Why pop is played everywhere you go

Here's a fascinating piece that explains how and why ubiquitous, inescapable, commercial pop music is not very good for us.

Here are a few of its salient points.

-- Pop music has been dumbed down over the decades. Compared to the good songs of the sixties, today we're getting watered-down tat with scant musical content, using only a few basic chords.

-- These limitations can make us less creative, leading us to expect less of ourselves and others and our art, and this encourages us not to think outside the box.

-- Poor-quality pop is being used 'to brainwash listeners through predatory marketing strategies across all media channels'.

-- And note, this also shapes the way kids grow up.

-- It says, too, that songs are not played everywhere, constantly, because they are popular. They are played to make them popular. 

Regular readers of JDCMB will already be familiar with my theory that when people have the opportunity to hear classical music, they mostly love it. It's just that it is not played very much, very widely, in places where it can be frequently and regularly stumbled across.

Read the whole thing here:

http://mic.com/articles/98310/scientists-prove-that-pop-music-is-literally-ruining-our-brains

Opera company pushes up school results

Here's what Opera North has to say about the results of its schools programmes with In Harmony in Leeds and Hull. It's more proof that learning music helps with learning everything.

We all know this by now. Yet how many more times do we have to hear it before that powers-that-be take some notice of it and make sure that every schoolchild in the country can have access to music education? See info below from ON's press office.

DRAMATIC SATS RESULTS INCREASE AT SCHOOLS WORKING WITH OPERA NORTH

Opera North, the national opera company in the North of England, is celebrating a dramatic increase in academic achievement with two primary schools in Yorkshire, where it delivers intensive music programmes as part of the Company’s extensive Education work.

Windmill Primary School in Belle Isle, Leeds (In Harmony Opera North), and Bude Park Primary School in Bransholme, Hull (Opera North Singing School) have both seen significant rises of up to 20% in their KS2 SATS results this year.

As part of the Opera North programmes, both primary schools allocate up to 3 hours of musical delivery within curriculum time every week for every child, with children taking part in up to 7.5 hours of musical delivery overall. Leaders at the two schools strongly believe that the music programmes enhance both personal and academic development.

At Windmill Primary School, 2015 results in Key Stage 2 SATS exams, taken by 10 and 11 year olds, have increased the percentage of children attaining a Level 4 in Reading from 78% in 2014 to 98.7% in 2015.

In Writing, 86.7% achieved Level 4 or above, up from 75.6%, while the results in Maths increased from 73.2% to 93.3% of children attaining Level 4 or above.

In Harmony Opera North, funded by Arts Council England and the Department for Education, began in Windmill Primary School in the Belle Isle area of South Leeds, in January 2013. Every child in the school participates in up to 3 hours musical activity per week during curriculum time and many children attend Opera North ‘After School’ music sessions three times a week. Most of the 362 pupils play a string instrument and enjoy weekly group instrumental lessons and orchestra sessions; everyone sings in an age banded choir.

All of the children enjoy giving regular performances to family and friends and they have all had the opportunity to perform at several events with the Orchestra and Chorus of Opera North; initiatives which helped parental engagement with the school rise from 7%-39% in 2013.

Andy Gamble, Executive Headteacher at Windmill Primary School in Belle Isle, Leeds said:

“I am delighted with these results, which prove that the In Harmony Opera North programme at Windmill Primary School continues to go from strength to strength. We have observed many significant effects on the pupils’ skills such as teamwork, co-operation, social skills and self-confidence. It is my belief that the cultural enrichment provided by In Harmony Opera North over the last three years has had a direct impact on the positive learning culture here at Windmill and subsequently contributed towards these improved results for our children.”

Helen Miller, Headteacher at Bude Park Primary School in Bransholme, Hull, said:

“The benefits of a rich musical curriculum have been well-documented and these results are already speaking volumes about the value of the arts and music in the classroom.  In addition, by offering our children frequent performance opportunities with professional musicians from Opera North both within their local community and across Hull we have been able to increase the children’s levels of confidence and self-worth.

“Parents are also developing real pride in their children’s increased abilities, and they acknowledge that the opportunities that their children are being offered is broadening the horizons and expectations for what they can achieve. We anticipate that as our partnership with Opera North continues, this confidence will enable our children to become more resilient, creative, successful learners who are able to manage their feelings, have empathy for others, and develop their personal identity.”

