Rattles, Bells and Whistles

Many of you will be aware of the news this week that Simon Rattle is leaving the LSO (one of the world’s most prominent orchestras) to take up the baton again in Germany. His personal reasons for going are none of our business (though he has family and professional connections there), but - with a sense of resignation - I am not surprised. The Germans have recognised the importance of supporting the arts you see, and we haven’t. There has been a decades long habit of slowly eroding away music education from these islands, and what would have been considered cultural norms a few years ago (such as hearing live music with real instruments) have unquestionably slid away. The routine activity of singing in assembly for example has now become a rarity, and actually learning to play an instrument is even more mysterious and exotic. The trouble is, supporting music is expensive. Let’s look at some rough figures. With regional variations we can estimate a half hour individual lesson at roughly £18. A year of thirty lessons will come to £540 per year - per child - and that is just the beginning. We then have to factor in buying or hiring an instrument, books, repairs and activities (such as bands, orchestras, theory, aural) to support this. The total financial output could easily double the initial £540 - but even if it was just left at that, some parents may - by a whisker - be able to find the money. But the final, and perhaps most challenging ingredient is that learning an instrument is hard. It is a craft that requires revisiting over and over and support at home and school - even if it is just an occasional reminder to get the thing out of it’s case - is essential.

In the last post I mentioned that I had been reading (and indeed have been inspired by) Kadiatu Kanneh-Mason’s book about bringing up a family of brilliant and musical children. I have also examined in other posts the realisation of having the privilege to have grown up with access to free instrumental tuition and supporting musical activities. These experiences literally changed my life - and I know I can speak for many of my colleagues who grew up with the same level of state financial and cultural support. But the point is, Kadiatu’s family haven’t had that support and have had to work astonishingly hard to gain their musical rewards. Both her and her husband Stuart still get up before dawn to support the remaining children at home and the journey will continue for many years yet. They have understood that where the state doesn’t support they have to step in. The trouble is, most parents don’t have the time, inclination or finances to do this and the shockingly underfunded state schools cannot possibly fill in the gaps.

I am still often surprised by how much well-educated people don’t get it. For individuals such as myself who have been ‘zapped’ by music, the joy of making and listening to it is enough. There is a kind of seeking of transcendence which is a lifelong love - addiction even. But for those who still think the study and participation of music is a luxury add-on, here are a few educational extras for you:

• The learning of an instrument dramatically enhances a chid’s abstract thinking skills.

• Music uniquely enhances brain functions required for mathematics, science and engineering.

• Studying the piano before the age of seven can help boost the normal maturation of connections between motor and sensory regions of the brain.

• Regular music activity improves a child’s IQ.

• Children who have taken three years of piano instruction have significantly higher self-esteem than those who don’t.

• Playing an instrument reduces stress and anxiety.

• Learning to play an instrument requires patience and perseverance and discipline.

• Collective music-making produces social cohesiveness and joy.

• Playing an instrument teaches communication, listening and teamwork.

The above doesn’t even mention the quality added to the beginning and end of life; many of us will have been moved by the effects that music has had on people with dementia, or the soothing qualities that music can provide to babies. Personally I don’t need the justification of the above list, but ministers, educationalists and parents do. I get that. I understand that people need to explain money, resources, time on something that seems arty (it is), abstract and just a little bit poncey. But consider a life without music. Actually don’t - it’s too horrible - and deep down we all know we need it, deeply and fundamentally. Consider how much people have needed music in their lives in colossal recent world events and how - in some cases - it has literally given people a reason to get up in the morning.

There are solutions of course; not all of which require money but certainly which require creative thinking and a willingness to run with these ideas. To give just two examples; there could be a far better cultural connection between state and private schools. Many musicians move freely between these two areas and the contrast in resources is startling - even shocking. It upsets me that a beautiful new theatre in an exclusive school is only used by seven percent of children. Such a waste of resources. It would also be exciting to see professional orchestras to do much more in their local communities - not just the occasional, very well-intentioned outreach project, but much more regular, proactive work. There are loads of potential schemes out there, and if I have ideas, then presumably others do as well.

Music needs to be studied at all levels, appreciated, valued and celebrated. I can’t believe it’s even necessary to write this, but never before have musicians needed to be valued so much and never more have we needed them so intently. I fear an artistic flight from this country and that this most recent high profile loss is just the start of something much more profoundly draining. I sincerely hope that my prediction is wrong though; music is far too important to be allowed to slip away. Let’s hope enough people realise it.

Uplifting music of the day: - ‘Festive Overture’ - Shostakovich. It felt right to have something Russian in January, and this piece makes me smile. Listen to which ever version you like; personally I prefer it not to be at breakneck speed (it makes it sound as if the conductor is bored with it), but each to his own.

Contemplative music of the day: - ‘Gabriel’s Message’- trad - as performed by Sting on his ‘If on a Winter’s Night’ album. I love to listen to this album at this time of year as it manages to simultaneously embrace and look forward in this darkest of seasons. Normally I would just leave it there and allow you to think your own thoughts, but a few words need to be said about the huge contribution of Sting to British and international music. Over the years I have been stunned at the frankly nasty criticism of him, which seems to have been rooted in little more than jealousy. So here is a small list of credits for you; he was in an edgy rock/reggae group which was admired by critics and the public, he has written some wonderful songs and has a beautiful, unique voice. Lastly, and perhaps most importantly he is a great music fan. Musos buy his albums because of the quality musicians he uses on them and his willingness to let them take centre stage if required. Consider the fact that he is already an excellent bass player, but will still move over to allow others, such as Christian McBride to play. That shows an understanding that the pursuit of honesty and quality matters most in music. Anyway, check any one of his albums out - they are saturated with some of the best players on earth.