Joining in: Investigation into Participatory Music in the UK by Anthony Everitt
By Anthony Everitt
This examine of participation in tune appears to be like on the transforming into circulate to bridge the divide among those that make track their occupation and the general public at huge. It identifies examples of excellent perform and describes the demanding situations forward.
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Its 1994 annual report explains: ‘Such works need to be suited to the forces generally available to amateur ensembles. This is not to say we are looking for “easy” music. 5. 1. COMA was an almost instant success and has 10 regional branches in England and one each in Scotland, Wales and Ireland. A wide range of composers has become involved. A flavour of COMA’s work can be suggested by two important events in 1996: Michael Finnissy conducted the COMA Ensemble in a performance of his piece, Plain Harmony, at the Huddersfield Contemporary Music Festival, and a key feature of the 1996 annual residential summer school was a major project based on John Cage’s Music Circus, which involved participants composing much of their own material inside an overall structure devised by Stephen Montague.
Competition is at the heart of brass band culture, with bands competing against each other for the best performances of ‘test pieces’. Rather like football divisions they belong to different sections that indicate their playing quality (and ambitions) and have to qualify for promotion through the sections. National championships are held annually at the Royal Albert Hall and Wembley Conference Centres under the patronage of the music publisher, Boosey and Hawkes. The BFBB, representing over 900 bands, is their national voice (there are also separate brass band associations in Wales, Scotland and England); there is a strong competitive element in the movement and there are some 80 or more bands linked to companies or corporate sponsors, of which 20 are, in effect, in a premier division.
Although the Musicians’ Union is anxious about the threat posed by amateur performing groups undercutting professionals, it is widely accepted that the amateur sector is an informal training ground for aspirants to a musical career. ’15 JOINING IN 41 Music societies, choirs, brass bands and festivals Amateur classical musicians have a somewhat conservative image and are supposed to have little interest in playing contemporary works. This reputation is only partly deserved. The story of the nineteenth-century Potteries choirs with their enthusiasm for premiering oratorios by composers such as Elgar demonstrates a long-standing commitment to the new.