Written evidence submitted by the Incorporated
Society of Musicians
SHORT SUMMARY
— The Incorporated Society of Musicians
(ISM) is a professional association taking part in the Cultural
Olympiad, with over 5,000 members and over 100 organisations as
corporate members. [Part 1] — We are responding to the House
of Commons Culture Media and Sport Committee ("the Committee")
on the issue of securing a lasting Olympics Legacy ("the
Legacy") of the London 2012 Olympic Games ("the Games")
that improves cultural life and we believe that an effective Legacy
should benefit the following [Part 2]: — Music education.
— We wish to maximise the opportunities
engaging with music at all levels through encouraging:
— Effective coordination of opportunities
[Part 3].
— More funding of the Cultural Olympiad
[Part 4].
— A change in government policy on radio
microphones bandwidth [Part 5].
1. ABOUT THE
INCORPORATED SOCIETY
OF MUSICIANS
1.1 The Incorporated Society of Musicians
welcomes the opportunity to provide a written submission to the
Committee to assist its inquiry into the Legacy of the Games.
1.2 We welcome the decision of the Committee
to include the Cultural Olympiad in its assessment of the Legacy
and the opportunity to put forward the views of our members who
are all professional musicians.
1.3 The ISM is the UK's professional body
for musicians. We were founded in 1882 and are a wholly independent
non-profit-making organisation with over 5000 members.
1.4 The ISM has over 100 corporate members.
Our membership includes the Association of British Orchestras
(ABO), the Associated Board of the Royal Schools of Music (ABRSM)
and a large number of music associations, conservatoires and orchestras.
1.5 Without political interference or financial
imperatives we express robust and authoritative views which champion
both music and musicians. Our members come from all branches of
the profession—performers, composers, teachers, music therapists,
academics and advisers.
1.6 We serve the whole of the music profession
through our responsive staff team, many of whom trained as musicians.
As well as providing a wide range of services to our members we
also fulfil an advocacy role, promoting the art of music. We have
been highlighting concerns of members and advising parliament
and government since our founding date.
1.7 The ISM is particularly keen to respond
to the point of inquiry focussing on the aim of leaving a lasting
Legacy that improves cultural life.
1.8 We are part of the Cultural Olympiad
and will be funding new works as part of the Performing Rights
Society's (PRS) Foundation for New Music's "New Music 20x12"
project (20x12).
1.8.1 The aim of the 20x12 project is to
commission 20, 12-minute works which will be performed throughout
the UK as part of the Cultural Olympiad in 2012.
1.8.2 The aims of this project in relation
to the Legacy will be as follows:
— excellent repertoire which will be performed
long after the Olympics;
— online documentation of all performances
and project activity;
— a vibrant network of composers, performers,
music organisations, funders and patrons who will engage with
and celebrate the creative process, learning and outcomes of this
programme;
— an increased profile both for new music
across the UK and for the emerging composers involved;
— a sustainable platform for touring and
co-commissioning; and
— a patrons circle willing to consider
continued involvement in partnerships which enable new music to
flourish and grow.
1.9 Our participation in the Cultural Olympiad,
membership, and corporate membership give us unique insights into
operation of the Cultural Olympiad and the progress towards creating
a lasting Legacy that improves cultural life.
2. RECOMMENDED
AIMS OF
THE CULTURAL
OLYMPIAD
2.1 The Cultural Olympiad is an opportunity
to create a Legacy which will have cultural, educational and technological
benefits with increased attendance at and participation in music
activities. This should be a sustained increase and should be
measurable beyond 2012.
2.2 We would like to see an increase in
those learning and participating in music through the early and
school years, adulthood and the third age. This includes sustained
increases in the number of people gaining music and music technology
qualifications at Key Stage 4 (GCSE) level and at further and
higher education levels as well as in concert-going and formal
or informal music participation.
2.3 We also believe that investment in music
technology must form a central part of the Cultural Olympiad.
Music technology provides an opportunity to share the Cultural
Olympiad across the regions of the UK outside London. In addition,
appropriate use of music technology could also create opportunities
for wealth creation and workforce development.
2.3.1 The UK is a world leader in music
and music is central to the economic contribution of the creative
sector.
2.3.1.1 Creative industries grow
at least 1% more than the rest of the economy. [1] Music grew
by 4.7% from 2007 to 2008. [2]
2.3.1.2 Creative industries more
than double our investment. The contribution of music to the UK
economy reached well over £3.5 billion with the arts estimated
to put over £2 back into the economy for every £1 invested
[2]. Over 120,000 people are employed in music. [1] In addition,
consumers spent over £4 billion on music in 2000. [2]
2.3.2 Music education and effective teaching
of music technology are vital to the continuing world leadership
of the UK in music. The UK currently lacks the capability to take
full advantage of music technology even though music technology
has the ability to motivate pupils. [3] The Cultural Olympiad
gives an opportunity to put music technology at the centre of
Continuing Professional Development. We believe that there is
an opportunity to create Cultural Olympiad music technology teachers,
available to every local authority and able to provide training
and continuing professional development to the current music teacher
workforce.
