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“How much are you willing to give up?” Investigating how socio-economic background influences undergraduate music students’ experiences and career aspirations within UK conservatoires
No full textAlthough discussions concerning representation within the classical music industry are gaining public attention, it is unclear if and how this is prompting change within teaching and learning inside UK music conservatoires. This scoping study addresses a significant gap in the literature by illuminating current undergraduate students’
experiences of studying at two UK music conservatoires, centring on if and how socioeconomic background influences their experiences of studying and their future career aspirations.
Data were collected from undergraduate music students (n=54) through an online survey, followed by nine semi-structured interviews. Although the original intention of the study was to collect data from working class music students, the sample changed to students from middle-class backgrounds from state-school backgrounds, or those
who had faced financial barriers to accessing music education prior to starting their undergraduate degree. Three key themes are addressed through the report. The first theme highlights how many of the participants who took part in the study felt they needed to catch-up to their peers from more affluent backgrounds and who had received additional musical training prior to starting their undergraduate degree. The second theme explores concerns raised by participants in the teaching and learning cultures of UK Conservatoires. The third and final theme explains how undergraduate students’ career aspirations were impacted both positively and negatively by their experiences of conservatoire life, and how economic background played a role when considering entering the professional classical music industry. The report concludes with how the findings contribute to the wider field of research and recommendations for conservatoire leaders and music education stake-holders. ***** This report is available open access at the Official URL given below. ****
Review: Parody, promotion, Paris
No full textReview of 'Opera and Parody in Paris 1860-1900' by Clair Rowden (Brepols, 2020) and 'Exposer la musique : Le festival du Trocadéro (Paris 1878)' by Étienne Jardin (Horizons d'attente, 2022)
Music and parental mental wellbeing [introduction]
No full textChapter 1 introduces the book by setting the context for, and parameters of, music and parental mental wellbeing. It advocates for parity of attention on parental mental health as on parental physical health, arguing for the importance of supporting and facilitating parental mental wellbeing. Current treatments and supports for parents are discussed, including for parents experiencing mental illness during pregnancy and in or beyond the postnatal period. Music is introduced as a potential means of supporting wellbeing, and a case is made for how music can feature in parental care, including a short summary of existing evidence in the field. The chapter concludes with a description of the structure and scope of the book
Group singing and postnatal depression
No full textChapter 4 describes the aims, delivery methods, and impact of Breathe Melodies for Mums, a group singing programme for new mothers with symptoms of postnatal depression (PND). Launched in 2017, Breathe Melodies for Mums has now expanded across the United Kingdom and is informing international practice via a training partnership with the World Health Organization. The chapter introduces the research that underpins the programme and provides a comprehensive account of the programme design, values, delivery, and evolution. Recent evaluation and research evidence are presented to explain how and why group singing, both online and in-person, can support people experiencing PND. Implications for practitioners are highlighted throughout, including for music leaders and health professionals
The piano music of Carl Goldmark (1830–1915)
Get PDFCarl Goldmark (1830–1915) was a prominent figure in Vienna’s cultural life from the 1870s, alongside Johannes Brahms and Eduard Hanslick. Goldmark’s opera Die Königin von Saba earned him international fame, while many of his operas and symphonic works were performed in major cities across Europe and America. In Hungary at the turn of the century Goldmark was celebrated as a national hero, the most famous, internationally acclaimed Hungarian-born composer alongside Franz Liszt. However, whilst Goldmark’s most popular works were still performed for decades after his death, it is striking that his piano music, a considerable number of works, remained almost completely unacknowledged. Following the ban of Goldmark’s works in 1936 in Austria, they largely disappeared from concert halls and remained underrepresented after WWII.
The aim of my research is to introduce and contextualise Goldmark’s piano works within Romantic piano literature. I approach this from two perspectives: firstly, through an examination of performance history and reception of this repertoire and secondly, by exploring stylistic features in the music which reflect broader musical trends in his day. My research facilitates an understanding of how Goldmark’s piano music relates to other contemporary figures’, and is thus essential in positioning his music within piano literature. Research findings also inform performance of the works; I offer considerations for interpretational questions, articulated in this thesis.
My research fills a gap in existing literature regarding Goldmark’s piano music, but it also contributes to a fuller picture of 19th-century Austro-German piano repertoires. It enables a more comprehensive understanding of a significant personality of 19th-century Vienna and a deeper knowledge of 19th-century Vienna’s cultural identities and musical landscape. Through this, the concept of national identities in the context of the Austro-Hungarian Monarchy and Vienna are also explored
Introduction to the special issue: posthuman perspectives for music education
No full textIt has been an honour and privilege to work on this special issue for Music Education Research in the year that the journal celebrates its 25th birthday. The issue’s call for papers came in response to an emergent strand of research presentations at the RiME conference in April 2023 that worked with ideas from posthuman, postqualitative research paradigms.
The assembled papers in the issue convey the perspectives for music education research from posthumanism at this moment in music education research’s chronology. The assemblage proposes ideas and approaches to research that look beyond the human towards a multispecies storying of music as part of the world’s ongoing materialisation. Following the intention of Issue 1 of this volume, I hope this second special issue will continue ‘to generate ripples of new thinking and research’ (Stakelum and Tarrant 2024) for music education research.
The articles are grouped around four themes: Voices and voicing; Towards posthuman research for music education; Considering music teaching; and Early childhood music education.
******* This introduction to the special issue is available open access at the Official URL given below ******
Calibrating Carmen: ‘the true Carmen’, HIP and HOP versions, and the one without the Habanera
No full textCarmen, premiered at the opéra-comique in 1875, will be 150
years old on 3 March 2025, so it is perhaps an appropriate time for a
catch-up. Is there anything new to report, one might ask? Well, yes,
quite a lot: opposing factions in attitudes to production, relaxation of our
dedication to Urtexts; widening of the frontiers of musicology to embrace
scenography, costume and stage movements, for example. Not to forget
how important this very magazine has been in commentating on the work,
especially in a seminal article by Winton Dean it published in the 1960s
Musicology and its discontents
No full textThis year, 2024, is the 150th anniversary of the Royal Musical
Association (RMA), an occasion which is being marked with a
history by Leanne Langley, in which she traces the Association’s
course from its origins as a learned society with an essentially amateur
scholarly membership in 1874, to its current identity, now firmly rooted
within the professional academic community. The shaping and evolution
of British musicology is an integral element of this account, and how it
was influenced through the RMA’s agency into a fully fledged academic
discipline within the modern British university system. But, as Langley
shows, this was by no means an uncomplicated trajectory, while, more
recently, musicology’s very function, nature and practice has become
strongly contested