The Music Workshop Company Blog 

Each month the Music Workshop Company publishes two blogs. One blog, written by the MWC team addresses a key issue in Music Education or gives information about a particular genre or period of music. The other blog is written by a guest writer, highlighting good practice or key events in Music Education. We hope you enjoy reading the blogs. 
 
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To contribute as a guest writer please email Maria@music-workshop.co.uk 
A stage with empty seating for an orchestra
Picture by Rui Alves, Unsplash 
The last few years have been a challenging time for arts education in the UK. As educational institutions have struggled with rising costs and funding decreases, we have seen a series of decisions to cut back university music education across the country. 
 
And while most of these cuts have affected courses for post-18 students, junior departments have not been immune. This summer, young musicians hoping to attend weekend courses at the Royal Welsh College of Music & Drama were disappointed to learn of the closure of this provision. 
 
We explore what has been happening in the sector, the reasons behind these closures, and – with a new government in place – what the future may hold for music in higher education. 
Sérgio Mendes plays piano
Sérgio Mendes as a young man in 1968 (Public domain/Arquivo Nacional Collection) 
The Brazilian composer Sérgio Mendes has achieved major success both in the US, where most of his albums have been recorded, and around the world. The Grammy Award winner is notable for brining bossa nova to global audiences, and for having collaborated with a wide range of musicians spanning multiple genres over the years. We explore Mendes’ career, from his beginnings in the jazz clubs of Rio de Janeiro to his more recent musical partnerships. 
 
Our activity this month focuses on Fanfarra (Cabua-Le-Le), a piece recommended in the Model Music Curriculum for Years 1-6. 
George Walker had a long, prolific composing career, was a respected teacher and was the first Black composer to win the Pulitzer Prize for Music alongside many other accolades.  
 
As a composer, he drew from a wide range of influences, and he made a huge impression on the music world, in spite of the racism that he experienced throughout his career. 
 
We explore his life and works, and suggest an activity inspired by his best-known composition, ‘Lyric for Strings’, which is recommended by the Model Music Curriculum for Year 4 and above. 
 
 
Image: Composer George Theophilus Walker at the piano, early 1940s. Source unknown. 
 
Each year, the Sharjah Children’s Reading Festival takes place in Sharjah in the United Arab Emirates. The event features book seller and publisher stands as well as a range of activities and talks for children, families and parents spanning all types of culture, from music to animation. This year, the Music Workshop Company’s Artistic Director, Maria Thomas, was there delivering music workshops. In this post, she reflects on her experience of the festival. 
 
Image: Maria prepares to deliver a workshop at the festival's School of Talents. 
Handel wrote ‘Zadock the Priest’ for the Coronation of George II in 1727. The work has been performed at the coronation of every British monarch since this date, most recently at the Coronation of King Charles III and Camilla on 6th May 2023. 
 
The work is recommended for Year 4 and above in the Model Music Curriculum. Our activities inspired by the work explore how to create drama and anticipation in music. 
For this guest blog we hear from drama teacher Sam Marsden, who reflects on the broader benefits of introducing drama games into lessons of all kinds. The activities Sam uses in her teaching can offer a powerful new way for young people to tap into their creativity, build confidence and more – all of which also play an important role in the wider performing arts. Here, Sam highlights some of the benefits of adding some drama to your classes, and shares three activities that teachers could try for themselves with their students. 
 
 
Image: Sam Marsden; credit: Rosalind Hobley 

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