles on the Music Directory a month.

all retiring members of Council and volunteers for their services.

The ISM held its Members’ Day on 21 April 2017 at The Royal Central School of Speech and Drama’s (RCSSD) Embassy Theatre in London. Over 140 people attended the day which featured composer Mark-Anthony Turnage CBE, one of Britain’s most admired and widely performed living composers, in conversation with researcher and presenter Katy Hamilton.

In the afternoon violinist Jennifer Pike, one of today’s most exciting instrumentalists, led an inspiring and informative masterclass. Following the AGM and Open Forum Sue Sturrock took over as President for 2017–2018.

Accounts for the year ended 31 August 2017: Auditors’ Report

The ISM is very grateful for the continued hard work and contribution of the ISM Local Groups which are run by dedicated ISM volunteers. A total of 28 events were held by 20 ISM local groups during the 2016–2017 financial year. These events provided an opportunity for members to meet, share learning and best practice, hold concerts and socialise.

ISM membership continued on a path of extraordinary growth during 2016–2017 and by 31 August 2017 membership had risen to over 8,000 members.

A number of ISM members applied to be considered as Appointed Council Members and after careful consideration, Elizabeth Partridge was appointed by Council to this role. Council also appointed Professor David Saint to become President Elect for 2017–2018.

Karl Lutchmayer was nominated and appointed as an Elected Member of Council for London, and Kevin Rogers was nominated and appointed as an Elected Member of Council for the West. Council would like to thank the contribution made by retiring Council members Jay Deeble and Professor Geoffrey Poole, who resigned in September 2016. And although strictly speaking this falls outside the financial year in question, I would like to thank the outgoing President Nicolas Chisholm MBE for his leadership and hard work.

The work of the ISM Group and the ISM is greatly facilitated by many of its members, who give their time voluntarily to support Council, Special Interest and Local Groups, which provide such a great opportunity for members to meet, exchange knowledge and engage in professional development.

Council would like to thank the ISM staff team and the ISM’s many volunteers, including our Ambassadors working across the UK, who continue to show a high level of commitment in supporting the ISM’s activities.

The ISM remains robust in all areas and is looking forward to the future as it continues to grow and flourish. Council thanks everyone who has helped to further the work of the ISM and offers its gratitude to

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Deborah Annetts, Chief Executive, ISM The annual report was approved (proposed by Reg Fletcher, seconded Stephen Goss) with no abstentions.

I’m delighted as Honorary Treasurer to once again have the privilege of presenting the ISM’s annual accounts.

I am also very pleased to be able to begin my report by once again stating that overall the ISM group’s accounts (that’s ISM, ISM Trust and the ISM Members Fund) continue to be in a very healthy state.

Income for the main body of the ISM completed the year 4.2% higher than last year – at £1.78m, an increase of £70.1k. At the start of the financial year we had around 7,400 members. This grew to 8,100 by the end of the year.

Our goal continues to be to balance the books without reliance on external funding sources. With the continued growth in membership we’re clearly on the right path to achieving this goal.

Such success doesn’t happen by chance and is very much down to the skills and dedication of our excellent in-house staff teams, plus external support from our auditors, Lindeyer Francis Ferguson, and brokers, Investec – all of whose professionalism keeps us on the straight and narrow, and making the most of our reserves and financial opportunities in what is an ever changing and somewhat uncertain economic climate!

As for any member organisation, business and financial planning is always a balance of matching costs to members’ needs. During the financial year an additional amount of £25.8k was spent on membership services (including our Discount+ scheme) which is an increase of 23.8% on the prior year, demonstrating the ISM’s aim of continuing to offer excellent services for its members to ensure the subscription remains good value for money.

To the future, recent and very necessary changes in the organisation’s structure and management will ensure the ISM remains fit for purpose, and such changes will undoubtedly prove very financially beneficial longer term. However, by the nature of annual accounts being purely a snap shot in time, some one-off professional fees and HR costs relating to these various changes, all arrived during the last financial year and were quite correctly dutifully logged during the 2016–17 accounting period. The bottom line is that while I’d prefer not to be sharing a small deficit of £70.1k with you today, I wish to assure you that our reserves are very strong and at the end of the financial year stood at £4.1m.

Across the ISM Group as a whole, we’re well in line with expectations. Both I and the Council are reassured that all will come back to a positive balance during 2018.

ISM MUSIC JOURNAL JULY/AUGUST 2018

Annual accounts, by their nature, have to be presented in a specific, somewhat official looking format. That said, I do hope you find them reasonably clear and understandable. The balance sheet offers headline figures in big numbers in comparison with the previous year and the following pages allow you to drill down to the specifics in greater detail.

During the year, the Fund offered assistance to relieve a wide range of issues relating to poverty. The Fund spent £80,747 (2016: £89,299) on grants to individuals.

In total, 51 individuals (2016: 57) received assistance.

Annual Report of the ISM Members Fund 2016–2017

made bequests or donations or organised fundraising initiatives.

The Fund continued to provide an outsourced telephone counselling service available to all ISM members and their families. The Trustee wishes to thank everyone who has helped to further the work Hopefully you’ve all had a chance to look through the paperwork and satisfy yourself that the organisation’s of the Fund, especially members of the Grant-Making Committee, who have made a key contribution funds are being well looked after. I’d therefore like to propose the AGM accepts this year’s accounts and wish towards the fulfilment of the Fund’s charitable to thank you all for your patience and attention in this objectives. matter. The Treasurer proposed that the AGM approve The Trustee acknowledges with thanks bequests the accounts. Thanks were extended to the Auditors to the Fund from the estates of the late Helena and the ISM for the preparations of the accounts which Colquhoun and Colin Thomson. Total legacy income were approved (proposed by Reg Fletcher, seconded during the year was £91,950 (2016: £16,822). The Stephen Goss) with no abstentions.

Fund is also most grateful to all the individuals who

This item was for information since the Trustee of the ISM Members Fund is responsible for approving and adopting the Members Fund Annual Report and Accounts which were printed in the March/April 2017 issue of Music Journal.

The Fund was established on 5 January 1917 to help needy members of the Incorporated Society of Musicians (‘ISM’), former members and widows or other dependants of deceased members.

During the coming year, the Trustee will continue the review of the Fund’s activities. It is likely that other areas of activity will be considered with a possible greater emphasis on prevention and health in line with the very recent decision of the Charity Commission to grant the Fund’s request to add the advancement of health and the prevention of poverty to the objects.

Annual Report for the ISM Trust 2016–2017

During the course of the year the Trustee commenced a review of the activities of the ISM Benevolent Fund to improve the operations of the Fund and increase the effectiveness of its activities. This led to the start of a programme of change which will continue into 2017–2018.

Now turning to the ISM Trust, a charity which was set up by the ISM in late 2014, and had its second full year of operation in the financial year 2016–2017.

The Fund’s objective continued to be for the relief of poverty among ISM members and the dependants of deceased members. The Trustee had due regard to the Charity Commission’s guidance on public benefit when setting objectives and planning activities.

Currently the Trust is concentrating on delivering professional development work by members of the ISM staff or in partnership with other organisations or respected practitioners in their field.

Applications for assistance from the Fund were considered by a Grant-Making Committee consisting of six ISM members acting in a voluntary capacity until March 2017. The Committee assessed the needs of each applicant and decided on the nature and amount of any financial support, taking into account the need to ensure that all assistance offered was consistent with both the Fund’s objectives and the grant-making guidelines set by the Trustee. The Trustee commenced a review of the activities of the Fund in March 2017.

As a consequence, for the remainder of the year new applicants to the Fund were referred to the Royal Society of Musicians and Help Musicians UK for assistance. The Fund continued to provide assistance during the period of the review to regular grant recipients of support from the Fund.

