After a turbulent 2011, the British music industry is looking ahead to a positive 2012 and according to Paul McManus, chief executive of the Music Industries Association (MIA), there is a lot to work towards in the coming months.

Two of the biggest aspects of 2012 will be regarding music education and the Live Music Bill.

For the latter, the Bill is just moments away from becoming law, as it now waits for the final stage of Royal Assent, a date of which has not yet been set.

When it becomes an Act of Parliament, small gigs will no longer be subject to the 2003 Licensing Act, meaning that more musicians, particularly those starting out, will be able to play in more venues.

Currently, venues such as pubs face huge fines if they allow live music without a licence but this could completely transform and strengthen the British music scene.

Elsewhere, the National Plan for Music Education, which was published last November, will be brought in this year.

Writing for Mi-Pro.co.uk, Mr McManus noted that the MIA has lobbied hard on the “critical importance of children continuing to have a statutory right to learn a musical instrument at school”.

Related to this, he added that 2012 will mark a huge transition as the Local Authority Music Services become new music hubs as part of the National Plan for Music Education. They will see regions apply for funding to become hubs and offer music services inside and outside of schools.

In the government’s plans it states that every child will have the opportunity to play a musical instrument and Mr McManus explained that the MIA is working closely with the Department for Education to ensure that purchasing of new instruments is being done cost-effectively.

Away from the education sphere, the exec said that the MIA will this year be working to secure government grants to help manufacturers exhibit at major overseas trade shows, support music events like Next Brit Thing and monitor US and EU law on the sourcing of woods for musical instruments.

How will the Live Music Bill effect you? Will you be able to play and attend more local gigs and shows?

What are your thoughts on the National Plan for Music Education?

David Blunkett has called the government “dishonest” for claiming that its music education review offers more while it actually includes cuts of £16 million.

The former education secretary under the Labour government hit out at the National Plan for Music Education, which was published in November, and criticised the lack of places for music students at higher education institutions.

He even called on high profile musicians to speak out against the proposals.

When it was published last year, the government’s music education plan pledged to give every child in England the opportunity to learn a musical instrument through the creation of new ‘hubs’ across the country.

The Department for Education (DfE) said that funding for music education would be £111.6 million in 2011-12.

However, the plan was met with scepticism by many musicians and teachers as the funding is actually a cut of £16 million, or 12.5 per cent in the past year.

This means that there will also be fewer government-funded places for postgraduate certificate of education (PGCE) courses in music, Mr Blunkett recently highlighted.

He cited figures which show that in 2010-11, there were 555 government-funded courses in music teaching but in 2011-12 there are just 315.

“To claim more, while offering less, is dishonest and the kind of politics which reinforces cynicism amongst the public,” Mr Blunkett said.

“Government cuts, coupled with the near demolition of the role of local government in music education, is reversing both the progress made and the equality of treatment which has been achieved.”

He claimed the cutbacks would “undermine the life chances of youngsters, not merely in accessing the wonderful creative opportunity and use of talent but also the spin-off effect of music teaching of attainment in other key subject areas”.

In defence of the proposals, a spokesman from the DfE told the Huffington Post that funding has been withdrawn for one-off projects, while long-term external funding has been allocated to schemes such as Sing Up.

He added that the figures do not “tell the full story” and called the existing system “complex and totally inefficient”.

What is your view on the National Plan for Music Education? Will it improve or worsen music education in the UK?

Stradivarius violins are some of the most famous and expensive instruments in the world.

In late 2011, ABRSM and Pure Solo ran a competition offering one lucky, and highly talented violinist a once-in-a-lifetime chance to play one of these multi-million pound instruments.

Laura Ayoub was the winner who headed to Sound West Studios in London to get her hands on the 300 year old violin.

Check out the video below of her amazing day!

As Laura put the £4 million Stradivarius through its paces with V. Monti’s Czardas and the theme to Schindler’s List, little did she know that Nicola Benedetti was waiting in the wings to impart some knowledge and offer a one-off opporunity to duet with the world famous musician. Afterwards, she was full of praise for the compeition winner:

“I was thrilled to meet Laura Ayoub. She is a talented, wonderful young musician and it was thrilling for both of us to talk about technique and repertoire and share our experiences of studying the violin. I was extremely impressed with her commitment, hard work and dedication to violin and I wish her the best of luck for the future.”

What would you do to get your hands on such a wonderful violin? If not a Stradivarius, what would be your dream instrument? What would be the first thing you played on it?

Bjork is to become a music teacher for a short while this month in her latest experiment.

She will take up a three-week residency at the New York Hall of Science involving interactive science and music workshops for middle school children in the local area.

At the same time, she will bring her Biophilia show to the venue for ten nights and four performances at the Roseland Ballroom.

The idea has come about from her latest album, Biophilia. On its release last year, Bjork launched an iTunes app that allowed users to play with the components of the music, and she will take the project to school children as a new way of thinking about and accessing music.

According to the event organisers, the workshops will help students study the “scientific concepts at the core of Biophilia’s songs, including crystalline structures, lunar phases, viruses, and more”.

Children will also use the app as a tool for music composition and learn how musicology relates to nature.

Speaking to the Wall Street Journal, Bjork said that the concept stems from her dream to open up a music school and revealed she is “a frustrated music teacher”.

“The whole idea is to take music education out of a bookish, academic thing and into a more physical, tactile experience,” she explained.

If it is successful, Bjork could take her project to other cities around the world. Indeed, after introducing it to schools in Reykjavik, Iceland, the city chose to implement the Biophilia educational project in the school curriculum for the next three years.

It first premiered in the UK during the Manchester International Festival last year and a version of the programme will tour major European festivals this year, including Roskilde, Oyez, and the iTunes Festival in London.

Bjork’s Biophilia show will be an audio-visual experience and use a series of unique musical instruments, including four ten-foot pendulum-harps, a MIDI-controlled pipe organ celeste with gamelan bars, and twin musical Tesla coils. A 24-piece Icelandic female choir will also take part.

The ukulele now rivals the recorder as the school classroom’s musical instrument of choice. With its small size, perfect for little hands, kids can strum along to their favourite songs, tunes and melodies, taking their first steps along the path to understanding and playing music.

As exciting as it is to hear that your child wants to learn to play an instrument, finding the right ukulele, just as with buying any other first instrument for your child, can be an intimidating and confusing experience for parents.

It needn’t be. Below are the key problems and questions raised by parents when confronted with buying a ukulele, and the jargon-busting answers and suggestions to aid them in making the right choice for their child.

“A ukulele? What exactly should I be looking for?”

As with many other families of instruments, ukuleles come in a variety of sizes. If you find yourself presented with a variety of types and terms, worry not. The soprano ukulele is what you’re looking for.

The soprano is the smallest of the ukuleles and is the instrument people generally refer to when they talk about ‘ukuleles’. At the lower end of the market, it is usually safe to assume the instruments you’re browsing are sopranos unless otherwise stated.

The ukulele comes in a variety of body shapes, the most common being the standard ‘figure-eight’ design and the rounded traditional ‘pineapple’ body type. More exotic ukulele designs can increasingly be found to imitate classic guitar shapes such as the ‘flying V’. These can be fun for aspiring little rockstars and guitarists who care about how their uke looks.

For beginners, the body shape of the ukulele is largely down to the tastes, preference and comfort of you and your child. Many companies also produce themed ukes featuring famous cartoon characters in a variety of colours, styles and body shapes.

“How much should I pay?”

Thanks to its resurgent popularity and low-cost imports, good quality budget ukuleles are now widely available. In fact, one of the positives of taking up the ukulele is that you needn’t break the bank for a good model.

Between £20 and £30 is a good ballpark figure for a basic beginner uke, with brands such as Pure Tone, Mahalo, Ashton and Lazy offering excellent starter instruments at affordable prices.

Beginner packages are also available, matching quality starter ukuleles with useful accessories such as a carry bag and pitchpipe tuner. These can usually be found priced between £25 and £35.

For more confident young musicians who have perhaps already grasped the basics of music through playing other instruments, it may be worth considering expanding your search above the £30 mark. A good starter uke will see beginners through their first couple of years but higher quality instruments can prove to be a good investment for youngsters who tend to progress quickly.

“How can I check the quality of the instrument?”

Try to find a ukulele with good tuning pegs (the four little screws that stick out of the ukulele at the top of the neck). ‘Geared tuners’ are preferable in cheaper models as they tend to stay more intune for longer compared to rear-mounted friction tuning pegs. Geared tuners can be identified due to their side-mounting on the ukulele’s head, two-a-side.

Where possible, try before you buy in a dedicated music shop. You needn’t be able to play a piece or know a song, just strum the ukulele and listen to how it sounds. Compare it to other ukes of different shapes, brands and price, especially if you’re fortunate to live locally to a specialist ukulele stockist.

If when you strum the uke you hear buzzing, find it difficult to make a consistent sound or it can’t be kept to stay in tune, either ask the shopkeeper to adjust the instrument or move on and try another. Also make sure to check the ‘action’, the distance between the string and the fret board, which may need to be adjusted. A bad action can make a ukulele difficult to play, but should be easily adjustable by a music shop staff member.

Don’t forget to check for any scrapes, dents, repair marks or wear and tear. Damage or weaknesses can affect the tone and build strength of any instrument.

Last but not least, never be afraid to ask questions or seek advice. A good shop will always be prepared to offer good, honest information and guidance on your purchase.

“Can a ukulele be too cheap? Do brand names matter?”

In recent years, with the ukulele enjoying an upsurge in popularity, cheap versions have begun to appear as toys and novelty presents, advertised for far less than you’d see in a music store.

Whilst their availability and prices can be enticing, these ukes rarely make for good musical instruments and could hinder your child’s enjoyment and progress. After all, it can be a frustrating experience learning to play on an instrument that won’t stay in tune or produce the notes you expect.

As always, respected music brands trade on reputations they’ve earned through years of good products, service and quality. That isn’t to say that less well known manufacturers should be avoided however! Always do your research and try to read reviews from other customers and experts to inform your browsing.

“Is it worth buying a professional or vintage instrument for my child to grow into?”

A child’s impulsive desire to take up new hobbies and experiment with novel pursuits can fade as quickly as their initial interest flared. Buying an expensive, high-end instrument to learn on is a common and costly mistake made by eager parents, and not just due to the risk of that early enthusiasm disappearing.

Kids are kids, and like any object placed in their possession, their new uke will likely suffer all sorts of training knocks and mishaps through their trial-and-error discoveries. You don’t want to ward your child off such knock-a-bout fun and progress when getting familiar with an instrument. Watching them get to grips with their playing shouldn’t feel as though you’ve caught them building a den out of priceless antique furniture and glassware.

Similarly, a long abandoned, top-of-the-range ukulele can be a deterrent against trying other potentially more successful activities in the future should their initial excitement for the uke wane.

“What accessories do I need to buy?”

The quickest and easiest way to improve the sound and playability of a new ukulele is to fit a new, good quality set of strings. Many new ukuleles, entry-level or otherwise, come with very basic strings that can hamper the instrument’s performance. A tuner is also a must buy accessory to help new starters stay in tune.

A bag, soft case or hard case is also a useful early purchase. Not only will the instrument be easier to transport and harder to damage, bags and cases often make storage easier in the home, on a shelf, under a bed or other nicely tidy and out of the way places. Stands can also be a wise investment for parents keen to keep things neat but with easy access to the instrument for their child.

As mentioned above, starter packs containing a selection of accessories in one discounted package are also available for parents looking for a one stop purchase that sets their child up for a successful start with their new ukulele.

Check out the musicroom site for a range of ukulele starter tutors, books and guides to help you and your child get the most of this great little instrument!

Music education will be retained in a statutory form on the school curriculum, according to the recommendations from the review of the National Curriculum’s Expert Panel.

It comes after music professionals, teachers and the industry lobbied the government for the subject to be kept as a core part of teaching.

However, the recommendations do add that the level of detail covered by the subject must be closely monitored, as the panel also agreed to keep other subjects including art, geography, history and ICT.

