Tag Archives: community music victoria

Intercultural Collaboration: An Ocean of Possibilities

Dr Laura Brearley

Intercultural collaboration is a slippery and elusive art. I find it a spacious and revealing place to work. It sings to me and draws me in and on. I think it was a mixture of naivety and courage that led me to working in this field. I am a singer, song-writer and creative researcher with an Anglo-Celtic and Scandinavian heritage. What I have learned over the years is that an ocean of possibilities is available when we open our hearts and take the risk to make genuine contact.

Anything can emerge when trust is laced with risk. What we share and what makes us different has room to come alive. There are no formulas for success and this, I think, is a good thing. The riskiness of it keeps us awake and alert.

The capacity to listen and the qualities of trust, respect and openness are central to fruitful intercultural arts collaborations. This is never more so than when the intercultural collaborations are between First Nation community members and people from other cultural backgrounds. We work together against the backdrop of colonisation, the massacres and government policies of enforced dispossession and attempted cultural genocide. The impact of these policies continues today and are evident in disproportionate rates of incarceration and inequities in health, economic and educational opportunities. The list of inequities goes on and is still being experienced by First Nation peoples in Australia and across the world. 

There are many compelling reasons why trust takes a long time to build in intercultural collaborations. Collaborations across cultures can create a bridge for connection, but it can be a perilous crossing. The potential risks of neo-colonial appropriation and misunderstanding are ever-present. The space in-between is where reconciliation can occur.

I have come to see that trust is everything. It is slowly gained and easily lost. Trust is what keeps the conversation alive. There are so many reasons not to trust in this world but in my experience, a kind of magic emerges from the in-between spaces when music and art are involved and an interdisciplinary approach is taken. A spaciousness appears. The reasons not to trust will always be there, but creative engagement and active participation can enable people to see and be seen, to hear and be heard. This is what bridges are made of and this, I believe, is why the work is worth doing. 

There was an opportunity to have a direct experience of these in-between spaces at the Intercultural Arts Program of the Island Whale Festival, held on the 5th – 7th July in Cowes on Phillip Island. The Island Whale Festival, now in its third year, celebrates the arrival of humpback whales and southern right whales in the coastal waters off Phillip Island as they migrate north to the warmer waters off Queensland.

The Intercultural Arts Program of the Island Whale Festival was designed to bring people of all ages and cultural backgrounds together through music, art, science and a love of the natural world. Steve Parker named the Intercultural Arts Program of the 2019 Island Whale Festival, ‘Balert Yirramboi’, which translates as ‘Strong Future’, literally ‘Strong Tomorrow’. Steve is a Traditional Custodian, an artist and musician and one of the Directors of the Yowengarra Bun Wurrung Balug Clans Aboriginal Corporation. Steve has lived on Millowl (Phillip Island) all his life.

Activities of ‘Balert Yirramboi’ included Ceremonies, Drumming Circles, Music and Dance, Song Circles, Song Exchanges, Concerts, a Street Parade and a Collaborative Artspace weaving together music, art and science. Elders and Special Guest Artists lead the activities, all of which were designed to deepen intercultural understanding, strengthen community and raise environmental awareness.

The 2019 Intercultural Arts Program of the Island Whale Festival was auspiced by Community Music Victoria, an organisation dedicated to bringing people together and strengthening communities through the power of music.

Here’s a link to a short film ‘Singing with Whales’ from the Intercultural Arts Program at the 2018 Island Whale Festival. https://vimeo.com/288066243

We acknowledge the power and beauty of the Bunurong/Boon Wurrung Country on which this event takes place. We honour and thank all the Ancestors and Elders who have lived on this land and sung it into being the strong place that it is.

Dr Laura Brearley leads a song at the 2018 CMVic Music Camp

**The latter part of this article was updated by CMVic on August 1, to reflect the fact that the 2019 Whale Festival is now a past event.

Advertisements

Love Songs for Whales… & A Creative Invitation

by Dr Laura Brearley

The Whales Are Back

The whale migration season off Phillip Island has begun again and the texts have started to arrive …

  • Wednesday 29th May 9.45am

First Island whales this season. Two whales off San Remo jetty, heading to Cape Woolamai.

  • Tuesday 4th June 3.31pm

One humpback sighted 1.4 kms of the Nobbies, heading towards Pyramid Rock.