Is the next Carlos Acosta a 15-year-old South African?

The Royal Academy of Dance has just announced the winners of this year's Genée International Ballet Competition. It's one of the dance world's most prestigious prizes and former winners have included Steven McRae, Lauren Cuthbertson and Leanne Benjamin, amongst others. Gold Medal for 2015 has gone to a 15-year-old South African boy named Leroy Mokgatle. This year was also the first time that the Darcey Bussell Genée Bursaries have been available to help widen access to the competition, which is held in a different location every year.

There was a live streaming from the final. But anyway, I just looked up Leroy Mokgatle on Youtube and found this, from the South African International Ballet Competition a year ago, where he won Gold Medal, aged 14.

Just look at this. He's amazing.

Spot of Mahler with your breakfast?

Medici.tv is live-streaming Mahler Symphony No.2 from Mexico City right now - the LPO is on tour there and the conductor is Alondra de la Parra. Sounds absolutely amazing. (Btw, my OH is not playing - he took the Mexico tour off and is safely at home watching in his pjs.) Catch it here, this minute.

Rumbles from the tour across the Atlantic suggest that the orchestra has taken to de la Parra in a big way. The Mahler, what we've heard so far, would seem to bear this out.

You can find out more about her on her website - and listen to performances from the tour there too!

Why Sleep is a smash hit

I had a fascinating chat with Max Richter recently about his new piece, Sleep, which is eight hours long and designed to be slept through. A one-hour version on CD has gone straight to the top of the classical charts and has made it into the pop ones too. The premiere of the long one takes place at the Wellcome Collection - overnight. I couldn't resist asking him what happens if people snore.

My piece was in the Independent the other day, but in case you missed it and fancy giving Sleep a whirl, here it is...

When composers unveil new works, they do not generally want the audience to nod off. Not so Max Richter. The intention behind his latest piece, Sleep – which is eight hours long – is that his listeners should slumber peacefully throughout. He has termed it “my personal lullaby for a frenetic world” and “a manifesto for a slower pace of existence”. The world premiere at the Wellcome Collection on 26 September will apparently offer beds instead of chairs – and as it is broadcast live on BBC Radio 3 you can even try it at home. 

Richter, 49, knows plenty about frenetic pace. This German-born British composer’s works have become increasingly high-profile, and many are ambitious in scale. His Recomposed by Max Richter: Vivaldi - The Four Seasons was a smash hit in 2014; his score for the Royal Ballet’s Woolf Works triumphed earlier this year, and his many film soundtracks include Testament of Youth, Sarah’s Key and Waltz with Bashir. Yet the notion of a piece devoted to the vital nature of sleeping, he says, simply wouldn’t leave him alone. 

“My starting point was a personal fascination,” says Richter. “I couldn’t ignore the idea. It kept popping up while I was in the middle of working on other things. It was something I had to get off my chest.”

The premiere is to be given not in a traditional concert hall, but at the Wellcome Collection, central London, where it forms part of a long weekend of talks, discussions and performances entitled ‘Why Music?’, from 25 to 27 September. A collaboration with BBC Radio 3, this intensive series explores the power of music and the way it can affect our brains, minds and bodies; in the middle, Sleep will become the longest piece the BBC has ever broadcast. 

The work is in 31 sections, each bearing a title such as “Cassiopeia”, “moth-like stars”, “Dream 11 (whisper music)” or “nor earth, nor boundless sea”. “I often choose titles from literature that I love,” Richter says. “Music is writing and storytelling, so, for me at least, the titles are a clue, giving people a door into that material.”

Sleeping is, of course, vital to us all. “I have a sense that while I’m asleep some of the most important work is taking place ‘under the hood’,” Richter says. “I started talking with the neuroscientist David Eagleman, and it seems that cognitive mental processes really are going on while we’re sleeping that relate to our waking life. I think most creative people would intuitively agree: for instance, if we sleep on a decision we often feel more comfortable about our thinking in the morning. 

“I see the eight-hour piece as an environment, a place to inhabit,” he adds. “If it has a subject, it’s that the piece is the experience of the listener. The consciousness of the listener is the story.” 