The purpose of the National Curriculum review is to slim down the number of subjects studied. Therefore, music education could be reclassified as part of the Basic Curriculum, which would leave it up to schools to decide on what content of music education they would deliver and there would be no attainment targets.

Music education will be a foundation subject at Key Stages 1-3, or for all pupils to the age of 14.

The panel adds, however, that it believes music and art should be compulsory at Key Stage 4, as a combined subject.

“Bearing in mind the influence that the EBacc [English Baccalaureate] is having on the provision of academic courses in Key Stage 4 for a larger proportion of pupils,” the review states, “we are concerned, as in primary education, that the role of art and music in a broad, balanced and effective education should not be lost.”

It added that the reason behind this is the ‘substantial evidence’ that music education benefits individuals and their communities, through pupil engagement, cognitive development and achievement in other subjects.

The Music Industries Association, which lobbied alongside other music organisations for the subject to be retained in the curriculum and form part of the Ebacc, welcomed the review.

But according to MiPro, it raised concerns about assessment formats, which the review did not address. It also highlighted the lack of music teachers available in the UK.

The Royal Opera House (ROH) is launching a two-year programme to boost teaching skills in singing.

Called Voices of the Future, the programme will provide professional development opportunities for music teachers and others who are seeking to become singing leaders or just want to gain confidence in singing teaching their colleagues and school pupils.

The programme is part of a larger professional teaching development scheme run by the ROH, planned to run until 2014.

It will be aimed at teachers working in Thurrock and Thames Gateway, where the ROH now has strong ties owing to its new building in the area, the Bob and Tamar Manoukian Production Workshop.

Training will be provided to a mix of music specialist teachers and those with a general knowledge and passion for music and singing, working with Years 5-8.

The first phase of the programme will run in Basildon, Billericay and Wickford between March 2012 and July 2013, with the help of Essex County Council.

It will involve three INSET days per year and will include training on vocal health, acting and movement, conducting a group, as well as other skills such as selecting a repertoire and promoting singing in school.

Teachers will also have the chance to work with specialist vocal leaders and work towards their own singing and teaching goals.

Participants of the programme will also be invited to take a tour of the ROH and the Thurruck site in order to gain a deeper understanding of the drama and decision-making that is required of ensemble singing.

Also seeking to develop the skills of the UK’s music teachers, it was announced earlier this month that a new workshop event will run in January in Birmingham to encourage conductors to be more charismatic. It will involve presentations, group discussions and practical exercises to help conductors address any confidence issues they have.

Children’s charity Youth Music has praised the Department for Education on its plans to create new music education hubs.

It claims that if the plans go ahead and hubs are set up across the UK, children will get a “more holistic, better joined-up and really engaging offer”.

The hubs will work, it said, from strong partnerships that have developed across the music sector over the past few years.

New hubs are just one of the ideas set out in the National Plan for Music Education, which was launched earlier this month. Youth Music largely welcomed the document, stating that it “admirably picks up and builds upon” the recommendations made in the Henley Review of Music Education.

It said the document sets out a clear vision and structure for bringing music to children across the UK.

However, the charity stressed that more work is needed to ensure that children’s individual needs for improving their music education are supported in the directions best suited for them.

“Schools will be the central focus for guaranteeing a certain level of music education provision for all or most children,” it remarked.

“For this to be really embedded and secure, we hope for a positive outcome in relation to music’s continued place within the national curriculum, and welcome the positive indications on this that the plan gives.”

Youth Music suggested that music in schools and outside in hubs will be inter-connected to provide efficient routes of progression for pupils.

Some commentators have criticised the reality of the plan as the music sector is hit with budget cuts. Youth Music noted that the plan will be a “challenge” but said the hubs should make better use of the resources available and make money go further.

The charity funds music projects, develops music programmes and gives children and young people access to music-making projects. As well as helping disadvantaged people, it also encourages music potential and improves music leadership.

The education secretary Michael Gove has said that music education in schools will be protected despite budgetary cuts and next year’s national curriculum review.

