Join us live on Facebook on Friday 13th July at 19.00 for a Q&A with the Certificate: The Practice of Music Making (CPMM) Programme Leader, Aleks Szram.
This is your chance to ask questions about this innovative distance-learning programme for all musicians before the application deadline on 28 August.
The CPMM was designed and written by Trinity Laban Conservatoire of Music and Dance in collaboration with the Music Department of The Open University, and is part of the Open University BA in Music degree.
The OU music department is delighted to be part of an ERASMUS+ strategic partnership that has been successful in bidding for funding in order to create an online conducting course and associated new technologies.
Led by University of Stavanger along with the Royal Northern College of Music and the Universidade de Aveiro, the partnership has been granted €436 823 over three years. The project, called ConductIT, will develop educational outputs in the form of online courses in conducting using blended learning and a multi-purpose MOOC to be applied in existing core conducting courses in different national settings across Europe.
The technologies to be developed by the project have the potential to significantly impact how music learning at a distance is developed in future. The bid identified two key strategic priorities, both of which align well with the OU mission: Open and innovative practices in a digital era; and enhancing the quality and relevance of students’ knowledge and skills.
We look forward to working with our colleagues in Norway, Portugal and Manchester.
Andrea Lea, one of this year’s students on The Practice of Music Making, the Certificate written in collaboration with Trinity Laban Conservatoire, has written about her experience studying with us in a ‘guest blog’ for Making Music, the organisation that supports and encourages more than 180,000 leisure-time musicians in the UK.
Andrea writes, ‘It’s been a wonderful year meeting musicians from across the UK and beyond.’ Reflecting on the huge diversity of the learning materials, she comments, ‘I found that keeping an open mind to whatever the course presented brought fun, intrigue and fascination.’
Dr Laura Hamer’s new monograph, Female Composers, Conductors, Performers: Musiciennes of Interwar France, 1919–1939, has just been published by Routledge. The book considers a wide range of female composers working in interwar France, including the early Prix de Rome winners, Marguerite Canal and Jeanne Leleu; the only female member of Les Six, Germaine Tailleferre; and Paul Dukas’s female composition students Yvonne Desportes, Elsa Barraine, and Claude Arrieu. Consideration is also given to the conductor Jane Evrard and her Orchestre féminin de Paris, as well as to the all-woman Orchestra of the Union des Femmes Professeurs et Compositeurs de Musique, a contemporary pro-suffrage organisation that was dedicated to defending the collective interests of female musicians and campaigning for their employment rights. Beyond women composers and conductors, the book also considers female performers, particularly Marguerite Long, Ginette Neveu, and Wanda Landowska. The book positions the activities and reception of female musicians against a contemporary socio-political climate that was largely hostile to professionalism amongst women, and also against the development of interwar French feminism.
OU Music is delighted to welcome Dr Laura Hamer to the position of Staff Tutor in Music. Dr Hamer is a cultural musicologist specialising in women in music, encompassing both classical and popular traditions. She studied music at the universities of Oxford, Cardiff, and the Université de Paris IV (La Sorbonne). She is a Fellow of the Higher Education Academy.
Hamer has previously worked at the Open University as both a lecturer and an AL. Between 2012 and 2017 she worked for Liverpool Hope University, including four years as Head of Music. At Liverpool Hope she led on redesigning the undergraduate and postgraduate taught provision, and acted as course leader for both the BA and MA programmes in music. She has also taught music at Cardiff University, Rose Bruford College, and Royal Birmingham Conservatoire of Music. She served on the Central Committee of the National Association for Music in Higher Education (NAMHE) between January 2014 and December 2016.
Hamer has published articles and book chapters on a wide range of female musicians, including composers, songwriters, conductors, and all-woman orchestras, and also on Olivier Messiaen, Gerard Manley Hopkins, reception and criticism studies, and digital musicology. Her monograph, Female Composers, Conductors, Performers: Musiciennes of Interwar France, 1919-1939, was published by Routledge in 2018. She is also editor of The Cambridge Companion to Women in Music since 1900, forthcoming with Cambridge University Press. She is currently working on a joint research project which investigates the Liverpool-based dance-band leader Mary Daly Hamer (no relation) with her Liverpool Hope colleague, Dr Mike Brocken.
Have you ever wondered how you can study for a music degree part-time and at a distance? It may not even have occurred to you that you can. In this video, teacher Gareth Hand explains his educational journey with us, and responds to the news that the OU now offers a BA music degree:
March saw the publication of a volume of essays edited by Music Department Senior Lecturer Rosemary Golding, focused on the history of the music profession in nineteenth-century Britain. The essays are drawn from a wide range of scholars including the department’s own Martin V. Clarke, Helen Barlow and David Rowland. The ten chapters include topics as diverse as female musicians, composers and publishers, the music hall, military music, music teaching and church musicians. Themes such as gender, class and accreditation are addressed across the chapters. Throughout, the authors consider the ways in which musicians and other sectors of the music profession negotiated working practices and spaces in rapidly changing environments. For further details see https://www.routledge.com/The-Music-Profession-in-Britain-1780-1920-New-Perspectives-on-Status/Golding/p/book/9781138291867