This idea might have rung a bell with the composer John Cage (1912-1992), whose most famous work, 4’33’’ – supposedly of silence – is really about the audience’s personal experience of the ambient sounds that occur during that silence. Cage, almost as much a philosopher as a composer, had embraced Zen and mysticism while the musical world was still dominated by the rigours of modernism; and Richter agrees that Sleep bears the influence of the American alternative scene, notably 1960s New York, where the notion of an all-night concert at which people could relax, sleep, or come and go as they pleased, was pioneered. “It’s a very New York thing,” he notes. “From ‘the city that never sleeps’…”

“Sleep is another step away for me from the modernist position,” he adds, “which was: ‘The composer’s smarter than you and you’d better sit down and listen, and if you’re clever enough you might understand it’. I always had a problem with that and in various overt or covert ways I’ve been critiquing it for a long time. I think of musical performance more as a conversation than a lecture.”

This work, he suggests, reflects trends that counter our information overload, such as the current widespread interest in “mindfulness” (a rehash of ancient principles of meditation). “Sleep is under siege by contemporary culture,” he says. “We live in a dense data universe; many of us spend a lot of time curating our own data landscapes from email, social media and TV. It’s a significant psychological load to manage all that. 

“I feel that creative work can provide a holiday from that experience. Painting, cinema, music, books: these are places where you have a single object for contemplation and engagement, rather than millions of little objects which we’re forced to react to in a one-dimensional way. 

“You never hear people complain that life’s getting slower or less complicated,” he points out. “I think many of us do feel that there’s a huge emphasis on quantity of information and objects at the expense of real reflection and quality. To a certain extent that’s the inevitable consequence of a networked world: everything just gets multiplied. Therefore there’s this statement of mine – a ‘manifesto for a slower pace of existence’ – which sounds very grand and ambitious! But at heart it’s about engaging with fewer objects in a more extended and deliberate way, which personally I find rewarding. I think there’s something about it that connects with the renewed interest in mindfulness, or slow food – those traditions. It’s a kind of ecology of mind.

“In a painting by Mark Rothko, for instance, there can be a single object with which you engage; it leads to lots of thought, but it is very simple in essence. That’s what I’ve sought to do with Sleep: make a single object that can function like a landscape for the listener to inhabit while sleeping.”

Some people will not sleep at all, though: namely, the musicians performing the piece, including Richter himself (it is scored for piano, strings, electronics and wordless vocals). “It’s a bit like preparing for a marathon,” Richter remarks, “but I’ve structured it so that everyone gets a break. Nobody actually has to play for eight hours. Perhaps the ideal thing would be to be in the right time-zone: to arrive from somewhere jet-lagged and jump straight on stage.” 

One possible downside exists. If you’ve ever been to a performance at which people are meant to stay awake, yet a person near you drifts off into the Land of Nod, they may snore. That can be anything from a mild annoyance to a serious disruption, depending on volume. What happens if people go to Sleep and snore? Richter takes the question in good spirit. “Performance traditions are practical things as well as conventions,” he says. “Some of those conventions I find, personally, sometimes rather oppressive, but at their root they’re there for a reason: so that people can enjoy the music. I think we’ll just have to wing it and see.”

There is also a one-hour version of Sleep, a recording of which is available now; its material is notably different, intended more for active listening than dozy absorption. “The one-hour piece is a little like a daydream, or the tip of the iceberg which pokes above the sea,” Richter says. “I think of that as intentional music: music that you can engage with consciously, listen to analytically and make judgments about. There’s music in the one-hour piece that isn’t in the eight-hour version at all, and vice-versa, because it’s structured for wakeful consciousness. In a way, the two pieces are asking a question about the difference between experiencing or inhabiting the material and listening to it consciously.”

And if you are hesitating about giving eight hours of Sleep a whirl, don’t let the unfamiliarity put you off. “I see the concerts as a laboratory – a bit of an experiment,” says Richter. “I expect some people will try to stay up; others will sleep and I imagine most will do a bit of both. It’s a voyage of discovery. But don’t worry about not knowing the rules. There are no rules.”

Sleep: Wellcome Collection, London, 26 September, midnight. Live broadcast, BBC Radio 3. It is part of Why Music?, a weekend of talks and concerts. http://wellcomecollection.org/exhibitions/why-music One-hour album is out now on DG; eight-hour version will be available as a digital download.