# data[].attributes.attachment_link.description
Want to hear a choir sing your music? If you’re in years 7-13 as of September 2024, we’re offering you the opportunity to write your own Christmas carol for choir with the help of feedback from professional composers. The winning carol will be performed by Granta Chorale in concert and the winner will receive a cash prize of £150.

# data[].attributes.attachment_link.description
Saffron Hall is an award-winning 740-seat performance space built in the grounds of Saffron Walden County High School.

# data[].attributes.attachment_link.description
The world’s greatest classical music festival - stunning performances and collaborations.

# data[].attributes.body
The fact that people don't remember angular melodies has led to melody as we know it evolving to be mainly conjunct.

# data[].attributes.attachment_link.readable_text
New research shows how biological and cognitive constraints in our capacity to create music shape the way music evolves over time. The results, due to be published today [22 March] in the journal Current Biology, offer new insights into the complex interplay between biology, culture, and music evolution.

The research team made up of scientists from the University of Oxford, the University of Cambridge, and the Max Planck Institute for Empirical Aesthetics, used singing experiments to perform the largest ever cultural transmission study on the evolution of music.

Dr Manuel Anglada-Tort, Lecturer at the University of Oxford said: 'Singing is a universal mode of musical communication, practiced by all cultures and ages, even in infants. For most of our history, oral transmission was the main mechanism by which songs were passed down human generations.

'We believe that cross-cultural commonalities and diversities in human song emerged from this transmission process, but thus far it has been difficult to test how oral transmission shapes music evolution.'
The research team developed a novel method to simulate the evolution of music with singing experiments, where sung melodies are passed from one singer to the next. Over time, participants make errors in their efforts to replicate the melodies that they hear, gradually shaping the evolution of music in systematic ways. This approach allowed the researchers to study music evolution in unprecedented detail, quantifying the evolution of 3,424 melodies transmitted across 1,797 participants in the USA and India.

'This work demonstrates the benefits of combining large-scale online data collection with innovative psychological paradigms to explore cultural transmission processes in unprecedented detail.' Dr Anglada-Tort continues.

They found that oral transmission has profound effects on music evolution, revealing the emergence of musical structures that are consistent with widespread musical features observed across world cultures. In several controlled experiments, the researchers found that this happens because as humans, we are limited by our capacity to produce and process music. For example, musical elements that are difficult to sing such as large pitch intervals or to remember such as unfamiliar melodies, are consistently less likely to survive the transmission process.

Despite the infinite patterns in which music could be combined, these results show that in practice, 'human transmission biases' shape vocal music towards those structures that are easier to learn and transmit. This suggests that biological and cognitive constraints in our capacity to create music are an important bottleneck for evolution by oral transmission. It is possible that similar constraints played a role in shaping the evolution of music by early humans.

The researchers also found that cultural transmission - the process by which music is passed down from one person to the next - can amplify shared biases, making certain musical structures more popular and widespread over time. These results provide a new understanding of how cross-cultural differences and similarities in human song can emerge via cultural transmission. The implications of this study may extend beyond music to other behaviours that result from cultural transmission, such as bird song, human language, or social norms.

# data[].attributes.attachment_link.title
New research shows how cultural transmission shapes the evolution of

# data[].attributes.attachment_link.description
New research shows how biological and cognitive constraints in our capacity to create music shape the way music evolves over time. The results, due to be published today [22 March] in the journal Current Biology, offer new insights into the complex interplay between biology, culture, and music evolution.

# data[].attributes.headline
Psycho analysis from the London Symphony Orchestra

# data[].attributes.subject
Psycho analysis from the London Symphony Orchestra

# data[].attributes.attachment_link.title
PSYCHO - Bernard Herrmann's score explored for A-level music students

# data[].attributes.body
Some incredible concerts. Opportunities for wider exploration of composers beyond set works are too numerous to list! Take a look!

# data[].attributes.attachment_link.description
The return of the BBC Proms brings the UK together in celebration of classical music with eight weeks of concerts here at the Hall. Explore the season now.

# data[].attributes.headline
Simon Rattle (conductor) makes a speech...

# data[].attributes.subject
Simon Rattle (conductor) makes a speech...

# data[].attributes.attachment_link.readable_text
Ladies and gentlemen,

I have a lot to say about what is happening in classical music in this country - as does anyone in our profession right now.

But please don't look so alarmed! I'm not going to bludgeon you with it. I hope that our most eloquent communication can be through music; but just allow me five minutes.

More than 40 years ago, I had an unforgettable conversation with the wonderful and much missed stage and opera director, Sir Peter Hall when we were working together in Glyndebourne. He was, in this time in the Thatcher years, running the National Theatre, and was very much someone who was defending the whole cultural sector.

We sat and had lunch and I said, "Peter, it's a cheeky question, but it seems like every month the Prime Minister is attacking you from the Commons. So how does that feel?" He says, "Well, to be honest, Simon, it doesn't feel wonderful, but someone has to do it." And then Peter looked and did his most charming smile with the most mischievous, twinkle in his eyes, and said, "Guess what, it will be your turn next."

And so, thank you, Peter, you probably say this much better than I do. But there we are.

The last few months have been devastating for our sector. After the Arts Council's swingeing cuts in November, which have affected all of us and left some extraordinary groups fighting for their lives, we were all stopped in our tracks by the proposed vandalism by the BBC, of which the closure of the BBC singers was only the tip of the iceberg.

There's a kind of dishonesty at the heart of many of the decisions. George Orwell will recognise the language: 'Refresh the administration' and 'reimagine the art form'

When the two largest supporters of classical music in this country cut away at the flesh of our culture in this way, it means that the direction of travel has become deeply alarming. It's clear we are facing a long-term fight for existence and we cannot just quietly acquiesce to the dismantling or dismembering of so many important companies.

There is nobody here tonight, even musicians, who do not recognise the enormous challenges faced by the world at present and in this country in particular, where people are struggling even to feed and heat themselves. But none of this is a force majeure. It is rooted in political choices. And we do have to ask ourselves, when we are hopefully the other side of this, what kind of country we want to live in?

I, for one, am hoping that classical music will still be able to flourish - of course the musicians here have had no choice but to become past masters of doing more with less. But the closeness to the edge means that as support is constantly cut, there is no more room to manoeuvre, and inevitably organisations will start to fail. And as other political decisions affect music in schools and then music colleges, the vital organic pipeline that feeds our music will start to run dry.

We understand that this is a time of belt-tightening and that change is inevitable. We could help, if we were ever asked or consulted: classical music is still a very fragile, interconnected ecosystem, and we know about adapting it without damaging any of the vital functions along the way. This is frankly not true of many of the people who are currently making decisions without any coherent plan. Of course, they are also in a difficult situation, as the government has slashed their financial possibilities, political choice.

But there's a kind of dishonesty at the heart of many of the decisions. George Orwell will recognise the language: "Refresh the administration" and "reimagine the art form". They are two bits of "newsspeak" which mean the opposite of the actual words, but you can all choose your own personal idiocies.

'If you actually want opera to be experienced in more parts of the country, it is ludicrous to cut the grants of the companies who do exactly that.' Lydia Teuscher (Susanna) and Vito Priante (Figaro) in by Glyndebourne festival opera's touring production of Le Nozze Di Figaro. Photograph: Tristram Kenton/The Guardian

Anyone with knowledge of how an orchestra actually functions will know you can't reduce the membership by 20% by natural wastage or in any other means - it is then no longer an orchestra and also all the years of building up a team expertise have gone out of the window. This should not need explaining.

If you actually want opera to be experienced in more parts of the country, it is ludicrous to cut the grants of the companies who do exactly that. This should not need explaining. And by the way, without an orchestra or chorus you no longer have an opera company - these are not things that can just be reassembled later, or bought in from Ikea. Or not yet at least. This should not need explaining.

So many of the problems are rooted in a political ignorance of what this art form entails, and more worryingly, there seems to be a stubborn pride in the ignorance.

Up and down the country, the situation is similar. What we hope is that over the next weeks and months, many more of these stories will be told.

We are in a fight, and we need to ensure that classical music remains part of the beating heart of our country, of our country and of our culture.

# data[].attributes.attachment_link.title
'We are facing a long-term fight for existence. The flesh of culture is being cut away' - Simon Rattle on the crisis facing UK's classical music

# data[].attributes.attachment_link.description
Ladies and gentlemen, I have a lot to say about what is happening in classical music in this country - as does anyone in our profession right now. But please don't look so alarmed! I'm not going to bludgeon you with it.