2.3.3 To guarantee access to music technology
for all ages local music technology centres could also be created.
These could operate as local learning exchanges which could also
be used by schools, community musicians, adult educators and any
other music groups.
2.3.4 The ISM believes that the Legacy must
benefit areas beyond the five Olympic Boroughs, and music technology
provides just such an opportunity to have a wider impact.
2.3.4.1 The example set by the
London Symphony Orchestra's LSO Discovery programme includes projects
using video conferencing connect schools and communities across
the UK and abroad in live demonstrations. [5]
2.4 Coordinating lifelong learning, education,
the Cultural Olympiad and the use of music technology could create
an exciting, measurable legacy for years to come and should be
at the centre of an effective Cultural Olympiad. The creative
industries already contribute significantly to the UK economy,
but to sustain this, we believe that the Cultural Olympiad must
not miss the opportunity to train the workforce of tomorrow.
3. CONCERNS ON
LEADERSHIP
3.1 The respected broadcaster and composer
Michael Berkeley in November 2009, said that the Cultural Olympiad
at that point had been "complete and utter shambles".
[6] 3.1.1 Berkeley has also suggested that "planning
and commissioning should have started two years ago with proper
funding" in order to allow performers and composers longer
to provide works.
3.2 Former chair of the Arts Council, Christopher
Frayling, has raised the concern that there are "too many
front doors" to the Cultural Olympiad.
3.2.1 The number of apparent funding gateways
is too high. There are at least three apparent funding gateways
on top of the sponsorship for arts activities.
— Arts Council England are providing £5.4
million for 12 commissions of up to £500,000 to create 12
new works of art across the country; one in each of the nine English
regions, and in the nations of Scotland, Wales and Northern Ireland.
[7]
— The Olympic Lottery Distributor announced
a £16 million grant towards the Cultural Olympiad to fund
six of major cultural projects. [8]
— London 2012 has an apparent funding gateway
set up to encourage involvement in the Cultural Olympiad. [9]
3.2.2 We have heard from our corporate membership,
including leading conservatoires, of difficulties in engaging
with the Cultural Olympiad. This chiefly relates to a lack of
a single clear funding gateway or access point to take part in
the Cultural Olympiad.
3.3 Tony Hall, Chief Executive of the Royal
Opera House has now been appointed as Chair of the Cultural Olympiad
Board. [8]
3.3.1 Michael Berkeley's own comments were
"If anyone can pull rabbits out of hats it is probably Tony
Hall, lately appointed to fire fight and pull something together."
3.3.2 Tony Hall recently announced an additional
£16 million of funding for the Cultural Olympiad up to 2012.
It should be noted that this is a tiny fraction of the already
funded £747 million from the Olympic Lottery Distributor
and £1,835 million as an eventual target.
3.4 Whilst we welcome the appointment of
Tony Hall, there is still a great deal of confusion surrounding
various funding streams. Our corporate membership is informing
us that the lack of coordination is continuing and they are struggling
to get involved.
4. FUNDING THE
CULTURAL OLYMPIAD
4.1 A report from Arts Quarter LLP [10]
highlights the concerns of some members of the cultural community
(the summary of findings is taken from the report): 4.1.1 Among
theatre community respondents, some 62% felt that the Games may
impact negatively on their fundraising capacities—clearly
at a time when they might hope to see some degree of recovery.
Among other arts sector respondent groups, 60% were of the same
view.
4.1.2 Looking regionally—18% of all
respondents based in London felt that the Games would have a positive
impact on their fund-raising, with some 47% undecided at this
time. Among respondents based outside of London, 4% felt that
the Games would impact positively on their fund-raising with 57%
undecided.
4.1.3 On earned income however, 39% of London-based
respondents felt that the Games would have a positive affect with
26% undecided but just 8% of out-of-London respondents foresaw
the potential for gains with 45% undecided.
4.2 The ISM is concerned that funding could
potentially be diverted away from music projects in the build
up to the Games (3.1.1). This will have a negative impact on music
and musicians and will harm the prospects of a lasting positive
cultural Legacy to the Olympics as a whole.
4.3 We are concerned that funding could
be moved from cultural projects by the Olympic Lottery Distributor
or London 2012 certain amount of funding should also be ring-fenced
for the Cultural Olympiad. This should also not draw away from
other already-existing music funding.
4.4 Whilst we do welcome the possible income
benefits from visitors to the localities where the games are taking
place, we are nevertheless concerned that the sustainability of
such funding is limited and suggest that this would not result
in a lasting Legacy.
5. RADIO MICROPHONE
CONCERNS
5.1 We would also like to use this opportunity
to highlight the importance of the programme making and special
events (PMSE) sector to a successful Games, and continuing Legacy.
5.2 The campaign group Save Our Sound UK (SOS
UK) [11] is concerned about the sale of radio frequencies that
radio microphones (radio mics) rely on. They have highlighted
the costs of replacing equipment.
5.3 If current proposals are implemented,
all productions and businesses that depend on the use of these
technologies will be under threat, from the freelance sound engineer
to the Games, because of the way that the UK's pool of equipment
is held and supplied.
5.4 SOS UK have warned that live music,
newsgathering, musical theatre and other events are likely to
become impossible to stage. Companies face insolvency, individuals
bankruptcy and employees redundancy. The UK's balance of payments
will be severely affected, and charitable and community organisations
will have to divert funds from core services to cope with purchasing
new equipment.
5.5 The Olympic ceremonies may need as many
as 350 radio mics, which will not be possible under the new system.
5.5.1 This could also have an adverse impact
on events for the deaf and hard of hearing. Access for all is
a vital element of the Olympics.
5.5.2 The emphasis placed by the Olympic
Lottery Distributor on deaf and disabled artists having access
to funding around the Olympics highlights the importance of this
issue for a section of Cultural Olympiad artists.
5.6 The campaign is supported by a significant
number of arts and sports related organizations including: BEIRG—British
Entertainment Industry Radio Group, PFA—Professional Footballers
Association, RSC—Royal Shakespeare Company, and SOLT—Society
Of London Theatres.
6. RECOMMENDATIONS
6.1 We recommend that a proportion available
funding should be ring-fenced for the Cultural Olympiad now.
6.2 To guarantee this ring-fencing and resolve
the concerns over coordination of funding, we recommend that one
organisation be given the task of awarding Cultural Olympiad funding
and approving the use of the Inspire Mark.
6.2.1 Our preferred "single" distributor
are the Arts Councils of the nations. This is for two reasons:
Firstly, it will ensure ring-fence funding for the Cultural Olympiad
and will avoid the use of resources to assist in the delivery
of the Games. Secondly, it is already established as a distributor
and is already in use by musicians. The creation of a single gateway
for accessing funding is crucial in securing a lasting Legacy.
6.2.2 This distributor should continue funding
programmes beyond 2012.
6.3 Funding for the Games must not come
from this ring-fenced funding and should also not come from other
existing arts projects.
6.4 Any measure of financial Legacy must
continue with an assessment of the impact beyond 2012.
6.5 We recommend that music education projects
including music technology are prioritised for additional funding
by the Arts Councils and other distributors of Cultural Olympiad
funding.
6.6 The ISM recommends a review of the current
government approach to the selling of radio mic wavelengths. This
would avoid small arts organisations closing, deaf and disabled
artists suffering and protect large scale events and would contribute
towards a positive cultural Legacy.
7. CONCLUSION
7.1 The ISM welcomes this inquiry and the
opportunity to submit evidence to the Committee. We look forward
to reading the upcoming report.
January 2010
REFERENCES [1] From
the January 2009 Department for Culture, Media and Sport Statistical
Bulletin:
http://www.culture.gov.uk/images/research/Creative_Industries_Economic_Estimates_Jan_09.pdf
[2] Performing Rights Society (PRS) report
"Economic Insight" (20 July 2009):
http://www.prsformusic.com/creators/news/research/Documents/Will%20Page%20and%20Chris%20
Carey%20(2009)%20Adding%20Up%20The%20Music%20Industry%20for%202008.pdf
[3] Daubney, A & Marshall, N (2008).
Developing reflecting learning in a virtual world. Primary Music
Today. 38, 25-27.
[4] Ofsted. Making more of music. An evaluation
of music in schools 2005/08: February 2009:
http://www.ofsted.gov.uk/content/download/8937/96944/file/Making%20more%20of%20music.doc
[5] The LSO Discovery programme: http://lso.co.uk/aboutus/aboutlsodiscovery
[6] Michael Berkeley's speech to the Paul
Hamlyn Foundation, 10 November 2009:
http://www.phf.org.uk/news.asp?id=616&year=2009&pageno
[7] Arts Council England, 20 March 2009:
http://www.artscouncil.org.uk/news/artists-take-the-lead-in-cultural-olympiad
[8] Creative and Cultural Sector Skills
Council, 15 July 2009: Details on the appointment of Tony Hall
and the extra £16 million funding: http://www.ccskills.org.uk/Pressevents/Pressreleasearchive/London2012
welcomes16millionNationalLottery/tabid/667/Default.aspx
[9] The London 2012 website has an apparent
gateway for applying to secure funding under the Cultural Olympiad:
http://www.london2012.com/get-involved/cultural-olympiad/becoming-part-of-the-cultural-olympiad/creative-programmers-contact.php
[10] Arts Quarter LLP, 2nd Recession Impacts
Report, 9 November 2009:
http://www.artsquarter.co.uk/news.html
[11] Save Our Sound UK, 10 November 2009:
http://saveoursound.wordpress.com
| 