Critics have voiced their concerns that the review will push music away as core subjects are given greater prominence, but speaking to BBC Radio 3, Mr Gove reassured those in fear of a depleted music education.

“I think anyone looking at the care and dedication that has gone into the National Plan for Music would presume from that that it would be eccentric for the Department for Education not to have music enjoying a prominent place in the national curriculum,” he told presenter Tom Service.

However, he added that he “can’t pre-empt the outcome of the national curriculum review” and therefore could not confirm that some details of the Plan would not be cancelled.

The Department for Education released its National Plan for Music last week in the hope that it would be introduced by next year.

It promises to enable every child to have the chance to learn to play a musical instrument and also sets out the idea of creating hubs at local levels to deliver music education in partnership.

“The hub structure should mean that you have greater transparency over the amount of money that goes to the organisations,” he told the news provider, adding that they would also ensure comparability over how they deliver support, while some organisations might run more than one hub.

This would make sure that across the UK, there is a “levelling-up” of music services.

Mr Gove stressed that hubs will also be monitored for providing children from poorer homes sufficient access to quality tuition and that all children have access to ensemble playing.

It has also been confirmed, however, that funding for music education will reduce by £2.5 million by April and by 2014, the budget will be just £58 million, down from the current £77.5 million, suggesting that not all of the plan will come to fruition.

The Associated Board of the Royal Schools of Music (ABRSM) has welcomed the government’s new focus on making sure that teachers are fully trained in delivering music education.

As part of the government’s National Plan for Music Education, it outlines plans to create a new music teaching module to be given to trainee primary teachers, giving them additional skills in music education.

It also plans to make the wider music workforce more professionalised by having a qualification by 2013, namely for peripatetic music teachers based outside schools.

ABRSM said that as teacher development is a core part of the body, it is keen to work with organisations like Arts Council England to help implement professional music teacher qualifications.

“It is vital that good instrumental and vocal teachers have the opportunity to gain professional recognition for their work,” it stated.

Other welcome points include continued support for the Music and Dance Scheme and In Harmony, which seek to bring music opportunities to lower-income pupils.

“Music has the power to enrich lives and we want to do all we can to inspire more people to participate in music and motivate them to progress and achieve,” ABRSM said.

“We hope the plan will not only deliver its goal of making music learning accessible to all children but also ensure that those who want to progress and learn have the opportunities to do so.”

The body also fully committed its support to the report’s recommendation to create a system of music education hubs. However it added: “We would urge Arts Council England to ensure that the hubs’ remit will include the monitoring of students’ progression, as well as their participation, and recommend that its work is supported and reviewed by education professionals.”

While it largely supported the plan, ABRSM did highlight its concern at significant budget cuts set to hit the industry. It therefore called for greater private funding to plug the gap over the coming years for the report’s aspirations to be fully realised.

The Greenwich International Early Music Festival is to debut the first proper sound of a viola da gamba in more than 300 years.

All recreations of the instrument have been using the wrong type of wood, it has emerged, presenting an entirely different sound to what the original would have sounded like.

Early music instrument maker Shem Mackey discovered after studying the earliest version of the viol that it was in fact made of a timber called Cedrela odorata, which today is used to make cigar boxes, the Guardian reported.

All other attempts to make modern versions of the instrument have believed the original was made out of mahogany.

“The more I looked at it, the less it looked to me like mahogany, but I thought I must be going mad. I took hundreds of photographs showing the grain in microscopic detail, and when I got back to my own workshop compared them to every piece of timber I could lay hands on,” Mr Mackey told the news provider.

It will be performed at the festival at the Old Royal Naval College in London by Ibrahim Aziz. He will play pieces by Marin Marais and Christopher Simpson that were specially composed for the instrument.

The earliest version of the seven-string viol is displayed at the Musée de la Musique in Paris. It is in pieces, although all of the sections still survive. Made in 1683, it is regarded as an important instrument in the development of French baroque music.

According to Mr Mackey, the instrument sounds like a flute when the higher notes are played. It has also been built as an exact replica to the 17th century Michel Colichon version.

Quite different from the violin family, the viola da gamba are tuned in fourths, similar to the six-string guitar.

Blackpool Music Service is to be presented with top honours at this year’s National Music Council (NMC) Local Authority Music Education Awards Scheme.

It has won the Major Trophy for its services to music education and representatives will collect their prize on November 7th at the Southbank Centre in London.

The service was set up in 2002 with the mission to improve music teaching and musical provisions in schools and within the community. It has meant that the number of musicians to receive weekly tuition has risen from 200 to 6,000. It also runs a Creative Music Making Programme every year for up to 25,000 pupils in Blackpool.

Andrew White, Music Adviser for Blackpool, said that he is “proud and elated” at the honour.

Each year the NMC recognises the achievements of other council services for their music education. Jazz Services is one of the organisations to support the awards and honours one council with its commitment to jazz education.

This year, Devon’s Music Service will be presented with the Will Michael Diploma of Special Merit for outstanding commitment to jazz education, the second year in a row in which it has received the prize. It won the Major Trophy last year.

The council-run service will also be handed a Diploma of Merit next week to recognise the work of local authority music departments.

“With ever tightening budgets, all our services are looking for ways to make a little stretch a long way, and this service is an excellent example of how well this can be achieved,” commented Councillor Christine Channon, cabinet member with responsibility for the service.

“Music is real enrichment of child’s education which equips them not only with musical skills but also with skills such as teamwork and social confidence that will be invaluable on their journey to adult life.”

East Lothian Council will receive a Diploma of Special Merit, sponsored by the PRS Foundation, for commitment to creative music making.

A campaign has been launched to save the UK’s biggest library of music scores and play scripts as councils face closing the service in April next year.

Yorkshire Libraries & Information (YLI) Music and Drama Service in Wakefield, which houses over 500,000 items of music and 90,000 copies of plays will close after 12 councils agreed to the decision, owing to a lack of funding as a result of government cuts.

The YLI argues that loans of scores has declined considerably in the first six months of the year and it has plans to move other sections of the library to a new premises, but there is no space for the Music and Drama Service.

It will likely see the collection divided up between libraries or gifted to other councils or groups.

Making Music, along with the International Association of Music Libraries, has called on musicians for support of their campaign to save what they call one of the most important public collections of music in the country.

They say it offers a valuable resource to young musicians, students and people in their professional music career.

“Many musical works will receive fewer performances; many groups will perform less; many local communities will hear less live music in performance,” Making Music claimed.

“The rule among choirs all over the country is try your local library first, then Wakefield. It will be devastating if that ceases to be the case.” Robin Osterley, chief executive of the organisation told the Guardian.

By yesterday (November 2nd), the campaign had received over 1,000 letters and emails from individuals protesting the closure.

They are also arguing that councils made the decision to close the YLI on September 30th yet only made the information known to the public on October 20th, leaving little time for a consultation and opinions to be heard.

As funding for music and art in schools is being gradually reduced, the pressure could be on youth groups to educate young people after school classes and during the holidays.

One student at the National Youth Choir, 16-year-old Kate Mason, told the Guardian: “There’s a major lack of money for music at my school. We’ve only got one music teacher and you can’t even do music GCSE. It’s just not taken seriously.

“If I didn’t come on these courses, I’d never interact with other musicians.”

The news provider has cast a light on the work that youth groups are doing to make music education flourish and highlighted the worrying trend that music in schools is in danger of being axed completely, particularly on a state level.

Creative Partnerships is just one of the schemes that have been cut. It saw musicians, actors and artists visit 2,500 schools a year.

Fears have also been raised that if schools take up the English baccalaureate, even fewer people will take music GCSE even if it is offered at their school.

Another worry is the stigma that is attached to music in state schools. Seventeen-year-old percussionist Louise Goodwin told the Guardian that the best thing about joining the National Youth Orchestra is meeting other musicians.

“At my state school, music is seen as a bit of a cop-out subject. It’s not taken seriously,” she said, while horn player Mark Harding said that before he won a scholarship to a private school, pupils at his state school would tease those taking an interest in music.

However, the increase in applications to these two youth groups is not always down to the threat of music dying out in state schools.