# data[].attributes.body
Humans are musical animals four million years in the making, explained by music expert Michael Spitzer.

# data[].attributes.attachment_link.description
The oldest record of notated music, the Hurrian "Hymn to Nikkal," is more than 3,000 years old. But in a sense, our relationship with music is far more ancient than that.

# data[].attributes.body
*** FREE WEBINAR - STRAVINSKY: THE RITE OF SPRING *** We are thrilled to be hosting Steven Berryman in conversation with Jonathan Cross, taking an analytical look at Stravinsky's iconic work The Rite of Spring as part of our Hibbins Series on Tuesday 21st March at 5:00pm. Steven and Jonathan will be delving in the history and context of the work, looking at the inspiration behind some of the key motifs, analysing excerpts from the original score and providing suggestions for further listening. This webinar is FREE to join and open to both teachers and pupils, and a must watch for anyone studying The Rite of Spring as one of their set works. REGISTER FOR YOUR FREE PLACE HERE: https://us06web.zoom.us/webinar/register/2816787909529/WN_rFdBp926TEi7Wai5RqO3zg Please note the live session is open to all; the recording will be available for those that register for 7 days, after which the recording will be housed in the members' only area of the MTA website. If you're not yet a member, you can join on musicteachers.org and have full access to our full back catalogue of CPD recordings.

# data[].attributes.attachment_link.title
Welcome! You are invited to join a webinar: The Hibbins Series: Stravinsky: The Rite of Spring. After registering, you will receive a confirmation email about joining the webinar.

# data[].attributes.attachment_link.description
Join us as Steven Berryman is in conversation with Professor Jonathan Cross, taking an analytical look at The Rite of Spring as the latest instalment of our Hibbins Series. Based at Oxford University, Jonathan is Professor of Musicology, and a Student and Tutor in Music at Christ Church College.

# data[].attributes.body
Popular Music and Jazz (1st April 2023)

# data[].attributes.attachment_link.readable_text
What's On Programme details

Programme Details

Close

Performers

Len Phillips Swing Orchestra

Joe Pettitt

musical director

Running Time

To be confirmed

View more

Joanna Eden hosts an enchanting and absorbing concert celebrating Jazz legend Ella Fitzgerald.

Ella Fitzgerald's almost 60 year career spanned huge pinnacles of 20th Century jazz; there's no better person to guide us from Big Band to bebop and beyond! Through Ella's life story, Joanna Eden hosts an enchanting and informative concert; sharing music from a dynasty of jazz stars from Armstrong to Ellington, Gershwin to Jobim, Dizzy to Bird.

Joanna Eden is a singer, pianist, songwriter, vocal coach and "a life-long student of Ella!" Her student Sam Smith calls her simply "the reason I sing".

The Len Phillips Swing Orchestra, under the direction of Joe Pettitt, is a favourite on BBC Radio 2 and Sky Arts. Guest virtuosi saxophonist Tony Kofi and trumpeter Enrico Tomasso boast 10 British Jazz Awards between them!

Shuttle Bus

Our free minibus service between Audley End Station and Saffron Hall will not be in operation for this event.

More info

Age Guidance

This event is not recommended for children under 7 years old.

# data[].attributes.attachment_link.title
Joanna Eden presents Ella & Beyond: Big Band to Bebop - What's On - Saffron Hall

# data[].attributes.attachment_link.description
What's On Programme details Close Len Phillips Swing Orchestra Joe Pettitt musical director To be confirmed View more Joanna Eden hosts an enchanting and absorbing concert celebrating Jazz legend Ella Fitzgerald. Ella Fitzgerald's almost 60 year career spanned huge pinnacles of 20th Century jazz; there's no better person to guide us from Big Band to bebop and beyond!

# data[].attributes.body
A free online taster session for Y12 and Y13 students who are interested in finding out more about what it's like to study Music at university.  The taster lecture topic is: Pleasure and Repetition in Popular Music, this will be followed by Q&A with current Music students.  Book places directly via the link. (for this type of event they don't take group bookings).

# data[].attributes.attachment_link.readable_text
This online taster session will give you an insight into what it's like to study Music at university. You'll have the chance to hear from our Music academics, participate in a taster lecture and engage with current Music undergraduates.