The ISM Trust is governed by its Articles of Association and is currently funded by the ISM with the aim of the Trust developing its own funding streams in the future.

A total of 15 free webinars throughout the year offered the music profession the chance to access key professional development opportunities at work, home or on the move.

In February 2017, the ISM Trust published Performance Anxiety: A practical guide for music teachers – a pioneering guide written by music education specialist Dr Alison Daubney and chartered sports and exercise psychologist Gregory Daubney. This resource has been much welcomed with 2,210 downloads and 700 printed copies to date.

In July 2017, the ISM Trust published the Primary Music Toolkit to empower both specialist and non-specialist primary teachers to teach music confidently and effectively, and also to emphasise and champion the importance of music in primary schools. The resource has been viewed 4,353 times, with 217 downloads.

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Approximately 2,100 musicians engaged with our professional development webinars and events delivered by the ISM Trust in 2016–2017. The recorded webinars have also received 3,142 views online since the live broadcasts.

Next Annual General Meeting The next Annual General Meeting will provisionally take place in April 2019.

Open Forum

The ISM Trust is committed to continuing and extending its educational work and there are plans to The Annual General meeting was followed by an expand the resources work we do through the creation Open Forum. There was a variety of questions from members. The questions were mainly in connection of a Knowledge Hub. with GDPR, protecting music education and gratitude for the professional development work produced Deborah Annetts, Chief Executive, ISM by the ISM Group.

Appointment of auditors

The meeting unanimously agreed to re-appoint Lindeyer Francis Ferguson Limited, Chartered Accountants, as auditors for the ISM and the ISM Members Fund and to authorise Council to fix their remuneration (proposed Peter Dunkley, seconded Beverley Downes with no abstentions).

Retirement of Council members Meinir Heulyn (Elected) retires for the Wales area following her three-year term. Following the advert in Music Journal in January/February 2018 the elected position for Wales was filled by Professor Chris Collins, together with the Midlands position being filled by Kirsty Devaney, and Professor David Smith was reappointed in the elected position for Scotland and Northern Ireland.

Professor Sir Barry Ife retires as an appointed Council member following his Presidential and co-opted terms, and Tim Daniell retires following his threeyear term as an Appointed Council Member. There were two candidates who came forward in respect of the two Appointed vacancies and following careful consideration by Council, Bushra El-Turk was selected to serve as an Appointed Council Member.

Dr Jeremy Huw Williams has been appointed by Council as President Elect and Nicolas Chisholm, MBE, will be standing down from Council having led the Society with distinction in his Presidential role.

The President gave a few closing remarks and explained that the handing over of the Presidential Medal to David Saint would take place at the end of the day.

The meeting closed at 13.15.

Members of the ISM Council for 2018-19 David Saint (President) Jeremy Huw Williams (President-Elect) Susan Sturrock (Past President) Peter Dunkley (Treasurer)

Elected Council members Marius Carboni Michelle Castelletti Chris Collins Kirsty Devaney Beverley Downes Karl Lutchmayer Kevin Rogers David Smith

Appointed Council members Bushra El-Turk Trevor Ford Stephen Goss Elizabeth Partridge Ed Scolding

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Business advice Digital streaming services have started to make big money from music, but with a lack of transparency, how can you make sure you get your fair share? Sarah Osborn offers advice In May 2018, Spotify announced it has topped 75 million paying subscribers and 170 million active users each month. In the space of a decade, the Swedish start-up has become one of the dominant streaming platforms, with a 36% share of the global market, competing with the likes of Apple Music, YouTube and Amazon Music.

In a crowded marketplace where ad-supported, freemium and subscription models all jostle to entice listeners, services are continually looking for ways to evolve. YouTube is launching a subscription service and Apple Music is moving into artist development with the creation of a music publishing arm.

These interesting developments come hot on the heels of Spotify’s public listing. When the company floated in April, it was valued at $26.5bn at the end of its first day trading on the New York Stock Exchange.

This has created a level of optimism about the music industry not seen for some time and is underlined by a recent report from the British Phonographic Industry (BPI), which represents the record industry, of a 9.5% rise in music consumption during 2017.

We have looked in previous issues of MJ at the rise of digital services and the challenges they present.

With streaming driving a resurgence in the industry, it becomes all the more imperative to ensure your rights are protected.

Right: In a crowded market, music services are jostling to win customers and looking for ways to evolve

Even though streaming has come of age, it remains virtually impossible to tell the value of a stream.

The way YouTube’s licence terms are calculated, for example, is unlike that of Apple Music, because the business models are different. As a result, the commercial terms are subject to non-disclosure agreements to ensure details do not fall into the hands of competitors.

‘The lack of transparency surrounding the terms remains a large frustration to the creative community.’

PRS for Music has been successful in achieving increases to the rates paid for publishing rights but the lack of transparency surrounding the terms remains a huge frustration to the creative community. Breaking the deadlock remains some way off, so determining whether the royalties you receive are accurate continues to be a considerable challenge.

PRS for Music now processes over 6.6 trillion uses of music each year. While not all are attributable to streaming, it’s the most significant area of growth and presents collection societies with a huge challenge to develop systems that keep pace with the explosion in online listening. The scale of the task means they rely on automated royalty processing as much as possible and adopt a ‘follow the money’ approach to manual processing.

For example, in a scenario where a track has been streamed on Spotify 125,000 times, Spotify reports this to PRS, but if the data doesn’t list the composer, PRS has to match the work to the composer manually. They will do so when a track has been streamed 125,000 times, but if it’s only been streamed 1,000 times, this is not cost-effective. This penalises niche genres, for example contemporary classical music, and also young artists, and invariably favours the Adeles and Ed Sheerans of the world.

Photo: iStockphoto/Wachiwit

Continued overleaf È

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Right: The massive growth in streaming represents a huge challenge to collection societies

With the flotation of Spotify, Merlin (a collective of independent labels) and the four major record labels have all sold their equity share in the company.

The resulting windfall will be shared among their respective artist rosters, but how this income will be shared has not been publicly announced, so if you believe you are entitled to a share, contact your label.

Remember, however, that under UK law, the equitable remuneration right does not apply to digital services, meaning session musicians are unlikely to be eligible for a share.

Photo: iStockphoto/Nopparatz

However, there are things every composer, songwriter and musician can do to ensure they get paid. The first and most important thing is to ensure that the data for your works or recordings are completed fully and correctly. Alongside the collection societies’ identifier, works are also assigned an International Standard Work Code (ISWC), which is the DNA that distinguishes each individual work, akin to an ISBN on a book.

For services that stream commercial recordings (Spotify, Apple Music, Qobuz, Deezer and Tidal for example), matching the recording to the work is a key component of the royalty processing function.

Where live performances appear online on YouTube or Soundcloud, say, the system is more complicated.

There are various auto-recognition systems used to identify works from the shape of the melody, in lieu of matching to a commercial recording, but these remain primitive and in their infancy, and have limited success. For genres that revolve primarily around live performance, you will need to weigh up the risk of not receiving royalties against the potential exposure to be gained from having performances available.

Where music has been recorded and commercially released there is also an International Standard Recording Code (ISRC). This is assigned by the record label and forms part of the registration process for albums with PPL. There is a data feed between PRS for We will continue to report on developments as Music and PPL to match works and recordings to each other. The most frequent reason for royalties not being they happen. paid is missing or inaccurate information, so it’s vital to check everything is correct.

ISM is here to help

‘The most frequent reason for royalties not being paid is missing or inaccurate information’ How to get your fair share • Register works and recordings in a timely manner with the relevant collection society • If you have an interest in both the work and recording, provide the composer’s details to the record label if they don’t have them (this happens more frequently than you think) and if available, the ISWC. • Check royalty statements. While there may not be much to go on, follow your instincts and adopt a common sense approach to assessing whether the sums received match the listening stats. Raise a query with the collection society or label if you think something’s not right.