According to conductor Greg Beardsell from the National Youth Choir, “the government are making encouraging noises about the importance of choral provision in schools”.

Music teachers and youth groups will be eagerly awaiting a national plan for music education, which will be published by the government later this year.

Rock group Muse have donated £15,000 to support music undergraduates at Plymouth University.

The money will help students on music courses learn about music recording and develop new standards in recording skills.

Plymouth’s School of Humanities and Performing Arts will use the money to buy industry-standard equipment, including a modular analogue synthesiser and two liquid channel pre-amps. Students will also be able to gain experience using specialist orchestral and instrumental microphones.

Some of the money will also be set aside for student prizes that reward innovation on the course over the next three years, as stipulated by the band.

The university is close to where the three Muse members grew up, in Teignmouth, Devon, and they were all awarded honorary doctorates from the university in 2008.

A spokesman for the band said: “We’re delighted to provide this equipment and hope it will inspire students to go on and create great music for years to come.”

Professor David Coslett, dean of the Faculty of Arts, said on receiving the donation: “We are proud to be associated with the band, given their significant contribution to contemporary popular music and their links to the South West and the university.”

Muse, which consists of singer and guitarist Matt Bellamy, bass player Chris Wolstenholme and drummer Dominic Howard, headlined the Reading and Leeds festivals in August. The gigs were used to mark the tenth anniversary of their best-selling album Origin of Symmetry, in which they performed all 11 tracks from start to finish.

Other recent acts of philanthropy came this week by way of Coldplay, who treated fans who were queuing overnight for tickets by ordering pizzas to keep them warm from the freezing temperatures. The band are set to play at the University of East Anglia next week to just 1,200 people.

An MP has questioned the education secretary Michael Gove over the government’s plans to improve music education in schools.

Valerie Vaz, the Labour MP for Walsall South, asked Mr Gove at Commons education questions for the government to boost music by at least providing a piano in every school.

Citing Plato’s theory of education that musical training is one of the most important instruments in education, she highlighted the recent research from the Institute of Education which found that one in nine primary schools in the UK does not have a piano.

“So could he ensure that he takes steps to ensure that all the primary schools have a musical co-ordinator and, more importantly, a piano?,” she asked of Mr Gove.

He replied that a national plan for the future of music education in schools will be published by the government “shortly”, promising that it will “reform the delivery and funding of music education” and will give more children in the UK the opportunity to learn to play an instrument, to sing and to take part in an ensemble.

Earlier this month, the Institute of Education report revealed a wide gap in music education in schools, with some delivering a good programme and others very little.

Its survey showed that more than a quarter of schools had no access to tuned percussion instruments and 45 per cent of primary staff could not read music.

Many of the teachers questioned said the main reason for poor music education was down to the need to prepare children for national tests in literacy and numeracy.

Mr Gove heeded the call in the Commons, saying that Ms Vaz is “absolutely right that the wider provision not just of trained music teachers, but also of musical instruments, will ensure not just that more children have access to the greatest of all art forms, but also that more children as a result do better in every other subject as well”.

TODAY…Music For Kids has just launched a dedicated children’s music section within the musicroom website.

It has been designed to introduce young enthusiasts to music and it is specifically targeted at 2 to 10 year olds.

Have a look at the Music For Kids section when you get a mo’ and if you know of any product or publication that you can suggest or recommend from the Musicroom website that you consider ideal for young people, let us know asap.  If it’s not already selected, we’ll gladly review it and let you know the outcome. Contact john.bassett@musicsales.co.uk

Music For Kids has been created to;

1. Offer selected music and musical instruments for the parents and carers of 2 to 10 year olds
2. Assist with learning music at home or in a domestic environment. (not at school)
3. Recommend entry-level musical instruments and accessories or ‘starting to play’ tutorials for budding musos.

It would be great to add your recommendation to the chosen few.

Have a think and let us know…

A competition to find the most inspirational music teacher in the UK will name its winner at an event next month.

Music Teacher of the Year 2011 will be announced at the Music For Youth Schools Proms at the Royal Albert Hall in London on November 7th-9th.