Pleasure and Repetition in Popular Music

Pleasure and Repetition in Popular Music - Popular music, it's so repetitive. In this session we'll discuss appreciation of an often lambasted feature of popular music: its repetitiveness. We'll consider repetitive song structures, repetitive listening and repetitive beats with a particular focus on theories that attempt to explain why we often find such things to be pleasurable.

Register your interest

To hear about future sessions, please register your interest and we'll send you information about upcoming dates.
Register your interest
Contact us

For informal enquiries please email tasterdays@sheffield.ac.uk

# data[].attributes.attachment_link.description
This online taster session will give you an insight into what it's like to study Music at university. You'll have the chance to hear from our Music academics, participate in a taster lecture and engage with current Music undergraduates.

# data[].attributes.headline
How can music help us to address the climate crisis?

# data[].attributes.subject
How can music help us to address the climate crisis?

# data[].attributes.attachment_link.readable_text
We believe playing in a group with others is at the heart of developing young musicians. Our objective is to provide aspiring musicians of all abilities and backgrounds, exceptional and inspirational ensemble activities which foster musical and technical development, open new musical landscapes and create quality performance opportunities of all kinds.

The Cambridgeshire County Youth Orchestra and Chamber Ensembles (including Woodwind, Brass, Strings and Percussion) offers a combination of ensemble and orchestral experience on a weekly basis in term time for those playing their orchestral instruments at Grade 6 standard and above.

Throughout the term, our team of tutors work with students to explore a variety of repertoire and embark on a collaborative creative projects as well to allowing students to explore composition and improvisation within a group context.

If you are a Grade 6-8 instrumental player who is interested in joining the orchestra, sign up in via your Cambridgeshire Music account or click the purple button below.

Cost and Membership Options

Option 1: Join our NEW Music Academy - for more information, visit the Academy page!

Option 2: Weekly Ensemble Attendance and End of Term Course - £89 per term

Option 3: End of Term Course ONLY - £79 per term.

Repertoire
During the Spring and Summer Terms we will be preparing for our big Summer Concert which will be an open-air Prom featuring traditional 'Last Night' pieces including 'Pomp and Circumstance March No.1' by Edward Elgar, 'Fantasia on British Sea Songs' by Sir Henry Wood and 'Jerusalem'. In the Spring Term we will also be celebrating the coronation of King Charles III with music from the coronations of previous monarchs including the majestic 'Crown Imperial' by Sir William Walton, written in 1937 for the coronation of King George VI.

Sign Up Here!
SPRING TERM - Saturdays 11am -12:30pm
HALF TERM

1st & 2nd April - County Youth Orchestra and Chamber Ensembles Informal Concert

SUMMER TERM - Saturdays 11am -12:30pm

HALF TERM

Exam Period Break for Stage 3 Academy & Cambridgeshire County Youth Orchestra Players
24th June
1st July
8th & 9th July - Weekend Course at Cambridgeshire Music, Histon - 10am -4:30pm
15th July - Last Night of the Proms Concert - Histon Manor - Times TBC

Cambridgeshire Music
New School Road
Histon
CB24 9LL

0345 045 1371

# data[].attributes.attachment_link.title
Cambridgeshire County Youth Orchestra and Chamber Ensembles

# data[].attributes.attachment_link.description
We believe playing in a group with others is at the heart of developing young musicians. Our objective is to provide aspiring musicians of all abilities and backgrounds, exceptional and inspirational ensemble activities which foster musical and technical development, open new musical landscapes and create quality performance opportunities of all kinds.

# data[].attributes.attachment_link.description
Web site dedicated to the study of Music Theory. Articles, reference, interactive exercises.

# data[].attributes.attachment_link.title
Debussy Estampes Explained: A-Level Seminar

# data[].attributes.body
Instrumental (Chamber) Music
(26th March 2023)

# data[].attributes.attachment_link.readable_text
What's On Programme details

Programme Details

Close

Performers

Alex Redington & Ying Xue

violins

Programme

Ludwig Van Beethoven

Quartet in G Op.18/2

Alban Berg

String Quartet Op.3

Bedřich Smetana

String Quartet No.1 'From my life'

Running Time

To be confirmed

View more

The Doric String Quartet showcases the sheer breadth of the string quartet repertoire in this scintillating programme.