To learn about the mechanics of streaming in more detail, take a look at the webinar produced by the ISM Trust working in conjunction with Music Managers Forum, based on their excellent Dissecting the Digital Dollar work, which demystifies how digital deals are constructed and the resulting implications for creators and performers: bit.ly/2JC9uR6 • Members can also refer to the template contracts and licences found in the member area of the website and, as always, are advised to ask our in-house legal specialists to review any recording or publishing contracts before signing. They can be reached by emailing legal@ism.org.

ISM MUSIC JOURNAL JULY/AUGUST 2018

Data protection and GDPR – what you need to know The General Data Protection Regulation (GDPR) is now law in the UK: it came into force across Europe on 25 May 2018. Its provisions are included in a new UK Data Protection Act 2018 (DPA) which supersedes the 1998 Data Protection Act. The new legislation applies to you if you store lists of clients, hold addresses, payment details, send marketing materials and more, whether on your computer, your mobile phone, in the cloud or otherwise.

In data protection language, you are a ‘data controller’ and this means you have obligations in relation to this data. GDPR and the new DPA set out what they are.

In this article we provide some practical guidance, whether you are just starting out with GDPR or if you have already embarked on your GDPR journey.

We have also produced a detailed GDPR guide, template data map and privacy statement which you can adapt to suit your own circumstances, available on our website: ism.org/GDPR-guide These two documents are key elements of GDPR compliance so you should write to them as soon as possible if you have not done so yet.

The Information Commissioner’s Office (ICO) also provides useful guidance on its website (ico.org.uk/ for-organisations/guide-to-the-general-dataprotection-regulation-gdpr). The ICO updates its guidance frequently, so do check for news.

The ICO operates a dedicated advice line for small organisations (T: 0303 123 1113 and select option 4).

I haven’t done anything about GDPR yet.

Where should I start?

Get to know the data protection principles in the legislation, summarised below. They form the basis of your responsibilities.

You must: 1. Process data lawfully, fairly and transparently 2. Collect data for specified purposes 3. Only collect the data you need 4. Make sure your data is accurate 5. Hold data only for as long as it is needed 6. Keep data secure 7. Be accountable Most of these are reasonably self-evident (we supply further commentary in the guidance on our website) but it is worth noting the ICO’s definition of ‘lawfully, fairly and transparently’: this means you must: • identify valid grounds under the GDPR (known as a ‘lawful basis’) for collecting and using personal data • ensure you do not do anything with the data in breach of any other laws • only use personal data in a way that is fair. This means you must not process the data in a way that is unduly detrimental, unexpected or misleading to the individuals concerned • be clear, open and honest with people from the start about how you will use their personal data The ICO’s current guidance also comments more generally: ‘The principles lie at the heart of the GDPR. They are set out right at the start of the legislation, and inform everything that follows. They don’t give hard and fast rules, but rather embody the spirit of the general data protection regime… Compliance with the spirit of these key principles is therefore a fundamental building block for good data protection practice.

It is also key to your compliance with the detailed provisions of the GPDR.’

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While this language may appear somewhat irresolute, it is characteristic of the turn of mind GDPR requires us to adopt. It leaves a lot of room for personal judgement.

For example, you can decide for yourself the lawful basis on which you process personal data, among other things, provided you have a justification for your decisions (which you should put in writing as evidence that you are complying with your transparency and accountability obligations).

Your statement should include the following: • who you are • what information you are collecting • why you are collecting it • the legal basis for processing that data • what you will do with it • how long you will keep it • who you are sharing it with

• the rights of your data subjects If your justifications are reasonable, you are likely to be • how to complain and who to contact able to defend yourself if ever you are challenged.

GDPR is underpinned by the accountability principle: in addition to complying with the law, you have to be able to show how you are complying.

We set out below the next steps you should take to meet this obligation.

What do I do next?

1. Download the guidance and templates at ism.org/GDPR-guide 2. Get to know your data, and document what you do with it: is it addresses, telephone numbers, bank details, photographs? Start reviewing what personal data you hold, where it came from, what you do with it, and who you share it with.

Use the template document map to capture this information. This document is your record of processing activities required by GDPR. 3. Write your privacy statement, which should be in simple, clear language. Draw attention to it wherever possible – for example, include a link to it in your email footer; place it on your website; or link to it if you use Facebook, Twitter or other social media.

Right: Elizabeth Denham, Information Commissioner for the UK’s Information Commissioner’s Office, which offers useful guidance on GDPR Photo: ICO

16

I have already mapped my data and written a privacy notice. What should I do now?

Keep your data map and privacy statement up to date, and notify people if you make any changes.

Do I need to ask my clients to sign to accept my privacy statement?

No, this is not necessary. You can process data as long as you have identified a lawful basis for doing so. You do not need your clients to agree to this, but you do need to tell them (hence a privacy statement).

Do I need to pay the ICO data controller fee?

Am I exempt?

Many of you will have worked through the ICO’s self-assessment tool to see if you are required to pay the fee. We are still trying to clarify with the ICO some ambiguity in the questions in this tool.

In the meantime we advise you to prepare (or update) your data map and privacy statement as you are required to observe data protection law whether or not you are required to pay.

ISM MUSIC JOURNAL JULY/AUGUST 2018

Professional development Online professional development from the ISM Our online professional development webinars enable musicians around the country to access advice and learning on key topics affecting those working in the music sector. They are led by ISM staff or other specialists in areas such as music education, copyright, royalties and fees, personal finance, selfpromotion and health.

If you’ve never accessed an ISM webinar up to now, it’s easy to get started.

Existing webinars So far this year our webinars have covered diverse topics including royalties from music streaming, using music in the primary curriculum, and knowing your rights in the workplace in relation to sexual harassment and discrimination.

Don’t worry if you’ve missed any interesting topics.

Every webinar we’ve put on is still available via our website, allowing you to watch whenever is convenient. To access the archive, go to ism.org/webinars.

What is a webinar?

A webinar is a video seminar broadcast on the internet. You can tune in live to listen to the presenter and watch a presentation, but the presenter won’t be able to see or hear you.

Watching live allows you to participate by asking questions. Type in any questions you have and they’ll be answered either during the presentation or in a Q&A session at the end. In some cases, the presenter may reply to your question later via email.

Right: ISM’s Public Affairs Officer Derin Adebiyi leads a webinar on setting tuition fees

To sign up for an upcoming webinar, go to ism.org/ webinars where you can register online. You’ll be sent a reminder before the webinar starts, with a link to access the live presentation.

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 qualified 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 confidential support and a listening ear when things get difficult.

You can find 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.

