One of the other projects also funded by this fund is Steve Reich’s Clapping Music, a game-based app for iPhone, iPod Touch and iPad inspired by – you guessed it – Steve Reich’s Clapping Music. His piece has inspired all sorts of people from the famous percussionist Evelyn Glennie to David Bowie. The app also includes lots of additional content about Steve Reich and minimalist music, and unique recordings from the London Sinfonietta, including another piece by Reich, Electric Counterpoint.
The game has been developed by a team from three organisations – The London Sinfonietta, Touchpress, and Queen Mary University of London. It will be free for anyone to download from iTunes from late June 2015. You don’t need to be a musician to play, in fact the developers would love as many people as possible to download it and get tapping and clapping! You can find out more about the app here and the associated research project here.
The developers has asked us to help raise awareness of this new app. They would like you to play the game and complete three online surveys during the period from app launch to August 7th 2015; one before you download the app, another after playing for a little while, then another two weeks later. The surveys include questions about your musical experience, age and music listening habits and preferences. They will download your playing data from the game and look at this as well. As a thank you, they will draw 10 people at random from the participants who have completed and submitted all three surveys and enter them into a draw to enter one of 10 Amazon £50 gift cards.
Coming soon to a primary school near you – a prescribed list of 100 pieces of classical music that every child should be familiar with. No, this isn’t a joke. This is the cornerstone of future Tory music education policy according to the speech given by Nick Gibb at the Music Education Expo this week.
For clarity, here’s is the complete extract from the speech together with the suggestions that the preeminent expert on music education thinks should be included (that’s sarcasm BTW ):
While there is already a great deal of good practice, we also want to make sure there is support available for teachers who may need it – in particular, practical help for non-specialist primary school teachers. I am delighted that Classic FM and the ISM are going to compile, and give schools access to, a new list of 100 pieces of classical music that every child should be familiar with by the time they leave primary school.
Being familiar with the best known classical works is as important as reading the canon. Music has been important to me personally and my suggestions for pieces to include would range from Beethoven’s Fifth Symphony to Parry’s setting of ‘I was glad’ and Allegri’s ‘Miserere’, which I still remember singing as a choirboy. I very much hope there will be strong engagement from those within music teaching with ISM and Classic FM as they develop the list.
The full speech can be read here. I challenge you to find another single idea about the future of music education within it. Music Education Expo is the premiere music education event in the UK each year. As a platform, Gibb had the chance to set a future vision for music education under a Tory government. This was the best he could come up with. I’ll leave you to make your own judgement.
The Venezuelan youth orchestra program known as El Sistema, founded in 1975, has attracted considerable international publicity and funding in recent years. Said to be an effective means of resolving a wide range of social problems and now operating under the banner of ‘social action through music’, it has inspired attempts to adopt and adapt it in dozens of countries around the world.
However, there are very few critical analyses of the program’s aims and no rigorous studies which demonstrate that it achieves them. Furthermore, its methods are poorly understood and obscured by idealistic rhetoric. Efforts to transplant El Sistema overseas have taken place without reliable written sources about its history and its pedagogical and philosophical program. Continue reading →
Geoffrey Baker’s new book, El Sistema: Orchestrating Venezuela’s Youth, is a stinging critique of the Venezuelan instrumental and social music education programme. Baker’s research is far reaching, drawing on observations of the programme throughout Venezuela and interviews with key participants in the programme and students themselves. As a piece of qualitative and ethnographic research, it is beautifully constructed. Throughout his book, which I reviewed here for the Music Education UK website, Baker is at pains to justify his assertions about the programme and, when necessary, points to the limitations of his research and the conclusions therein.