This renowned String Quartet present an unmissable meeting; there's youthful Beethoven and innovative Berg, as well as Smetana's deeply personal quartet, 'From My Life'. Acclaimed for its intimate yet vibrant interpretations, the quartet has been praised in The Sunday Times as "... flamboyant when called for, but not otherwise ... ensemble impeccable - a true togetherness... One marvellous utterance followed by another".

Shuttle Bus

Our free wheelchair accessible minibus service between Audley End Station and Saffron Hall will be in operation for this event.

More info

Event information

There will be an interval reception for Saffron Hall Gold members and above.

This event is not recommended for children under 7 years old.

Supporters

Supported by two anonymous donors

# data[].attributes.attachment_link.title
Doric String Quartet - What's On - Saffron Hall

# data[].attributes.attachment_link.description
What's On Programme details Close Alex Redington & Ying Xue violins Ludwig Van Beethoven Quartet in G Op.18/2 Alban Berg String Quartet Op.3 Bedřich Smetana String Quartet No.1 'From my life' To be confirmed View more The Doric String Quartet showcases the sheer breadth of the string quartet repertoire in this scintillating programme.

# data[].attributes.body
Some of the set works have a great level of depth in them - others not so much! It also links to the exam board notes

# data[].attributes.attachment_link.description
To help with revision for Edexcel AS and A-Level Music, both old and new specifications. Click on the relevant blog post below to find revision notes/sample essay titles.

# data[].attributes.attachment_link.readable_text
Acclaimed for the originality of all his concert programmes and the depth of his interpretations, Patrick Hemmerlé is a French pianist living in England. His vast repertoire encompasses a large body of works,including the 24 Chopin Etudes and the 48 Bach Prelude and Fugues, which he often plays in concert. He is also a strong advocate of the music by lesser-known composers, whom he often introduces to the public, either in concert, in CDs, or on his youtube channel.

Recent engagements have taken him to New York, Berlin, Paris, Vienna, and Prague, and China, as well as many festivals and music societies in England.

Patrick has published 5 CDs, which have been well received by the international press.

His latest recording project, to be issued in 2023 is a pairing of Bach's Well Tempered Clavier and Fischer's Ariadne Musica.

His musicological knowledge, and his capacity to clarify complex musical concepts means he is in demand as a lecturer. He has given talks for Cambridge University. Since 2021, he is the artistic director of Clare Hall's Intimate Engagements series.

Patrick is laureate of international competitions of Valencia, Toledo, Epinal, Grosseto, and CFRPM in Paris.

He was trained in Paris at the Conservatoire (CNR), under the tuition of Billy Eidi. He has also had lessons with Graham Scott,Ventsislav Yankoff, Eric Heidsieck and Joaquin Soriano.

# data[].attributes.attachment_link.description
Acclaimed for the originality of all his concert programmes and the depth of his interpretations, Patrick Hemmerlé is a French pianist living in England. His vast repertoire encompasses a large body of works, including the 24 Chopin Etudes and the 48 Bach Prelude and Fugues, which he often plays in concert.

# data[].attributes.attachment_link.readable_text
Tom Service takes a journey through the beguiling music of Kaija Saariaho, from her operas exploring the big human themes to sensuous orchestral and instrumental works.

Tom Service takes an introductory journey through the beguiling sound world of Kaija Saariaho.

Finnish-born, Paris-based Saariaho's music, at once dark and dazzling, immediate and sensual, has ensured her position as one of the world's leading living composers. From operas which explore the big human themes, to orchestral and instrumental works which fuse electronic and acoustic sounds, her voice is completely distinctive and instantly recognisable, a triumph of extraordinary imagination and determination over an unpromising family background.

David Papp (producer)

# data[].attributes.attachment_link.title
BBC Radio 3 - The Listening Service, The music of Kaija Saariaho

# data[].attributes.attachment_link.description
Tom Service takes a journey through the beguiling music of Kaija Saariaho, from her operas exploring the big human themes to sensuous orchestral and instrumental works. Tom Service takes an introductory journey through the beguiling sound world of Kaija Saariaho.

# data[].attributes.attachment_link.title
Harmonising a Bach Chorale - Writing Four-Part Harmony

# data[].attributes.attachment_link.title
Tom Pankhurst’s ChoraleGUIDE: Bach Chorale harmonisation

# data[].attributes.attachment_link.description
ChoraleGUIDE is a resource for learning about writing four-part harmony in the style of J.S. Bach’s chorales