Continued overleaf È

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ISM MUSIC JOURNAL JULY/AUGUST 2018

The appliance of science The Centre for Performance Science was established in 2000 at the Royal College of Music with the goal of investigating musical performance in objective ways, and working towards positive, practical outcomes for musicians. Professor Aaron Williamon tells the ISM’s Jessica Salter about some of the Centre’s key research. Âś,W LV YHU\ LQWHUHVWLQJ WR Ă€QG RXW KRZ KLJK DFKLHYLQJ KLJK SHUIRUPLQJ SHRSOH UHDFK JUHDW VWDQGDUGV ¡ 3URIHVVRU $DURQ :LOOLDPRQ WHOOV PH :H DUH VLWWLQJ LQ KLV R΀FH DW WKH 5R\DO &ROOHJH RI 0XVLF VXUURXQGHG E\ QXPHURXV WH[WERRNV ZLWK WLWOHV VXFK DV Music and Science, Techniques to Enhance Performance and Musical Performance as Creative Practice, discussing WKH &HQWUH¡V TXHVW WR ORRN VFLHQWLĂ€FDOO\ DW DVSHFWV RI OHDUQLQJ SUDFWLVLQJ DQG SHUIRUPLQJ $V 3URIHVVRU IRU 3HUIRUPDQFH 6FLHQFH :LOOLDPRQ LQYHVWLJDWHV KRZ PXVLFLDQV ZRUN DQG HQJDJH ZLWK PXVLFDO PDWHULDO LQ WKH SUDFWLFH URRP DQG KRZ WKDW KDUG ZRUN WUDQVODWHV WR WKH VWDJH ‘That journey can be very interesting, giving you LQIRUPDWLRQ DERXW KXPDQ FRJQLWLRQ DQG EHKDYLRXU WKH FRRUGLQDWLRQ RI KDQG DQG H\H PRWRU VNLOOV DQG the way that people generally respond to pressure, LQFOXGLQJ VRFLDO SUHVVXUH ¡ KH H[SODLQV Âś:H DUH DOVR LQWHUHVWHG LQ WU\LQJ WR XQGHUVWDQG WKH VFLHQFH RI KRZ DXGLHQFHV UHVSRQG WR SHUIRUPDQFHV :KHQ SHRSOH ERRN WKHLU WLFNHWV ZK\ DUH WKH\ EX\LQJ WKRVH WLFNHWV DQG SD\LQJ WKDW SULFH" :KDW DUH WKH IDFWRUV WKDW GHWHUPLQH WKHLU HQMR\PHQW RU WKH TXDOLW\ WKDW WKH\ SHUFHLYH LQ D SDUWLFXODU SHUIRUPDQFH"¡

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Above and below: The Centre uses technology to track every aspect of performance â&#x20AC;&#x201C;Â physical, cognitive and behavioural All photos: courtesy Royal College of Music Centre for Performance Science

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For more information about the Centre for Performance Science, see performancescience.ac.uk.

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Busmanâ&#x20AC;&#x2122;s holidays Even if we spend our lives performing and hearing music, for many musicians, a holiday wouldnâ&#x20AC;&#x2122;t be a holiday without music. Here is a handy guide to some of the best UK festivals to explore July and August, whatever style youâ&#x20AC;&#x2122;re looking for.

BBC Proms

Cambridge Folk Festival

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Left: summer music festivals provide choices for every taste and age Photo: courtesy Latitude Festival

Continued overleaf Ã&#x2C6;

23

ISM MUSIC JOURNAL JULY/AUGUST 2018

Photos of Creamfields: Michael Davies; Latitude stage: Lauren Maccabee; Latitude pianist: Ben Gibson

Creamfields

Presteigne Festival

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23–26 August, Daresbury, Cheshire creamfields.com

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23–28 August, Presteigne, Wales presteignefestival.com

24

ISM MUSIC JOURNAL JULY/AUGUST 2018

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Green Man Festival 7DNLQJ SODFH DPRQJ :DOHV·V VWXQQLQJ %UHFRQ %HDFRQV VLQFH *UHHQ 0DQ RÍ¿HUV D UDQJH RI PXVLF LQFOXGLQJ LQGLH URFN IRON GDQFH DQG $PHULFDQD DORQJVLGH OLWHUDWXUH Ã&#x20AC;OP FRPHG\ WKHDWUH DQG SRHWU\ ,W SULGHV LWVHOI RQ LWV HWKLFDO DSSURDFK IXQGUDLVLQJ IRU ORFDO FKDULWLHV DQG training local volunteers.

12â&#x20AC;&#x201C;15 July, Henham Park, Southwold, Suffolk latitudefestival.com

Manchester Jazz Festival

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9DJDERQGV DQG <D]] $KPHG·V (OHFWULF 'UHDPV )RU WKRVH ZKR OLNH WR HDW DQG OLVWHQ WKHUH DUH EUXQFK 16â&#x20AC;&#x201C;19 August, Brecon Beacons, Wales DQG DIWHUQRRQ WHD VHVVLRQV DW 7KH 0LGODQG +RWHO greenman.net 20â&#x20AC;&#x201C;28 July, Manchester manchesterjazz.com

Continued overleaf Ã&#x2C6;

25

ISM MUSIC JOURNAL JULY/AUGUST 2018

Photo of Three Choirs Festival: Ash Mills; Womad: Mike Massaro

Three Choirs Festival

WOMAD

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New discounts for ISM members

26

Donâ&#x20AC;&#x2122;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.

Save money on music magazine subscriptions with 25% off Classical Music, International Piano and Music Teacher, 15% off Jazzwise and Gramophone and a free three-month trial subscription to Opera Now.

Take advantage of 20% off website design and build with thisisabout.com, 15% discount on recording services for classical soloists and ensembles from Chiaro Audio and exclusive access to over 2,500 competitively priced digs across the UK with TheatreDigsBooker.com. Our Apple discount has also been extended to include 6% off pre-installed Final Cut Pro X and Logic Pro X.

Find out more at ism.org/my-ism/your-discounts. Also call this number during working hours (Mondayâ&#x20AC;&#x201C;Friday, 9amâ&#x20AC;&#x201C;5pm) for free expert advice on any tax or NI issue.

London College of Music Examinations An international exam board offering graded and diploma qualifications in music, drama and communication.

We offer: • a wide range of qualifications catering for candidates of all ages and abilities • an exceptionally large portfolio of subjects • Ofqual regulation • UCAS points at grades 6-8

020 8231 2364 lcm.exams@uwl.ac.uk lcme.uwl.ac.uk

ISM MUSIC JOURNAL JULY/AUGUST 2018

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

The next deadline for copy is 1 August for our September/October issue.

While training at Trinity College of can be ordered from Sky Dance Press Music, Susan worked with various or Raymond’s website for £15. charities which provided live music raymondhead.com in hospitals and care homes. She has developed a variety of themed Singing and Reminiscence Programmes. As well as going into care homes to lead these, she trains care staff to run the programmes themselves through her Leader Course.

Emma Abbate and Julian Perkins Emma Abbate and Julian Perkins have released their second volume of Mozart’s keyboard duet sonatas on Resonus Classics. Praised by Early Music Reviews for their ‘excellent sense of consort’, they perform these works on two period instruments from the Richard Burnett Heritage Collection of early keyboard instruments – a grand piano by Michael Rosenberger from c.1800 and a square piano from the 1820s by London’s Clementi & Co. Alongside the Sonatas in F major K497 and C major K19d, Robert D. Levin’s completion of the fragmentary Allegro and Andante (Sonata) in G major K357 receives its first known recording.

Also included is a Sonata in E flat major

by Mozart’s close contemporary – and rival – Muzio Clementi. emmaabbate.com julianperkins.com

Susan Garrett Susan Garrett, a professional singer, has been so moved by the transformational nature of singing on the lives of those with dementia that she has set up Singing for Seniors and now runs Singing and Reminiscence Activities in care homes.

The programmes include a CD of specially selected songs recorded by a professional singer and a Reminiscence Guide, to help people with dementia engage and get their memories flowing.

Susan’s Singing for Seniors Leader Course runs at ISM, 4–5 Inverness Mews, London W2 3JQ, 17 September and 5 November, and can be booked through her website. vocalvitality.com

Raymond Head Raymond Head has republished his 17,000-word monograph, Gustav Holst: The Sanskrit Works. Holst’s intense interest in Sanskrit literature resulted in a large corpus of ‘Indian’ works. He consulted Indian epics the Vedas, Mahabharata and Ramayana to make solo songs, choral works and operas. This study explains why, analyses the works and offers a general background. It has been republished because the last edition ran out, and because in recent years Holst’s 40-minute choral/orchestral The Cloud Messenger has had its first live performances in the UK since the 1930s. This has led to a reevaluation of this stunning work and a revised and enlarged edition. Head is a composer, Holst scholar and VicePresident of the Holst Society. Copies

Kate Hill Kate Hill FISM is helping to organise the next British Flute Society London Flute Festival, Future Flute Fest. It will be held in St John’s Smith Square, London, from 17–19 August, with Edward Blakeman as Artistic Director.

