In this edition of the Sampler, my aim is to provide some context and food for thought on music education…
Welcome to the October edition of The Sampler. This month’s guest editor is Judith Robinson, Sound and Music’s Head of Education. Judith studied music at City University, specialising in performance and music psychology, and gaining a BSc and an MA. She has extensive experience of working in music education settings over the last 25 years, during which she has taught in primary and special needs schools, and devised and delivered education programmes for leading UK arts organisations including the Philharmonia Orchestra, Southbank Centre and Drake Music. In her current role at Sound and Music, Judith is a Head of Education.
In my role at Sound and Music as Head of Education, I have the privilege of meeting a huge number of composers and artists, many of whom are talented and committed educators too. I also come into contact with inspirational, committed teachers who go beyond the call of duty to support children and young people to be creative musicians. And of course, I get to meet lots of talented and creative children and young people who love to make their own music. A question that really interests (and worries) me is about those children and young people who don’t have opportunities to create and compose their own music. Who are they and what music would they like to make? How can we support them and those that work with them?
In a world where our young people are under such immense pressure to conform and achieve within very narrow, academically-defined boundaries, it is essential that there are opportunities for all regardless of their circumstances, to reach their full creative potential. Through creating and composing music, children and young people can develop their musical voice and gain agency. Not only does this have enormous benefit for their mental health, self-identify and cognitive skills, by ensuring that children and young people reach their full creative potential, we ensure the future of music itself.
October’s editorial content from Judith Robinson: