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Eric Sanders: Songs
Get PDFSongs by Eric Sanders (1919-2021) for voice and piano, arranged by Dominic Doutney. This edition has been prepared for the research project ‘Music, Migration and Mobility - The Legacy of Migrant Musicians from Nazi Europe in Britain’, a performance-led and multi-disciplinary project that aimed to better understand the significance of migration and mobility for music. Eric Sanders was born to a Jewish family in Vienna as Erich Ignatz Schwarz and he and his family fled to Britain in 1938. This RCM Edition includes an introduction and background information by Norbert Meyn and arrangements of the songs: Coffee Bar; Crash! Bang!; Come back to Soho; I Shall Never Forget Vienna; A Hope and a Dream; Fallen in Love Am I; Dark and Beautiful Stranger; Home with the Family; Lederhosen Bubi; Memories Last Forever; Adolf We Come!; My Baby; Vienna Song; Shalom Shalom; Wiener Schnitzel; The Rhythm of London and Bring meine Grüße nach Wien. The recordings are by Norbert Meyn (tenor), Esme Bronwen-Smith (mezzo soprano), and Dominic Doutney (piano).
***** Music, Migration and Mobility was funded by the Arts and Humanities Research Council, reference AH/S013032/1. ***** COPYRIGHT NOTICE: The edition: © 2023 Royal College of Music, London (graphic rights only), original music copyright Paul and Richard Sanders, arrangements copyright Dominic Doutney. All rights reserved. The recordings: Creative Commons Attribution Non-commercial No Derivatives 4.0
Research highlight: communicative musical play with young children
No full textThis research highlight looks at sound and music play as potential for expression, creativity, critical thinking and autonomy. It makes links between research and practice in Froebelian education today.
It is available to view and download free at the Official URL given below
Music making and civic imagination: a holistic philosophy
No full textIn a world facing multiple existential crises, music might be seen as little more than a distraction. However, in this synthesis of ideas developed over a decade, a timely re-appraisal of the potential of musicing for human flourishing is presented, emphasising its role in the history of human evolution alongside its potential as a resource for sustainable development.
A holistic philosophy of music is outlined which recognises the complex web of meaning which spreads across complementary musical dimensions of performance and participation, whilst emphasising the ‘paramusical’ benefits which arise from both. Highlighting the notion that the social bonds which arise from musicing share much of the neurobiological underpinnings of attachment and love, musicing is presented as a resource with the potential for facilitating ethical human connection.
The humanistic values which are thereby materialised during musicing – love, reciprocity and justice – form the experiential grounds for inhabiting alternative social realities. The book addresses how such a holistic philosophy of music might be implemented in practice, drawing on the author’s professional praxis as a performer, educator, community musician, composer and researcher, in particular their experience of musician education at Sage Gateshead, Royal College of Music and Trinity-Laban Conservatoire in the UK
Líza Fuchsová
No full textLíza Fuchsová was an important figure in British musical life. She was a concert pianist and a long-term duet partner for Paul Hamburger, a fellow musical migrant. She was born on 31 March 1913, in Brno, and died on 27 February 1977, in London. She had studied at Prague Conservatoire (Pražská konzervatoř) and performed with the Prague Philharmonic Orchestra. She had an extensive career after arriving in the UK in the late 1930s from Nazi occupied Europe. **** This article is available as part of the Music, Migration and Mobility online resource at the Official URL given below. ***
A perspective on historical keyboard playing in the UK
Get PDFThis contribution to the 50th anniversary issue of Harpsichord & Fortepiano magazine considers the recent past and future of historical keyboard playing in the UK from variety of perspectives. These include the preoccupations of emerging talents, the parallel inter-relationship of digital and in-person performance, integrity and choice of instruments, the ubiquity of historical performance approaches, the recent emergence of multi-keyboard virtuosi, and the urgent need for support of, and investment in, the skills which enable Historical Keyboard makers, technicians and performers to progress and flourish
Book review: 'Seachanges: Music in the Mediterranean and Atlantic Worlds, 1550–1800', ed. Kate van Orden
No full textHEartS Professional survey: charting the effects of COVID-19 on working patterns, income, and wellbeing among arts professionals in the United Kingdom (April – May 2021)