  • Friday 7th June 10.48am

One humpback whale, close to shore at Cape Woolamai.

We live at Cape Woolamai and although I was deep in work at the time that this third message came through, I answered what I felt was a call to action. When I arrived at Anzacs Beach at Cape Woolamai, the car park was full. A crowd of people was standing looking out to sea. There were families with children and people who had never met before were talking and laughing with each other. Just as I had, everyone there had dropped what they were doing when that text came through. Excitement was in the air and it felt like a shared experience of connection with the whales, as well as with each other.

I’ve noticed this sense of connection on whale cruise boats too. We board the boats as individuals and when the first whales are sighted, any separateness between passengers seems to dissolve. We sing and clap and whistle to the whales, reaching out to them together. Sometimes, they’ll swim along with us, even diving under the boat. If they’re feeling playful, they seem to dance in the water, breaching and splashing with their bodies and tails. It’s a profound experience to be part of that joyful play.

The whale at Cape Woolamai a few days ago was surfacing from time to time. I found it moving to see a whale in this early stage of the season and to know that the age-old cycle of the whale migration was underway again. With all the human interference of the natural world and the damage done, the rhythm of the migration endures. It is larger than all of us and that is a wonderful thing.

Humpback Whale Research

Over the last few weeks, I have been in touch with members of a team of international scientists who have been undertaking research on whale songs for many years. Led by Dr Ellen Garland (St Andrews University, Scotland) and Dr Jenny Allen (Griffith University, Queensland), the research has been tracking how the songs of humpback whales are transmitted over time and distance in the Pacific Ocean. The two lead researchers, Dr Ellen Garland and Dr Jenny Allen, have both expressed interest in the Intercultural Arts Program of the 2019 Island Whale Festival.

Their research has shown that whale songs are communicated across the South Pacific, moving from populations from eastern Australia in the west to French Polynesia in the east. The whale songs appear to come originally from the Indian Ocean, west of Australia representing a transmission of almost 10,000 kilometres. The research team has found that thousands of male humpbacks can synchronously change their song to a new version introduced from a neighbouring population in as little as two months. Their research in song learning has revealed that humpback whales employ some of the same learning strategies as songbirds and humans when acquiring a new song.

Below is a short film about this research:

Creative Responses

With the support of local First Nation community members, Bass Coast Shire Council, Destination Phillip Island, Community Music Victoria, Cowes Uniting Church, we are currently organising the Intercultural Arts Program ‘Balert Yirramboi’ of the Island Whale Festival happening in Cowes on Phillip Island on the 5th – 7th July, 2019.

A talented group of musicians, artists and cultural advisors is coming together to help celebrate the whales through song, story, dance and collaborative art-making. Activities will include Ceremonies, Drumming Circles, Music and Dance, Song Circles, Song Exchanges, Concerts, a Street Parade and a Collaborative Artspace which weaves together music, art and science.

Jazz pianist, Steve Sedergreen, is composing music in response to the scientific whale song research. During the Festival, he will be performing his new composition with his long-time collaborators, Wamba Wamba didgeridoo player, Ron Murray and jazz drummer, Mike Jordan. Camille Monet, who is coordinating the Collaborative Artspace at the Festival, will be facilitating arts activities in response to the whale song research. Participants will be invited to create visual responses to the whale songs, making patterns on long sheets of paper which will be carried in the Whale Parade at the end of the Festival. Aunty Fay Stewart-Muir has generously gifted local Boon Wurrung language to a Whale Song Cycle that I have composed and that Trawlwoolway artist Lisa Kennedy has illustrated.

Creative Invitation

We would like to extend a creative invitation to you. If you are someone who loves whales and is interested in creative collaborations, song-writing, poetry or story-telling, there is an opportunity for you to share your ideas and make a contribution to the Intercultural Arts Program of the 2019 Whale Festival.

If you are seeking inspiration, one way of getting focussed is to reflect on some core questions, such as …

  • Why do you love whales?
  • What do whale songs stir in you?
  • What does the sense of connection with whales feel like for you?
  • If you had a message to send to the whales, what would you say or sing to them?

If you would like to make a creative contribution to the Intercultural Arts Program, please send an email to Laura Brearley  laura.brearley@tlc21.com.au by COB Friday 28th June, 2019 with your contact details and a brief description of what you would be interested in sharing at the Festival, eg song, poetry, story. The program has been designed with activities in which creative exchanges and collaborations can occur. The copyright of all material will remain with the contributing artists.

