I have never been a fan of the terms ‘content creator’, ‘creatives’ or similar as found in job adverts. Recruiters and job classifiers seem set on making us feel there's a certain type of right-brain thinker who provides original ideas and artistic flair at the drop of a hat while the rest of us take up processing. Government education policy and rhetoric of recent years has encouraged this damaging view, and so I, for one, warmly welcome the attempts by the ISM, Campaign for the Arts and others to adjust the tone of debate and restore the balance between arts subjects and ‘core’ subjects taken at school.
The new UK government seems on the same page, thankfully, but also in recognising the underlying benefits of a broader curriculum: social mobility, cultural capital, and allowing all to feel included. Dare I say it, we're seeing the seeds (ironically) of ‘levelling up’. For a deeper analysis, turn to Dr Jodie Underhill's article, or to Maggie Hamilton's extended Q&A with the former Head of the Music Service at Birmingham's Services for Education, Stuart Birnie, who reminds us of the founding principles of the National Plan for Music Education.
This month, MT has three main themes running through its pages: strings, both bowed and plucked, charitable projects, and Black History Month.
For the first of these, we have contributions from authors of leading string-teaching methods. Kathy Blackwell, of Fiddle Time and String Time fame, helps us imagine a world beyond graded exam repertoire; Géza Szilvay, no less, of Colourstrings, shares his thoughts on child-led teaching while visiting the UK and celebrating his 80th year!; and Thomas Gregory, of Vamoosh Music!, encourages us to overcome our fear of making mistakes in order to focus on communicating the essence of the music.
For guitarists, our October issue carries a review of a method book and an account of how students at RWCMD's guitar department are gaining recital experience while promoting accessible cycling and engaging with the community. For ukulelists, we also review an instrument that is ‘holding its own’ in the important mid-range market.
I extend a particularly warm welcome to Fabienne van Eck, a cellist and teacher living in Palestine and working with the charity Musicians Without Borders. Fabienne describes two important projects providing respite from the stress and turmoil experienced by children in this part of the Middle East. Her account is a timely reminder of why we're in this business.
For the third main theme, this issue marks Black History Month with a call from Nate Holder to think locally and celebrate more contemporary artists. We also have a list of resources to support BHM lessons across various settings, and we welcome Dr Leah Claiborne of the University of the District of Columbia to discuss introducing new repertoire to both piano and classroom lessons. I'm excited that we have this many new contributors and learned colleagues in a single issue.
Finally, do remember our Curriculum Music conference on 15 October, if you haven't already purchased tickets, and that registration is now open for the 2025 Music & Drama Education Expo, which takes place on 30 and 31 January: musicanddramaeducationexpo.co.uk
– Phil Croydon, editor