The festival has several contrasting recitals and workshops incorporating the many diverse fields in which a modern day flute player might work.

Please come and join Mel Oriss to catch her enthusiasm taking part in the Future Flute Fest flute choir, and listen to music from Baroque to present-day, including a world premiere by Simon Holt. There are jazz, folk, classical and contemporary artists from around the world and Pit Stops, where you will have the opportunity for one-to-one conversations with performers, to gather their tips, and there will also be inspiring trade stands. Come and join us for a terrific and varied time. bfs.org.uk

Continued overleaf È

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ISM MUSIC JOURNAL JULY/AUGUST 2018

Jeremy Huw Williams

Jenevora Williams The second edition of Jenevora Williams’ Teaching Singing to Children and Young Adults has been released.

The first edition, published five years ago, was hugely popular, with over 3,000 copies sold worldwide, and led to the author training and developing more than 200 teachers through her Voice Workshop.

The updated version has all the original information on child and adolescent voice development, working with special needs, vocal health, warm-ups and choral singing.

It also has up-to-date information on the neurology of teaching and learning, how to enhance motor learning, and the best ways to teach small groups. jenevorawilliams.com

Welsh baritone Jeremy Huw Williams, ISM President Elect, has been on tour this year to China, Japan, India, and twice to the US. During his time in India he gave the world premiere of A Kinsman to Danger by ISM member Param Vir, commissioned with funding from the Performing Rights Society for Music Foundation and Kissinger Sommer, the Bavarian classical music festival where he will give the German premiere of the cycle in July. He will again perform the work in a coastto-coast tour of the US in October and November this year, as well as in Canada. Fellow Council member Karl Lutchmayer was also on a solo tour of India in April, and they met in Mumbai to fly the ISM flag (see photo).

Gillian Gingell Wormley Freelance soprano and vocal coach Gillian Gingell Wormley returns to the beautiful setting of Dartington Hall, Devon, in October, to host her Sing Joyfully! mini-retreat weekend for singers. The title sets the theme – having fun in good company and engaging in small group ensemble singing. Gillian’s courses are geared towards improved vocal technique and basic implementation of her five essential vocal tool box principles.

Applicants from any vocal path are encouraged to apply and join in, regardless of experience. Gillian’s vocal courses at Dartington – Love Your Voice in March and Sing Joyfully! in October – are also a great place to meet and sing with members of Virtually Vocalise, Gillian’s online mentoring community for singers, who use these two events as opportunities to meet up physically and make beautiful music.

Apply by 3 August. littlesoprano.co.uk/courses

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ISM MUSIC JOURNAL JULY/AUGUST 2018

Our new members

We offer a warm welcome to the following members who joined before 31 May.

Full members Birmingham Victoria Harris Susan Smith BAHonsOU

Hereford & Worcester Anthony Mealings BEdBristol

Hull & East Riding Wendy Waldock LRAM ARCM

Bournemouth

Kent

Nicole Casey BMusRCM Scott Welcomme BAHonsMiddlesex PGCE

Linda Hutchison AGSM Joanne D’Amiral BAHonsCantChrist Christina Stanley-Webb BAHonsCantChrist

Brighton Jane Elliott BMusRoyalHolloway Fiona Wallace

Bristol Alexandra Heeley MARWCMD Richard Barnard MMusGSMD Andrew Lawrence MAMusOU Andrew Nicolson

Cambridge Shiona Cormack PGDipRWCMD

Croydon Kristina Arakelyan BAHonsRAM MAOxford Maiko Sebata BMusHonsRCM MMusRCM Yvonne Bracken-Kemish ADBC AdvDipWCMD BAMusicFTCL MA PGCertTCL

Devon & Cornwall Alan Boxer GRSM Katherine Davies BAHonsBathSpa Christopher Emmett BAHonsPlymouth Lizzie Kirwan BAHonsLCoM

Eastbourne & Hastings Aleksandar Osvald Alison Earls FTCL

Guildford Brett Musser BmusFortHays Louise O’Neill BMusHonsSurrey Tamasin Cline BMusTCM

Lancaster

Ladislav Ondercin MARuzomberok BARuzomberok

London – South East John Croft MMusSheffield PhDManch BMusHonsWellington Portia Winters MMusGoldsmiths Miriam Sharrad BAHonsWollongong Tzu-Fan Tang BMusHonsSACM Zoe Matthews BMusHonsRAM IADRNCM MMusRCM

Elizabeth Murray BAHonsSussex

London – South West

Lea Valley Emma Lindsey BAHonsRoyalHolloway William Knight BMusRCM Maritess Jewson BAHons(Mus)

Gisela Kraus John Cervantes MARAM Renato Balsadonna GdipConservatorio di Musica G.Verdi Milan James Edge BAHonsACM

Leicester

London – West

Shiroma De Silva GSMD Medea Bindewald Isabella Brown BAHonsSoton Nicole Panizza BMusAdelaide DMusRCM MACIT

Sergio Figueroa PGDipBournemouth MadridRoyalConservatory Joshua Lloyd BAHonsUWL John Henderson BMusHonsKings Africa Nile Krobo-Edusei BScHerts

Liverpool

Manchester

Janet Barraclough BMusHonsHuddersfield

Alexandrina Reid BMusRNCM Alan Daniel BASalford Manon Lewis Jenny Lyons BMusHonsRNCM Adam Walker BAHuddersfield Michael Perrett BMusRNCM James Reevell BAHonsDurham Domenic Lane BAHonsSalford Stephen Laidlaw BMusRNCM Emily Burkhardt BMusRNCM Peggy Nolan BMusHonsRNCM

Lincoln

London – North John Fisher ArtDipRCM Pavlina Rangelova MANAMSofia Jerry Wigens PhDGoldsmiths Mark Swartzentruber MMusIndiana Heidi Jost BMusOttawa MMusOttawa Eleanor Harrison PGDipRAM Andrew McPherson PhDPennsylvania Matthew Sulzmann MARAM Daliya Townsend BAMiddx Cason Kang BMusHonsRCS

Mid-Wales

Scotland-South East

Phoebe Rees BMusHonsRAM

Shona Birrell BMusHonsEdin Adam Kenicer BMusHonsEdinburghNapier

Norfolk Sean Wright

North of England Leo Nelson LGSM BAHonsNewcastle Alistair Storey BAHonsSunderland Michelle Dodds BAHonsOU

North Wales Morgana Warren-Jones BMusHonsLeeds

North Yorkshire Charlotte Brook BAHonsYork Abigail Hall BMusHonsYorkStJohn

Northern Ireland Simon Neill BMusBelfast Emma Morgan BMusHonsQUB

Nottingham Sarah Potts LTCL David Davies BADurham Noah Noutch BAYork

Oxford Zoe Brennan BAHonsExeter

Portsmouth Julie Twite BMus

Reading Dani May BAHonsBrisol Jonathan Brooks BAHonsLeeds Gavin Cuthbertson BMusHonsAberdeen Helen Jane Long BAHonsBrisol Kristen Biles BAOxford David Corbett Coral Smith BMusICMP

