Women Conductors programme – Finding your voice

932a0424_37375725841_o low res

Karin Hendrickson reflects on the way the RPS Women Conductors programme is providing women a unique way to develop and share their voice.

There are some avenues of life that cause us to become soldiers for the generations that follow us. I think of the women who first marched and demonstrated so valiantly in order to gain the right to vote – I believe that they understood it wasn’t just so that their voice could be heard during their lifetime, but so that every following woman in their own lifetime could be heard, as well.

In my work as a conductor, I have a unique way of sharing my voice. In the performance, I’m the single person on stage NOT making any sound – yet through physical gesture my voice is perhaps symbolically the loudest, and the most uniquely displayed.

It’s this unique way of ‘having a voice’ that has caused the RPS Women Conductors programme to take notice of a certain disparity among the younger ranks of women. We live in a society that is incredibly vocal – your voice can be online, it can be heard, it can be read, yes – it can even be ‘seen’, and yes, it can insidiously still be silenced. And for younger women, living in a tumultuous time of peer-to-peer judgement, ever changing socio-economic systems, and growing up during a time where a phone or computer with predictive text can type your sentences for you – how do you learn to express your own creativity, your own voice, confidently, with all of these elements in play?

The workshops we run are therefore not just about conducting. We begin our workshop from the standpoint of what it is to ‘be a conductor’, but the total workshop experience is really about helping these women explore and develop their own ‘voice’ of confidence – to develop an awareness not just of what they are ‘saying’ with their vocal chords, but also how they are ‘saying’ it with their bodies, their posture, their gestures, and their face and eyes.

The workshops include many elements of physical posture and movement. We explore confidence, and how that translates to expressing who you are as an individual and a creative human being. By the end, we also will have explored physical conducting and musicianship. But the final goal is not to end up with a room of confident female conductors – the end goal is to end up with a room full of women more confident and prepared to be their unique selves.

The RPS Women Conductors programme curates a range of conducting experiences, from introducing novice female musicians to conducting, to helping full-time, professional female musicians who want to transition into conducting as a profession gain valuable experience. But our work in schools takes on another element, that of helping to develop confidence in women. We may end up with some great conductors along the way, but we’re first interested in making sure women everywhere have the confidence to be themselves, with their own voice.

This year we’re sponsoring the RPS Women Conductors programme in order to enable more women across the UK to have access to these training and development opportunities.

Written by Karin Hendrickson (Artistic Associate for the RPS Women Conductors programme) as part of RPS’s artistic partnership with ABRSM

Find out more about RPS Women Conductors

Advertisements

Marion Friend: National Youth Orchestra of Great Britain – Inspire

150px24Marion Friend MBE, former Director of Junior Trinity talks about her experience of some recent music education outreach work by the National Youth Orchestra of Great Britain.

Throughout my career in music education and arts management, I’ve been committed to helping young people reach their potential in whatever career path they choose to take. Since leaving Trinity Laban Conservatoire of Music and Dance where I was Director of Junior Trinity for nearly twelve years, I have continued observing and getting involved in a range of projects and initiatives, and would like to share the experience of a National Youth Orchestra of Great Britain Inspire project with Highbury Grove School in January 2015.

Looking for a seat to grab a quick lunch before the start of the Highbury Grove School/NYO Inspire project, I sat down in the school canteen and immediately got into conversation with three NYO violinists. They were friendly, welcoming and enthusiastic about the prospect of working with the combined Year 8 at Highbury Grove during the afternoon. I shared my enjoyment of the recent NYO concert at the Barbican Centre (John Wilson conducting an ambitious Elgar and Respighi programme) and they beamed from ear to ear. These three were personable, intelligent and motivated; this bodes well for the afternoon ahead and my energy levels have already gone up a notch.

Into the school hall next where about 200 musicians from Highbury Grove School and NYO are about to rehearse and perform a special arrangement of the John Newman tribute song ‘LoveMe Again’ by a Highbury School member of the music staff Dimitri Scarlato. The soloist is the impressive Jake, a Year 8 student. But how to organise and structure the large forces along with their instrument cases, sheet music, stands, reeds, bows and chatter? This is down to Pierce Brown, Assistant Headteacher and Director of Music, Zoe Martlew professional cellist and NYO coach, and the staff of the NYO Inspire Programme.

Zoe kicks off with some communal music games, rhythm patterns and a simple twelve bar blues that she builds effectively within the various orchestral sections. She has infectious energy. I observe NYO players with their antennae out to help with tuning and getting the young Highbury Grove players settled and content; this may be their first orchestral experience. I sense empathy ‘we know how you’re feeling – we’ve been there’.

We break into smaller groups and I eavesdrop on a flute and oboe sectional rehearsal. There are about fourteen students here and the NYO players galvanise the group with a ‘pass the note around’ game before getting into the detail of the Love Me Again arrangement. Rhythms are broken down into ‘I do eat cake’ and then the NYO team share music stands with Highbury Grove young musicians, giving a pulse, going over tricky bits and joking, whilst encouraging them ‘ you should be proud; you did great’ when they repeat difficult phrases and have made good progress in a short time. It’s a tricky piece especially for players who have only been learning for a year, so the NYO team are there with sneaky shortcuts ‘just play one note on the beat and leave out all the fast bits’. Sometimes it’s harder to count the bars than to play the notes so they help with that too. I observe some fledgling leadership skills in the NYO team who have a structure and plan, work collaboratively, keep their eye on the clock, and share the highs and lows of wind playing without a whiff of patronising language.

I ask the Highbury Grove flautists and oboists what they’ve got out of the afternoon apart from the glee of missing lessons? They were quite shy but said:

‘It’s a great experience playing with NYO’
‘They’re almost professional’
‘We get to play proper music’

What do the NYO flute and oboe team say?

‘We’re flattered by your comments’
‘It’s definitely possible to get into NYO so keep at it; most people don’t get in the first time but it’s still a great experience going to the other projects’
‘It’s something to aspire to’
‘It’s not just about the music’
‘Many don’t become professional musicians; some become doctors’
‘I’ve met so many new people including some from Scotland!’
‘Keep what you’ve learned here and build your skills’
‘Have fun and enjoy’.

This was heartening stuff and there was definitely a sense of consolidation and increased confidence when everyone returned for a full rehearsal and final informal performance. Zoe continued to enthuse ‘If you’ve got lots of notes, be flashy about it!’ The players’ concentration increased as the afternoon progressed, and I found it exhilarating to be there.

Marion Friend

Written as part of Ensemble Philharmonic