The full program of the Island Whale Festival is available at: http://islandwhales.com.au/program/

Many events are free and bookings for ticketed activities can be made on-line.

And … next time you hear that there are whales off the coast, and you are nearby, just stop what you are doing and take some time to be near the whales and feel the gift of their presence. I suspect they will feel you too.

-Dr Laura Brearley

Featured image ‘Whale Tail’ by Lisa Kennedy

Stand up for justice with ‘Every Dollar’, a fair trade song.

It takes just over four days for a CEO from the top five companies in the garment sector to earn what an ordinary Bangladeshi woman garment worker earns in her whole lifetime. Source: Oxfam International

When faced with a bargain, it’s tempting to overlook the uncomfortable question of who’s actually picking up the tab if we’re not paying a fair price for what goes into our bag.  Employees at garment factories work six days a week, often for less than USD$1 per hour. Workers are under pressure to meet daily targets and work long days with barely any breaks and their health and safety is not considered a priority by their employers.

In a bid to increase awareness of this exploitation and to address the inherent power we hold as consumers, community singing leaders and musicians, Jessie Vintila, and Emma Royle, wrote a song called ‘Every Dollar’.

The goal of the song is for singers and audience to actually change the way they are shopping, and to be inspired to notice their power and to use that power for good.

In the words of Jessie, “it’s about going ‘wow every time I spend a dollar, I’m communicating something, I’m either communicating, ‘yay’ I want that business to succeed, or I really don’t want that business to succeed… We go along being complicit and supportive of a whole lot of things that, if we stopped to think about, we’d find morally reprehensible.”

Jessie’s community choir, ‘Raise the Roof’ sang Every Dollar at Mullumbimby Music Festival in 2016. Throughout the course of rehearsing and performing the song, many of the singers told Jessie how their experience of learning and singing the words was actually changing the way they shopped and many were switching to fair trade options, where they could.

This is precisely the outcome Jessie and Emma had hoped would happen each time the song is taught, learned, sung and heard. While progress in the bigger picture can feel slow, Every Dollar is a reminder about taking small steps in the right direction and doing what we can as a community to support the liberty and rights of workers in the clothing industry and beyond, whenever we can. The recent announcement by Kmart, Cotton On and Target to ‘strengthen their commitment to a living wage for their clothes makers in response to the Oxfam initiative, ‘What she makes’ is testimony to the effectiveness of this approach. These outcomes are in direct response to action and pressure from shoppers who have had enough of the injustice.

Jessie applauds consumer activism of this nature: “What I love about consumer power is that you don’t have to be fighting; you don’t have to be campaigning, you don’t actually have to be doing anything other than making conscious choices when spending your money. And you know you’re doing something really powerful but it doesn’t give you the burn out feeling that other forms of activism can do over time. It’s completely sustainable at a personal level.”

Jessie and Emma were thorough in their research for the song and the verses about Ranya the seamstress and Abdul the cotton picker from India are both based on real stories and statistics.

Activism runs in Jessie’s blood. She grew up in an environment where accountability and sound ethics were highly valued. “I remember as a child, a friend of my parents’ being all excited about finding a woman down the road in a suburb of Perth who worked in a Vietnamese clothing place and could make t-shirts. At the time I didn’t get why she was so excited about what I thought were these really boring T-shirts!”

Jessie’s now adamant about sourcing fair trade clothing herself and has t shirts for her Raise the Roof choirs and her Sing the Camino* tours made by fair trade manufacturers. This anecdote about T-shirts is a lovely testimony to the outcome of conduct and influence. The repercussions of the choices we make and the effect of the songs we sing ripple out into the world in ways we can never know.  So, in the words penned by Jessie and Emma, lets ‘Stand up for justice, Turn every dollar to good’. (Full song below)

Every Dollar                      Lyrics: Emma Royle & Jessie Vintila
Music from Rarely Herd’s version of Mary Don’t You Weep (Spiritual)

Chorus

Every dollar sends a message
Every dollar plays a hand
For somebody somewhere
Think of the people and the land
Oh, well singin’, if I could
You know that I should, I surely should
Stand up for justice, stand up for justice
Turn every dollar to good