Scotland-South West Nina Hodgson ALCM Grace Dale BMusAberdeen

Sheffield James Oakton Thomas Corns FRCO MACantab PGDipRAM

South Wales Kate Blakemore PGCE BAHonsKingston Amruta Garud BAHonsABGMM Rebecca Horner-Seddon BAMusOU MAMusOU Mirjam Kaerma BScSouthWales

Southampton Joanna Sabin BMusRCM

St Albans Stephen Penton MADurham Bret Kean MMusSurrey Myles Killeen-Duffy Robin Colvill LRAM DipRSAM ARCM DipMozarteumSalzburg Ian Hope BMusEdin Natalia Fofanova DipMusUralStateCons Frazer Snell Maria Ryan MACSM Merlin Miller BMusHonsRAM

Suffolk Susan Fulford BA(Mus)

Warwickshire & Northamptonshire Rosie McCauley Harris Carol Evans GTCL

Continued overleaf È

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ISM MUSIC JOURNAL JULY/AUGUST 2018

West Yorkshire

London – North

St Albans

Louise Wayman MAWales Jamie Berry BscHonsLeedsMet Elizabeth Harborne BAHonsLCoM

Lisa Bannon Felicity Smith Mariana Fernandes Ryan Williams Joao Vaz Sophie Hertenstein Raymond Francis Colin McIlhagga

Michael Kumar Thomas Mole Emily Newman Laura Shipsey

Wiltshire Linda Brittain BALiverpoolCollege ALCM PGCEManchester Jennifer Raggett BASheffield

Overseas

London – South East Mark Dowling Emily Magee William Marsey

Vinod Kumar.T

London – South West

Student members Birmingham

Guy Elliott Stavros Dritsas Philippa Bint Chrissy Fuller Javier Ramirez

Shi Ling Chin Alistair Donaghue Jessica Efezeybek

Bristol Isaac Barton James Thomas

Croydon Barbara Mohorko

Devon & Cornwall Jessica Clarke Ashley Chinn

Warwickshire & Northamptonshire Declan Birchall Gyungjin Yoon-Hwang BMusHonsBirm

Wiltshire Laura Cook

Overseas Andrew Lomas

Corporate members Platinum MGR Music Tuition mgrmusic.com 01143601617 info@mgrmusic.com Rocksteady Music School rocksteadymusicschool.com 0330 113 0330 info@ rocksteadymusicschool.com

Gold British Youth Band Association byba.org.uk 01159220917 development@byba.org.uk

Silver Academy of Ancient Music aam.co.uk 01223 301509 info@aam.co.uk

London – West Polly Bartlett Lucy Pond

Institute of Contemporary Music Performance icmp.ac.uk 0207 328 0222 enquiries@icmp.co.uk National Children’s Choir of Great Britain nccgb.com 07894021279 info@nccgb.com Take it away takeitaway.org.uk 020 7759 1111

Bronze Amped Up Music Academy 01302288422 ampedupmusicacademy. co.uk Bands for Hire Ltd 0845 073 9440 bandsforhire.net info@bandsforhire.net

Manchester Alice Braithwaite

North Yorkshire James McIlwrath

Nottingham

Kent

Emily Sharpe

Isaac Truzzi Franconi Miles Allchurch

Sophie Alabaster

Oxford

Leicester

Portsmouth

Adam Hebditch

Sarah Price

Liverpool

Scotland-North East

Molly Goss-Turner Hannah Williams

Stephanie Morrison Tobias Patrick Wolf

Scotland-South East Hannah-Louise Stewart

Scotland-South West Laura Macleod Siobhan Dyson

e Letters after your nam

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

We also have a corporat ld, silver or bronze go , If you are a platinum uld like to display wo d corporate member an or in your publications, the logo on your website 0 7221 3499 or please contact us on 02 g. membership@ism.or

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

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ISM MUSIC JOURNAL JULY/AUGUST 2018

NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 200 words for Platinum and Gold members, max. 150 words for Silver members) and good photographs. Please email mj@ism.org. The next deadline for copy is 1 August for our September/October issue.

The foundation days vary in structure depending on the needs of the children. It could be a 30-minute workshop for a small group of children to larger group experiences for a whole school. The children form their own band with help from the Rocksteady team and focus on learning one or two songs during the session. At the end of the day the children do a mini-performance in front of everyone. The aim is to make the day as inspiring and memorable as possible to encourage self-belief and confidence in everyone who takes part.

Above: Sir Lenny Henry narrated Prokofiev’s Peter and the Wolf at the Opening Festival of the Royal Birmingham Conservatoire

Royal Birmingham Conservatoire Star Wars and sell-outs at Opening Festival We’ve had an incredible spring/ summer term at Royal Birmingham Conservatoire, as we come to the end of our first academic year in our brand new facilities. On 4 May we welcomed our Chancellor, Sir Lenny Henry, to narrate Prokofiev’s Peter and the Wolf as part of a special Pops Orchestra concert – already one of the highlights of our Opening Festival. Sir Lenny narrated the piece three times in one day: twice to a total of over 800 local primary school children and again for a sell-out concert in the evening. Of course, a concert taking place on May the fourth also had to feature the most iconic pieces from John Williams’ Star Wars score. For the schools concerts Chris Houlding even conducted with a lightsaber.

We were thrilled that Lauren Zhang, a 16-year-old pianist at our Junior Conservatoire, was named winner of the BBC Young Musician Competition 2018. Lauren has been taught at Junior

Royal Birmingham Conservatoire by Dr Robert Markham, himself a former winner of the keyboard category final, since 2010. The category finals and semi-finals were held in our stunning Concert Hall, with the final taking place at Symphony Hall.

Rocksteady teaches over 18,000 four to eleven-year olds a week to play in a band and learn guitar, drums, keyboards or vocals. rocksteadymusicschool.com

bcu.ac.uk/conservatoire

Rocksteady Music School Free music workshops for 1,000 children Over five days in May, Rocksteady held 20 events to bring rock band music workshops to more than 1,000 children who would not normally get the chance to experience playing music, as part of its Rocksteady May Foundation Days. Over 45 members of staff volunteered at special needs schools, hospices, hospitals, refugee centres and charities across the country from Dewsbury in Yorkshire to Plymouth in Devon. They visited organisations including Bristol Royal Infirmary, Action for Children, Jigsaw School for children with autism, and Caras, a charity supporting refugees and asylum seekers, among many others.

Continued overleaf È

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ISM MUSIC JOURNAL JULY/AUGUST 2018

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

PLATINUM CORPORATE MEMBERS

ABRSM

GOLD CORPORATE MEMBERS

MGR Music Tuition

ALFA Education Ltd Birmingham Conservatoire Black Dress Code

Allianz Musical Insurance

NMC Recordings

Classic FM Park Lane Group

Duet Group

Goldsmiths, University of London

British Youth Band Association

Rhinegold Publishing Rocksteady Music School

Drums for Schools Henri Selmer Paris Impulse Music Consultants Len Rhodes Music Music Mark National Preparatory School Orchestras Oxford University Press Portsmouth Music Hub

Insure4Music

Kawai

Lark Insurance

The Royal Central School Of Speech & Drama

The Curious Piano Teachers Trinity Laban Conservatoire of Music and Dance Trybooking.co.uk

The Royal Philharmonic Society

University of HuddersďŹ eld University of St Andrews Wigmore Hall

Trinity College London Leeds College of Music London College of Music

Victoria College Exams Yamaha Music Europe

GDPR has been on the minds of many of the music teachers we work with over the last few months, whether GDPR training and understanding discussing it on our Facebook group or continues in our national music teacher forums.

We would like to thank ISM for such All music teachers collect data on a warm welcome, having joined as a students including names, phone corporate partner earlier in the spring. numbers, email address. Therefore, Our decision to work more closely with new regulations apply across the ISM has been one that many of the music teaching profession, from music teachers we work with across individual private music teachers the UK have supported. Such positive to schools. So how do we as music feedback from our music teaching teachers understand these new community has been wonderful. regulations and comply with them?

MGR Music

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

You can explore the answers, as well as talk with other music teachers about how best to approach GDPR compliance on our national music teacher forum. mgrmusic.com/community/groups/ music-teachers/forum/

ISM MUSIC JOURNAL JULY/AUGUST 2018

Right: The abcd Annual Convention in August will offer workshops and sessions for singing leaders of all kinds

Association of Teachers of Singing (AOTOS) Three summer teaching courses Following two exciting Area Development Days, at Royal Birmingham Conservatoire with Peter Buckby and London College of Music with Dr Gillyanne Kayes, AOTOS has three events to offer this summer.

Our Pathways Access Day takes place at Truro School on 10 June, offering a bespoke, mentored singing teaching course tailored to individual experience and level of teaching.

Our residential Advanced Professional Development Course for teachers with more than five years’ experience takes place at the wonderful music facility of Uppingham School from 16–19 July.

This will include sessions on anatomy, repertoire and business. The core of the week is the teaching of ‘novice’ students observed by experienced mentors – an unparalleled direct input from singing teaching professionals.

Scratch Concerts/ The Really Big Chorus

Association of British Choral Directors (abcd)

Rare performance of Mendelssohn choral work

Weekend of choral inspiration

The 33rd abcd Annual Convention takes place from 24–26 August at Leeds Beckett University, offering a weekend of workshops, performances, a trade exhibition and much more. There are over 30 sessions for singing leaders of all kinds, following five strands that weave through the programme: The annual Summer Residential access and community; repertoire and Conference, Dynamic Singing, takes Sign up to sing or come as audience style; technique; young choirs; and a place at Wyboston Lakes Spa Hotel to our Fauré Requiem and a rare bank of essential management and from 20–22 July and includes keynote performance of Mendelssohn’s administration knowledge. Presenters speakers Janice Chapman, Ron Morris, Hymn of Praise with Bob Chilcott at include Charles MacDougall, Anne Marie Speed, Ed Blake and David the Royal Albert Hall on 8 July.

Jenevora Williams, Lithuanian Henson. Prices range from £65 to £315. composer Vytautas Miškinis, Susan Our Warwick University Summer School, All events are open to non-members.

Hollingworth, Paul Whittaker and 7–12 August, in its fifth year, is now a aotos.org.uk regular feature in many singers’ diaries. Neil Ferris, along with organisations Enjoy rehearsing Handel’s extraordinary such as Making Music, the Diocese of Leeds Schools Singing Programme oratorio Israel in Egypt with Brian Kay and Opera North. Guest choirs include and Chris Finch, culminating in a performance at Birmingham Town Hall, the National Youth Choirs Great Britain Boys’ Choir, Leeds Contemporary 11 August. Phone 0121 780 4949 for Singers and New Dublin Voices, all of audience tickets. which will perform in the Saturday Youth choirs can still register for our night gala concert in Leeds Cathedral.

Scratch Youth Messiah with Ben Parry A large trade exhibition runs through on 2 December. Visit our website the weekend and there is also a prefor application forms and details convention conducting course and of all events.

Young Conductors’ course. trbc.co.uk abcd.org.uk A standing ovation was the perfect finish to our First World War commemoration concert at the Royal Albert Hall in May, which featured Tasmin Little playing The Lark Ascending and a 1,800 strong choir singing The Armed Man, raising £5,861 for Combat Stress.

Above & right: Janice Chapman and David Henson will be giving keynote speeches at the AOTOS Summer Residential Conference

Continued overleaf È

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ISM MUSIC JOURNAL JULY/AUGUST 2018

Guildhall School of Music & Drama Prestigious Gold Medal awarded Pianist Joon Yoon won the Guildhall School’s Gold Medal 2018, its prestigious prize for outstanding soloists. Yoon performed Brahms’s Piano Concerto No 1 in D minor, Op 15. The three finalists – Yoon, Ljubica Stojanovic and DanIulián Drutac – performed with Guildhall Symphony Orchestra, conducted by James Judd. The jury included Donagh Collins, Chief Executive at Askonas Holt; Kathryn Enticott, Director at Enticott Music Management; Paul Hughes, General Manager at BBC Symphony Orchestra; Jonathan Vaughan, VicePrincipal and Director of Music at the Guildhall School; and James Judd.

Guildhall School has been ranked as the UK’s top conservatoire in the 2019 Guardian University Guide for Music.

The School came third of all higher education institutions for Music, behind Durham and Surrey. gsmd.ac.uk

Insure4Music Protecting instruments in difficult times According to a recent survey, half of the UK’s classical musicians don’t earn enough money to live on, and twofifths of new orchestral members took on unpaid work in the last year.

This creates a growing risk and a reliance on ticket sales and donations just to keep performing. The squeeze on income means that if, for example, an instrument worth £5,000 was stolen, the cost of replacement could be catastrophic. This is where our Specialist Music Insurance comes in.

With the growing risks and low incomes that musicians are facing, it’s essential to give yourself the best chance to continue playing live.

Insurance is a small price to pay for that protection. insure4music.co.uk

Len Rhodes Music Music for summer weddings

nccgb.com

Summer is a time of renewal. Plans for weddings are in process, and Len Rhodes Music can provide many musical ideas and arrangements for these special occasions. There are currently over 100 arrangements of various selections, for a variety of instruments, which are suitable for weddings. Music selections for memorials and funerals are also available. For teachers who work with beginning composers Len’s Teaching Composition in the Private Studio is a wonderful resource. Perfect Pitch For You by renowned composer and New England Conservatory professor Alla Elana Cohen is also available for immediate download. For fans of music trivia, A New Dictionary of Composers lists over 3,500 composers in both chronological and alphabetical order. A special thank you to all ISM members who regularly visit Len’s website, and remember that all ISM members receive a 15% discount: use ISM2018 at checkout.

Institute of Contemporary Music Performance

lenrhodesmusic.com

Our postgraduate courses are also available part-time over two years, making study more manageable alongside full-time employment or other professional commitments.

Eligible students are able to access funding which exceeds our course fees, while ISM members receive an additional exclusive £500 discount.

National Children’s Choir of Great Britain China tour and refugee cantata

2018 is a very exciting year for the National Children’s Choir of Great Britain (NCCGB), as it celebrates its 20th anniversary. To mark the At Insure4Music, our specialist cover occasion, a group of choir members protects your instrument 24/7 from will visit China in the summer, to theft, loss and accidental damage at perform in Beijing and Shanghai. home, out of home and in vehicle.

We will repair or replace your instrument The tour will be closely followed by a concert in Birmingham Town Hall on on a new for old basis if it is less than 10 August, with a programme that three years old or on an indemnity basis if it’s older. We will cover the cost will include the premiere of a new to hire a replacement so you don’t miss work by Cecilia McDowall. Members of all the choirs will be joined by that all-important performance. an alumni group to sing Everyday

36

Wonders: the Girl from Aleppo, which follows the story of Nujeen Mustafa, who travelled as a child refugee from Syria to Germany. With a libretto by Kevin Crossley-Holland, the cantata celebrates Nujeen’s courage and perseverance and will be conducted

by Dan Ludford-Thomas, the newly appointed NCCGB Musical Director.

£500 discount to study The Institute of Contemporary Music Performance invites ISM members to take their music careers to the next level with a Masters (MMus) in Popular Music Performance or MA in Songwriting, using an exclusive £500 discount.

These vibrant postgraduate programmes combine the development of advanced performance, musicianship and instrumental skills with innovative academic study.

Our two masters programmes are loved by musicians, music tutors and professionals from a range of creative disciplines. Not only do they challenge and push you as a musician, but they also enable you to reinvest in your talents and specialise in a particular subject area.

Call our Admissions Team on +44 (0)20 7604 2331 or visit our website to find out more. icmp.ac.uk

Summer 2018 Conference

Dynamic singing from core sound to artistry

Friday 20 July to Sunday 22 July £285/£315 full board Day rates from £65

Speakers include

Janice Chapman Ron Morris Anne-Marie Speed David Henson Ed Blake David Howard

www.benslowmusic-ils.org More details at

01462 420748

www.aotos.org.uk

Registered Charity No. 313755

Registered charity 296850

www.aber.ac.uk

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

Aberystwyth University offers one of the best Scholarship and Bursary packages in the UK

Ydych chi’n canu neu’n chwarae offeryn cerddorfaol/band?

Ysgoloriaethau Cerdd £650 y flwyddyn, beth bynnag yw eich pwnc

Do you sing or play an orchestral/ band instrument?

Music Scholarships £650 per year, whatever you’re studying

• • • •

• • • •

Y Brifysgol ger y lli Sicrwydd o lety yn y flwyddyn gyntaf Man diogel a chyfeillgar i astudio ynddo Cerddorfa Symffoni, Band Cyngerdd, corau, ensembles, gwersi unigol, adnoddau ymarfer a llyfrgell • Canolfan Gelfyddydau sy’n llawn bwrlwm

Manylion llawn o’r Ganolfan Gerdd:

University by the sea Guaranteed first year accommodation Safe and friendly place to study Symphony Orchestra, Concert Band, choirs, ensembles, individual lessons, practice and library facilities • Vibrant Arts Centre

Full details available from the Music Centre:

| 01970 622685 | music@aber.ac.uk | aber.ac.uk/music

22019-0517

Wyboston Lakes, Bedfordshire

ISM MUSIC JOURNAL JULY/AUGUST 2018

LOCAL EVENTS LISTINGS Full listings can be found on our website, ism.org Friday 13 July

Sunday 5 August

Nottingham and District Summer Dinner

South Wales, Mid Wales, North Wales Complimentary Drinks Reception

7.30pm for 8pm, Beeston Fields Golf Club, Old Drive, Wollaton Road, Beeston NG9 3DD Members and partners welcome. We are able to subsidise the meal as we have funds available. (Drinks available to purchase from the bar.) Please see the Local Group event listings at ism.org for menu choices, or contact Susan. £17.50 per person.

Contact: Susan Grange, 07974 000291, susangrange@hotmail.com

12.30pm–1.15pm, Cardiff and County Club, Westgate Street, Cardiff CF10 1DA A networking opportunity for all Welsh members. Lounge suit.

Contact: President Elect Dr Jeremy Huw Williams, jhw@jeremyhuwwilliams.com

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

South West London (will work with current Representative Angela Fogg)

Cambridge (will work with current Representative Stephanie Reeve) Brighton Looking for ad-hoc volunteers to support the Representatives

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

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

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 August for September/October issue.

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

Advertisements from ISM members are half-price (ie, 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.

PROOFREADER AND COPY-EDITOR. Vanessa Richards MA, PGCE, MISM offers a professional proofreading service for dissertations, websites, music compositions etc. Fully trained and a member of the Society for Editors and Proofreaders. www.vanessa-richards. com; info@vanessarichards.com

FRENCH HORNS. Several from £150. 01747 828552

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

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 020 3657 5696 or email team@ practicaladviceconsulting. co.uk. Visit us on www. practicaladviceconsulting. co.uk.

VARIOUS BRASS, WOODWIND & STRINGED instruments for sale and/or rental. Tel. 07974 412269 STUDENT CELLOS, mostly German, various sizes, from £100. Tel. 07974 412269 BASSOONS. Several.

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

COR ANGLAIS. B&H. Blackwood, Conservatoire, Low E, Serviced. £1,095 ONO. 07974 412269 DOUBLE BASS PAESOLD concert model 590.

Excellent condition. Cost £3,000+ in 1997, £995 ONO. 01747 828552 PERFORMANCE NERVES? Anxiety? Call Rosemary Wiseman. Tel. 020 8958 8083; www. rosemarywiseman.com

AS A VIOLIN TUTOR I’d like to offer 2 handmade Intermediate Violins for sale. Please contact for more details: rajaviolin@ yahoo.com; 07724 143588

ANXIOUS ABOUT PERFORMING? Worried about exams? Don’t feel like you can cope with the pressures of teaching?

Hypnotherapy can help.

Please call Jan to arrange your free confidential Initial Consultation. 01793 331450; 0750 1066717 1/2 SIZE NORTH GERMAN CELLO c1880 for sale.

Length 672mm. Fibreglass hard case (pink) and Brazilian-wood bow. £1,300 ONO. Tel. 01239 698707 or 07977 252664

ISM MUSIC JOURNAL JULY/AUGUST 2018

Ask me a question Rachel Shapey Music educator and private flute and piano teacher

Tell us a little about yourself I was a secondary music teacher for 12 years, and decided to take a break so that I could spend more time with my family. I had the idea for an online music education platform for GCSE and A Level students – I Can Compose (icancompose.com), so I have been busy doing that in the evenings. I’m a Yorkshire tea fan, 10K runner and also enjoy singing with the Manchester Philharmonic Choir.

Who is your all-time favourite artist and why?

As a flautist, I have always admired James Galway. He has a beautiful tone and is such an inspiration to young players. He is one of the most humble performers I have come across, and has a great sense of humour.

He once said: ‘I do not consider myself as having mastered the flute, but I get a real kick out of trying.’

Who (or what has most influenced you and your career)?

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

I was fortunate to have attended an excellent state secondary school where music was at the heart – there was a phenomenal amount of music-making going on. I went on tour to Vancouver with the concert band and on countless trips with the choir. There were 13 in our A Level class, which, sadly, is almost unheard of now.

So I’ve always had a desire for pupils to enjoy music both in and out of the classroom.

Teaching can be a tough job, and this aspiration is what has kept me going and underpins my work for I Can Compose.

Piazzolla’s Libertango. It’s a fantastic piece and I had great fun arranging it for an ensemble at school for my final concert. I am also just completing the ‘How to compose a tango’ and ‘How to write an arrangement’ courses for I Can Compose.

What would you say is your greatest achievement to date?

Having the courage to launch my own business in April and making it work around my family life, while remaining true to my passion for teaching. This year has been a huge learning curve for me. I’ve been setting up the business and learning to use the website software as well as translating my classroom teaching materials into an interactive online format. For every course that I write, I also compose a piece to go with it. I’m thrilled that the initial feedback has been really positive.

What are your plans for the future?

I want I Can Compose to be accessible to all music students and teachers. I’m always working on more courses for the website and thinking about the next one I’ll write.

I’ll soon be offering schools and institutions course packages and we’re going to open it up to international schools in Asia and the Far East.

Finally, what is your ISM membership to you?

My ISM is connecting with other music professionals, having access to support and information. I wouldn’t be without it!

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.

£10

Off

Membe

rship

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.

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

NOV US A fine balance

Kawai is proud to introduce the Novus NV10. A perfect blend of traditional craftsmanship and groundbreaking technology, incorporating the very best of Kawai’s acoustic piano heritage and new digital innovations. Combining Kawai’s finest Millennium III Hybrid grand piano keyboard action and real damper mechanism, with the latest SK-EX Rendering piano sound engine and premium amplification technologies powered by audio specialists Onkyo, the NOVUS NV10 delivers the most realistic grand piano playing experience ever accomplished by a digital instrument. Designed for the amateur or professional, it truly is the Future of the Piano.

The Futur e of the Pi a no

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