It aims to recognise and celebrate the work of primary and secondary school music teachers who have made a difference in the lives and learning of their pupils.

Organised by Classic FM, Yamaha, Avid and Music for Youth, the awards also recognise the work of peripatetic/private music teachers and those who work with children with special needs.

There is also a Lifetime Achievement award for people who have made teaching music their life’s work.

What is so special about the awards is that the finalists, and indeed all nominated teachers, have been named by the people who have been inspired by their work, including pupils, parents and colleagues.

Winners of the five categories, which will be announced over the course of the three-day Proms, will receive musical equipment from Yamaha and music software from Avid for their schools or associated music services, all worth thousands of pounds.

The event will also see around 3,000 young musicians from all over the UK who have been inspired by the BBC Proms, which takes place over the summer, to play in the same venue at the Schools Proms. They will perform in three concerts, showcasing different styles and illustrate the music education currently being taught to young people.

It will also showcase the next generation of the UK’s musical talent.

This summer, the BBC Proms aimed to reach out to a younger generation through a series of Proms-firsts. It featured the Proms’ first turntablist, Gabriel Prokofiev, the grandson of the legendary Russian composer, in a concert performed by the National Youth Orchestra of Great Britain.

The season also hosted its first ever Comedy Proms, featuring musical comedian Tim Minchin and others.

Once you’ve got your uke, there are a couple of things to sort out: first of all, you’ll need somewhere to practise. If you choose to sit to play your uke, make sure you find a seat that allows you to keep a straight back and place your feet firmly on the floor; or a stool with a foot rail to support your feet. Frankly, you won’t need much more than the ukulele to begin playing, but there are a few accessories that might make life a bit easier.

Firstly, an electronic tuner; these are cheap and easy to use, and very accurate. Some clip on to your ukulele, and others can be put on a desk in front of you.

A music stand is another useful addition: it allows you to place your music at eye-level, and this will help to keep a comfortable posture. The height can be adjusted to let you stand or sit, as you prefer, and most stands come with little arms that will hold your songbook open at the right page.

You could also invest in a stand to keep your uke safe and prevent it from being knocked over. If you’re intending to take your ukulele out and about you might like to consider a hard case that offers excellent protection- otherwise, a padded soft case will probably be sufficient.

A spare set of strings is a good idea, although you’re unlikely to break them with normal wear. With proper technique and care, a set of strings will last a good long while.

Finally, it’s worth keeping a nail file handy – you’ll find that it’s invaluable for keeping your fingernails in shape on both hands.

TOP TIP:
If the tuning pegs on your uke are the type held in place with a small screw underneath, spend a moment ensuring that they’re finger-tight: it’ll help prevent them for slipping out of tune.

To find out more about starting up with the ukulele, get your copy of Start-Up Ukulele today.

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There is a wide gap in the music education delivered to state primary school pupils, a new report has revealed.

Research by the Institute of Education and commissioned by EMI Music Sound Foundation has found that while some primary schools deliver a good music education to children, others have no access to music specialist teachers or even an upright piano.

Examining 132 primary schools, the survey showed that 45 per cent of primary staff could not read music.

Professor Sue Hallam, author of the report, commented: “The best lessons are delivered by the music co-ordinators who are either very experienced musicians or very confident. However, almost four in ten of the heads we interviewed said they did not have a music specialist.”

Primary school teachers did find training helped in delivering music education, however, with 96 per cent saying that after receiving training music education was improved.

The availability of instruments was hugely varied from school to school. More than a quarter of teachers said they had no access to tuned percussion instruments and one in nine of those surveyed said they did not have use of a piano.

Much of the reason for some school’s lack of music education was put down to the need to prepare children for national tests in literacy and numeracy. Indeed, some pupils were found to only receive 20 minutes of music classes a week.

The survey comes after Darren Henley, managing director of Classic FM, published a report recommending that all primary pupils must have access to a music specialist and that teachers should be given more music teaching in their initial training course.

Commissioned by the government, the report has led to a national plan for music education, which will be published later this year.

EMI Music Sound Foundation is an independent music education charity to improve young peoples’ access to music education.