Well Ranya was a seamstress
In a Dhaka factory
Worked fifteen hours seven days of the week
Can’t feed her family

Well Abdul picked the cotton
In the fields of Gujarat
Eight years old, twelve hours a day
Forced out of school to work

Well Wendy clothes her family
From her favourite shops in town
Pays the money never stopping to think
How they keep their prices down

Every dollar sends a message
Every dollar plays a hand
For somebody somewhere
Think of the people and the land
Oh, well singin’, if I could
You know that I should, I surely should
Stand up for justice, stand up for justice
Turn every dollar to good

References:
https://whatshemakes.oxfam.org.au/
https://www.vox.com/2018/2/27/17016704/living-wage-clothing-factories
https://www.oxfam.org/en/even-it/one-pair-shoes-we-make-valued-more-our-whole-months-salary

By Deb Carveth, online editor for Community Music Victoria, with Jessie Vintila. Thank you, Jessie! 

*You can ‘Sing the Camino’ with Jessie Vintila in Brunswick on Saturday, 23 March: 2-5pm! (Hosted by the Brunswick Rogues Choir). Info and bookings: https://www.singthecamino.com/singing-workshops.html

The story of ‘Lingmarra’ and the CMVic network

**This article and the following story contains references to Aboriginal and non-Aboriginal people who have died. It also contains words from the language of Australian Kriol. Permission has been sought and given for its use in this context.

Lingmarra, a beautiful song about coming together was brought to the CMVic network by  Barlang T. E. Lewis*, a Murrungun man, actor, singer and songwriter from Arnhem Land in the Northern Territory, who first learned it as a traditional song from the Dalabon Corroborree, Bongiliny Bongiliny.

Lingmarra is a song which enchants singers and listeners alike and one which Flip Case, a Melbourne based singing leader has taught to singing groups many times:

“It’s a song that feels ethereal and earthy at the same time, there’s something elemental about it, you feel transported by it and my choirs always respond to it really strongly.”

A couple of years ago, Flip was covering a session with Sue Johnson’s Prana Choir and decided to sing the song with them as she’d recently been teaching it to her own choir.

At the end of the session, a woman called Victoria approached Flip and explained how her partner had been involved in the arrangement of the song, working in collaboration with Barlang T. E. Lewis and another singer-songwriter, Melanie Shanahan.

Flip was immediately intrigued.

“I’d actually only really known the song through Melanie and I thought, wow, that’s an important thing to know about”.

It transpired that Victoria’s partner is Stephen Costello who was then Coordinator of the Community Music Forum and later the Executive Officer of Community Music Victoria. Flip set herself a mission: Work with Stephen to capture the story of how the song was arranged as a way to preserve the provenance of Lingmarra for all of the leaders singing and sharing it, in the CMVic network and beyond.

 “It’s important to have as much understanding as we can. We’re always talking about provenance and recognition of a song’s origins and whether we’re allowed to use songs for the general population and whether it’s appropriate to use it.”

As so often happens in life, for one reason and another, the two never quite got around to the task. Then, following the sad news of  Barlang T. E. Lewis’ passing last year, Flip decided it was time: “I thought, Stephen’s the last one to really tell the story of how that song came about”.

Below is a version of Lingmarra overlaid with lyrics by Barlang T. E. Lewis; upon listening to this version, the way he extends it becomes clear. (From this point on, the story becomes a personal recollection, and Barlang T. E. Lewis is referred to as ‘T’.)

Stephen explains, “T added to the traditional song in so many ways. The call to the young people Aair yawodi is his idea and this is Kriol. When the old people sing Lingmarra gumbah they are not sad. They are having fun. T added his story to the song, which is about his search for his brother, but also about travelling through his “church”, the country and communities of southern Arnhem land.”

The version of Lingmarra taught by Melanie and included in the CMVic Songbook, Sing itis the chorus of the song, “part traditional and part T”.

What follows then is an account by Stephen of his part in the arrangement of the song as it was sung by Barlang T E Lewis, written in response to Flip’s quest.

Lingmarra Story, as told by Stephen Costello

“Before Community Music Victoria was incorporated, there was a group called the Community Music Forum and we operated under the auspice of the Community Arts Network (Victoria). In 1990 I was the Coordinator of the ‘Forum and one of the first events we held was called “Everything you wanted to know about Aboriginal Music but were afraid to ask”. (Barlang) T. E. Lewis was our guest speaker. He was well known as an actor (The Chant of Jimmy Blacksmith) and as a musician with Lewis and Young (didgeridoo and clarinet) and his own original band, ‘The Anthropologists’.

T was brilliant, honest, charming, compelling and generous with listening to our questions and responding with stories and facts. This was the beginning of our friendship and collaboration.

As I shook T’s hand in appreciation after the ‘Forum, he said “Stephen. Let’s do something really big together.”

I joined The Anthropologists as a guitarist. I travelled to Canberra with T for a Music Council of Australia Conference. In the car T sang the Country as we drove along. In the hotel room we co-wrote This is My Country. A few years later, Community Music Victoria was formed, and then Melanie Shanahan came to town. CMVic backed Melanie to stage The Choral Sea in the Great Hall of National Gallery of Victoria. T and I taught This is My Country to Melanie and Melanie taught and conducted the massed community choirs. This was in the late 1990s.  (It was a bit before the Great Southern Sounds Festival and the Millennium Chorus.)

Community Music Victoria won a grant from the Aboriginal Arts Board of the Australia Council to support T to record his music. T and I played with The Anthropologists and we started to work with classical guitar and didgeridoo. T had bought a new F# didgeridoo (called Bambu or Yidaki in Yolngu country) and we started to harmonise with this.  I asked Melanie Shanahan to work with T on some of his songs in the development and pre-recording stage.

The three of us worked out simple harmonies for three songs. Lingmarra, with the F# Yidaki was one of these. At this stage it was just a chorus with guitar and Yidaki in between. Then T had to go home to southern Arnhem Land to help out during some major flooding around Beswick (Wugularr) and the Roper River. He came back to Melbourne inspired and knowing that he was needed in his community at Beswick (Wugularr). But first we had to get into the studio to record.

I put down the guitar part for Lingmarra, and then T, Mel and I sang the choruses. T said “I can sing over that”. Melanie and I and the sound engineer were treated to an improvised one-take recording where T sang his heart out. The playful calling together, Lingmarra, lingmarra gumbah became instead a deeply heartfelt searching for T’s lost brother. T re-voiced his time travelling around Arnhem Land searching for his left-handed brother (ballajugor). He calls for all the young people (yawadi) to help him, to walk and sing with him calling the spirit (warral) to come and be with him.

This is mostly in the Kriol spoken in this part of the Northern Territory. Thanks to Gloria Lane from Beswick (Wugularr) for her partial translation of the song. Kriol is a new language developed by multilingual Aboriginal people. It uses many English sounds, because English is the language of the colonialists, the pastoralists and the missionaries, but also words and ideas from the old languages of the people drawn to Beswick (Wugularr). These languages are Dalabon, Rembarrnga, Mialli, Ritharngu/Wagaluk, Jingili, Gorindji, Ngalakan, Marra, and Nungulbuyu. Kriol is the meeting place language between all of these and English.

I will keep working with Gloria to get a fuller translation and a deeper understanding. Why is T calling only the young people to help in this search? Is it to show respect to the old people, who we have no right to ask to help? I think so. Does T call his brother “the left-handed one” and not use his name because he suspects he has died and therefore he can’t use his name? Or is it just the game people play in Arnhem Land of not using names because they are more interested in relationships and kinship and skin names? It will be fun to find out.

What we do know is that Melanie taught the chorus of the song in schools and to community choirs all over Australia, and it has become part of our folk tradition with the continued support of Community Music Victoria. That’s the part of the Lingmarra story that I know about.”

-Stephen Costello 

Deep gratitude to both Stephen Costello and Flip Case for bringing this beautiful story into the light and sharing it with the CMVic network.

Deb Carveth, online editor for Community Music Victoria. 

*In recognition of his extraordinary life, the family of  Barlang T. E. Lewis has given permission for the use of his image and voice by the media.

Further links to Lingmarra

Auslan signing for the song “Lingmarra” as part of the VoiceMob project, produced by Yarra Ranges Council.


Further reading:

The Conversation: ‘Explainer: the largest language spoken exclusively in Australia – Kriol’ 
https://theconversation.com/explainer-the-largest-language-spoken-exclusively-in-australia-kriol-56286

How playing an instrument benefits your brain – TED Ed

This TED Ed video is as engaging and share-worthy today as it was when it was very first published.  It’s a great incentive for anyone wondering whether to dust off an old instrument or pick up a new one for the first time. It’s also the perfect incentive to practise! If you’re looking for new music-making opportunities yourself, try the group search section of the CMVic website and get a party going in your own brain.

When you listen to music, multiple areas of your brain become engaged and active. But when you actually play an instrument, that activity becomes more like a full-body brain workout. What’s going on? In this TedTalks video from 2014, Anita Collins explains the fireworks that go off in musicians’ brains when they play, and examines some of the long-term positive effects of this mental workout. [Directed by Sharon Colman Graham, narrated by Addison Anderson, music by Peter Gosling].

Source: https://www.ted.com/talks/anita_collins_how_playing_an_instrument_benefits_your_brain?language=en#t-8963

Full transcript available here

Photo by David Clode on Unsplash

A tribute to Richard Gill by Heather McLaughlin

In recent days the media has been full of news of the sad loss of Richard Gill – conductor, teacher, composer, and powerful advocate for school and community music. Many will remember him as the somewhat eccentric man with a shock of white hair representing classical music on “Spicks and Specks”.

He passionately believed that every child deserves music, and that SINGING should be the basis of all music experience from an early age.

I have been personally fortunate to be a student, then a teaching colleague, and a friend of Richard Gill since the age of 15, when as a country girl I went to a NSW state music camp and played the violin under his baton in a full symphony orchestra.

At that stage I had never even seen a French horn, or an oboe, and the experience of sitting in the heart of 60 musicians playing Beethoven’s 7th Symphony, in a tent, in the rain, with flutes behind and violas to the side, was an early inspiration. “Cellos, can you SOB a little more?” said Richard Gill. I melted with adolescent musical emotion!

AYO-NMTMP-Richard-Gill-OAM

So many people have an anecdote about Richard Gill.

“He remembered my name when I ran into him, 35 years after I left school.”

“He got me to sing an improvised melody in Solfege over a ground bass in a workshop – and surprisingly, I could do it.”

“At music camp in 1967 he played the piano for an evening Barn Dance in the style of Chopin, then Buddy Holly, then Souza.”

“At a teacher workshop we did one round of saying our names, and he remembered all of the 40!”

“At a choral rehearsal, we sang a 4 part, 20 page Kyrie, and at the end he said ‘Tenors, your E at Bar 68 was a little flat.’ ”

At workshops and conferences for teachers, he made each of us feel that what we were doing was important. “You are the salt of the earth,” he said.

Kim Williams, a close friend of Richard Gill’s for over 5 decades, says: “Richard was a remarkable person – a true citizen of music, warm, generous, passionate, talented, kind, thoughtful and loyal. His legacy is rich and deep – I intend to ensure the essence of it is embraced on a continuing basis.”

Richard Kefford AM, the Chair of the Australian Romantic & Classical Orchestra – which Gill co-founded in 2013, and which has been his deeply-felt passion in recent years – says: “Richard Gill will be remembered as a giant in Australian music, an iconic conductor, teacher and passionate campaigner for music education. His death is a massive loss to Australian music and to the countless colleagues, students, friends and audience members who loved him so much. . . We are truly moved by Richard’s request that the Richard Gill Memorial Fund be established. . .so that we may keep the flame of his remarkable legacy alight.”

Richard Gill was an outspoken promoter of music for every Australian, through music in schools and in the community, as well as in concert halls and opera houses.

He was a passionate supporter of music at every level, equally at home sitting on the floor with 3 year olds, leading a Flash Mob of 500 singers with “When I’m 64”, rehearsing a Mozart opera, or conducting a symphony orchestra in a concert hall.

His inspiration lives on in many of us as we work in music and spread the enthusiasm that he encouraged in many thousands of people of all ages.

Heather McLaughlin
October, 2018

Heather was a Community Music Victoria Board member for 9 years, at the end of a career of teaching music – in primary schools, to young children, and to people of all ages in community sessions. Her special passion has been home made marimbas (Jon Madin style) and in retirement on the NSW mid north coast she can’t resist volunteering  in primary schools and introducing older adults (aged 65-85) to music-making through U3A sessions.

Richard Gill’s TedEx talk on the importance of a child’s music education can be seen  here.

Image of Richard Gill sourced from Arts Review