No full textThese data were collected using the HEartS Professional Survey II from performing arts workers in the United Kingdom in April–May 2021. HEartS Professional II is an adaptation of the HEartS Professional I survey which was used in April–June 2020 (https://doi.org/10.5061/dryad.s7h44j14z). Both surveys were designed as multi-strategy data collection tools with two main purposes: (1) to chart working patterns, income, sources of support, and indicators of mental and social well-being in order to identify trends in the effects of the lockdown at the time and (2) to explore the individual work and wellbeing experiences of performing arts professionals in their own words, in order to identify the subjective effects of lockdown in terms of challenges and opportunities. The survey covers six areas: (1) demographics; (2) information on illness or self-isolation related to COVID-19; (3) work profiles and income; (4) changes to work profiles and income as a result of the pandemic, as well as sources of support; (5) open-response questions about work and wellbeing experiences of lockdown including challenges and opportunities; and (6) validated measures of health, wellbeing, and social connectedness. The HEartS Professional surveys are adaptations of the Depression, loneliness, online survey, pandemic, performing arts professionals, Social Isolation, UK adult sample, well-being, Work which charts the Health, Economic, and Social impacts of the ARTs (https://doi.org/10.5061/dryad.3r2280gdj
Program of the International Symposium on Performance Science 2023
Get PDFISPS 2023 offered fascinating insight into performance and, in particular, to exciting, new interdisciplinary perspectives on the year’s
theme, Performance Care and Careers. The program was designed
to provide ample opportunity to examine, discuss, and engage with the very latest in performance science research
Military musical instruments and the culture of perfection in the long nineteenth century
No full textThe introduction of new species of brass and wind instruments, and the application of mechanisms for extending the facilities of existing models, was one of the most momentous developments in music history. Its ramifications were most obviously musical, but equally they were social and cultural. Almost without exception the most important introductions came from a widely perceived need to enhance the sound, sight, and reception of military bands rather than demands from within the traditional infrastructures of orchestral music—in fact, the modernization of orchestral brass instruments was welcomed neither universally nor consistently. From about 1840, military music was promoted as a representation of state order and a tool of diplomacy directed by governments at their own people, as well as foreign powers. Combined with new concepts of military display, it was enacted as a component of a broad cultural framework in which notions of order and authority were communicated. Implicit in this process was a set of ideas that embraced the potential power (later to be termed ‘soft power’) that the experience of military music could convey if it was itself seen as a representation of perfection.
The design and purpose of musical instruments were at the heart of this story. As such, it is wrong to regard the introduction of new types of instruments as simply providing easy access to chromaticism: it was a process that served a broader musical and cultural purpose. It is no accident that the three traditional orchestral brass instruments—the trumpet, horn, and trombone—maintained their basic shape when valves were added to them, while newly invented instruments were conspicuously different because of the purpose to which they were directed. These new instruments, such as cornets, saxophones, and saxhorns, were used only occasionally in the orchestra (although the tuba was adopted a little more frequently). Such were ubiquitously referred to as ‘military instruments’: this was the default term in newspaper advertisements, often in the classification of instruments in expositions and also in didactic writings. ‘Military instruments’ were written for discretely, taught in specially constituted places, listened to by apparently distinct audiences, and played by performers who created new idioms.
This chapter will examine this phenomenon, taking the instruments themselves as the primary focus. It will look at the intentions of instrument designers, the expectations of their primary clients, and the processes of change that these interactions caused. It will deal with the production and consumption of instruments and with the paradox that saw the military establishment, always a major segment of the dominant class, acquiesce in a process that designated military music and the activities it inspired (such as brass bands) as a subordinate subculture. It will touch on performance, the role of military bands as educators, the influence of military instruments on new forms of music such as early jazz, and the enactment of militarism in the civilian band of John Philip Sousa, which played a major role in representing Americanism in the early years of the 20th century