In the final chapter of his book, Baker points to a number of projects that exemplify what he calls a more ‘progressive’ form of music education. At this point, it was lovely to find references to Musical Futures, a project that surely every music teacher here in the UK must be aware of that has made a significant and positive contribution to music education over the last ten years. This was what Baker has to say about Musical Futures:
One of the most radical and promising music education initiatives is Musical Futures, which began in the United Kingdom in 2003 and is spreading internationally. Musical Futures builds on Green’s (2002, 2008) work on informal learning and its application to the classroom. It’s central element is copying recordings by ear, and it integrates listening, improvising, and composing into the learning process, which is holistic and student-led (rather than sequential or drill-based) and promotes student choice of instruments and repertoire. Green (2008, 199-80) applies this informal learning pedagogy to ensemble playing and classical music, revealing that there is no inevitable bond between El Sistema’s curriculum, collective ethos, and conservative pedagogy. (Baker 2014, p.318) Continue reading →
Morris’ post-doctoral paper ‘Sounds in the Cloud: Cloud computing and the digital music community‘, written in 2008, is remarkable prescient. At an early stage in the development of the cloud, it explores the technological and cultural implications of cloud-based music, how the cloud itself is leading to the commodification of music (and not in a good way), and how our relationship to music is changing as a result. Through the adoption of various metaphors and an analysis of [then] current trends, Morris is pretty scathing. Firstly, he argues, the cloud fundamentally changes our relationship to music itself:
[Music] is now part of a network of technologies and blended into a multi-mediated computing experience. Phones come with music, as do Web sites, video games and new cars. CDs are routinely given away in newspapers and magazines as promotions (Straw, 2009). Social networking sites, search engines, and other such technologies use online digital music as a draw for their services. Rather than a commodity of its own, music is integrated into so many diverse services that it becomes difficult to talk about music as a specific experience at all. Music appears to be ubiquitous: it is both everywhere and nowhere. [my emphasis] Continue reading →
We are delighted to welcome Andrew Curran, a Consultant Paediatric Neurologist working at Alder Hey Children’s Hospital, to the Faculty of Education, MMU. Andrew is committed to using his extraordinary knowledge of the workings of the human brain to make a difference in the educational experience of all young people. He believes passionately in the importance of understanding the individual, connecting with them emotionally and leading them into self directed learning. His book, the Little Book of Big Stuff about the Brain (published by Crown House Publishing), is recognised as one of the leading books about understanding brain based learning and the importance of emo- tional literacy in our classrooms and in our lives.
Andrew will be delivering two guest lectures during the day.
Lecture 1, 10.00 – 12.30, Birley Fields G.44
Andrew’s morning session will explore the brain, its neurology and how this impacts on a child’s learning. In Andrew’s words …
What is the message that I am delivering through many years of studying the neurobiology of the human brain that appeals to so many people? It’s really very simple.
If each child in front of you feels understood, then this is good for their self esteem. If these two things are happening then the child will feel self-confident. And if these three things are extant the child will be emotionally engaged with learning. And if that happens, then the child’s brain is neurobiologically optimised for learning.
Lecture 2, 1.15 – 2.45, BirleyFields 2.51
In the afternoon session, Andrew will predominantly focus on the brain and music, considering how the two interrelate and the consequences of this for teaching and learning about music. Andrew brings a unique perspective to this through his own work as a singer/songwriter.
All are welcome to either session. BUT …
Please email Dr Jonathan Savage (email@example.com) to confirm your attendance.
In what is a busy news day for music education, the next round of funding for the music education hubs has been announced by Arts Council England. The full details, including a spreadsheet of funding for each music education hub, can be found here.
The announcement is matched with a new report from ACE called ‘Ensuring Quality‘. This will be essential reading for all leaders of music education hubs.
We were also pleased to see that the Greater Manchester Music Hub is named checked by ACE in terms of the work they have done in developing their youth ensembles.
The Government have released the new GCSE Music subject content today. The link to the guidance is here or you can download the Music .pdf file here.
The AS and A Level Music subject content has also been released. Details from here and the specific file can be downloaded here.
It will be interesting to hear what teachers make of these guidelines. The general consensus in the music education community to this point is that they are going to be intensely problematic. The preoccupation with staff notation and Western Classical music (only between the years of 1650 and 1910) both remain in the formal guidance. Time will tell.
Additionally, the Government have published their equality and impact study here, and their general response to the ‘reform’ process here.
Following on from the announcement yesterday that Darren Henley is to take control of Arts Council England, funding for music education hubs was announced today for the period from 2015 – 16. This will follow the existing formula, together with a distribution of an additional £17m (the precise way in which this will be distributed is to be confirmed at a later date, although I have heard rumours that a significant percentage of this will support new or innovative approaches to music education – whatever that means).
I’m not sure if Henley’s new post and this announcement are linked in any way, but it is good news nonetheless. Here’s the full ACE announcement made today: