2015/16

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About MuSIC tEACHERMusic Teacher is an essential resource for all music education practitioners; whether classroom or instrumental.

In each monthly issue:» practical ideas to use in teaching

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» a spotlight on new and emerging technologies

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WHy AdvERtISE WItH MuSIC tEACHER?Since 1908 Music Teacher has been the leading magazine for classroom, private and peripatetic music teachers. Our readership spans both independent and state schools as well as instrumental and private teachers.

With our engaging mix of content, the magazine has become a staple resource for music teachers, meaning your advert will appear in a trusted and respected publication. Each issue has a theme, recent ones including strings, piano, technology, rock & pop, percussion and early years.

Music Teacher magazine is the main supporter of Music Education Expo, the UK’s largest professional development conference and exhibition for music teachers, and receives extensive branding on all Music Education Expo materials, meaning the magazine reaches a wider range of teachers than ever before.

As well as our subscribers, Music Teacher is distributed to members of several major music education organisations through our digital partnership scheme.

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» Geography: Music Teacher’s audience is mainly UK-based, with 91% of our print readers based in the UK. However, our growing digital audience is now 25% non-UK

MUSIC TEACHER | MARCH 2015 15musicteachermagazine.co.uk

MT | DIARY

CPD, COURSES & GIGS CPD HIGHLIGHTS

ComPoSe!30 marCH | DILLInGTon HouSe, SomerSeT | £50

MT contributor Al Summers will lead this one-day course, aimed at passing on simple steps for developing confidence in composition, both personally and in the classroom. Described by Summers as ‘especially handy for teachers of GCSEs and A Levels in need of creative ideas and who don’t have a lot of extra time on their hands’, the course will lead participants ‘at a level suitable for them throughout the day in a safe, guided environment’. For music teachers, ‘methods used will be useful in your own work to help budding composers make their first sounds – or to inspire those who already have opus numbers behind them’.www.dillington.com/events/compose-/657

CPD CenTre WeST mIDLanDS TaSTer DayS7 may, rnCm | 25 June, LeeDS CoLLeGe of muSIC | 14 JuLy, THe forGe, CamDen

The CPD Centre West Midlands is offering three taster days for teachers considering completing the Trinity Certificate for Music Educators (Trinity CME). The days will cover some of the ground in units one and two, and will count towards assessment if participants decide to continue with the programme.www.cme-westmidlands.co.uk

mma ConferenCe 201515-17 may | WeLLInGTon CoLLeGe, BerkSHIre | £215/£140 (SeLf-emPLoyeD, reTIreD)

This year’s MMA Conference features sessions on ‘The Musical Brain, Emotion and Interactivity’, ‘Mindfulness for Musicians’, ‘Injury prevention in young musicians’, ‘The art of the songwriter’, ‘Composing for Hollywood’, and ‘Jazz improvisation’. Speakers and workshop leaders will include Chris Cullen, co-founder of the Mindfulness in Schools project and a mindfulness teacher at the Guildhall School; songwriter Nerina Pallot; Paul and Chika Robertson of the

Music Mind Spirit Trust; Kate Goodger, a sports psychologist who has worked with Team GB at five Olympic games; Kevin Rogers, who will lead sessions on GCSEs, A levels and measuring progression in class music; and Ellie Farrell, who will lead a session on supporting musicians with learning difficulties. The conference will also include a trade fair and networking opportunities.www.mma-online.org.uk

oPPorTunITIeS for STuDenTSPromS InSPIre ComPoSITIon ComPeTITIonDeaDLIne 21 may

The 17th Proms Inspire Competition has opened for composers aged 12 to 18. Winners of the competition will have their piece performed by professional musicians as part of the 2015 Proms, broadcast on BBC Radio 3, and will receive mentoring from a professional composer. The judging panel will include Fraser Trainer, Judith Weir and Anna Meredith.www.bbc.co.uk/proms

noTeS from SCoTLanDDeaDLIne 31 may

Another composition competition for 12- to 18-year-olds, the Royal Scottish National Orchestra and National Trust for Scotland’s Notes From Scotland invite young composers to write a two-minute work for an instrumental trio, quartet or quintet. The five finalists’ entries will be performed and recorded by RSNO members and the winner will also receive an iPad with

pre-installed music packages, VIP access to RSNO concerts and a year’s pass for the National Trust for Scotland. Composer Matilda Brown will run a workshop on 7 March at Georgian House, Edinburgh: to book, email engage@rsno.org.uk or telephone 0141 225 3557.www.notesfromscotland.co.uk

LIVe muSIC

aLICe In WonDerLanD8 marCH | BarBICan HaLL, LonDon | £10-£30

Unsuk Chin’s new opera based on Lewis Carroll’s Alice books will be accompanied by an immersive multimedia production directed and designed by Netia Jones. Not for the faint-hearted – and not suitable for under-12s – older children could be swept away by a multi-faceted new production which incorporates the illustrations of gonzo artist Ralph Steadman. A bracing introduction to contemporary opera through a well-known story.www.barbican.org.uk

Ten PIeCeS PromS18 & 19 JuLy | royaL aLBerT HaLL, LonDon

The two Ten Pieces proms will not only include the high-profile project’s original works – performed by screen stars the BBC National Orchestra of Wales and conductor Thomas Søndergård – but also a selection of creative responses to the pieces by children, not only in compositions but also through dance, digital art and animation. Screenings of the Ten Pieces film have been held for more than 120,000 children, and more than 8,500 primary schools have been involved in the project.www.bbc.co.uk/tenpieces

The Ten Pieces Proms will feature contributions from pupils across the UK

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MT | DIARY

MUSIC TEACHER | APRIL 2015 39www.musicteachermagazine.co.uk

It is Monday morning and I am pinning a new notice to the door that declares ‘TWO SCHOOL WEEKS TO GO

UNTIL COURSEWORK DEADLINE’. I have been doing this since January. Despite my best intentions to be unequivocal, there are still questions, though. ‘Is that our coursework?’, ‘Is that a real deadline?’ and ‘Does that include half term?’

Most of the time I contain my irritation, and manage to answer ‘Um, yes’, ‘Yes’, and ‘No – school weeks’ rather than giving in to the temptation to say ‘No – I thought I’d put a notice up here for physics’, ‘No – it’s a figment of your imagination’, and ‘Really? Do you think half term counts as a school week?’

We set the end of the spring term as our deadline for all music and music tech coursework. Given that all work needs to be with the exam boards by 15 May, it’s probably not a ‘real’ deadline in the way that students think – it’s just the way we’ve decided to distribute our work, so that teachers have time to get things marked and ready for sending off, while we have lesson time after Easter to focus on exam skills.

Coursework deadlines are always a nightmare. It doesn’t matter how real – or indeed how imaginary – the deadline is, there will be a good proportion of students who take it to the limit. So I figure that I might as well put it at a time that is convenient for me.

Getting the best possible coursework out of students is seriously hard work. A wide range of tactics is required to cajole, flatter, jolly and bully students into cracking on. In the course of this operation I find myself taking on quite a few different roles. By turns, I am Frank Butcher selling a dodgy motor, I

am a hedge fund manager schmoozing Tory funds, I am Daenerys Targaryen rallying my armies with dragons circling overhead, and I am Derren Brown conjuring up some serious mind control.

When I first started teaching – admittedly many years ago – there were none of these histrionics. It was lovely when students did well, but if they didn’t, we usually put it down to laziness and/or lack of talent. Now, if a student does not meet their benchmark, there is much soul-searching, not to mention fear of reprisals. What did we do wrong? This is a distinct case of the emperor’s new clothes. The invisible garments in question are misplaced assumptions about cause and effect – the relationship between what teachers do, and what students do as a result.

The simple fact is that teaching does not equal learning. It’s a lot more complicated than that, and teaching and learning are both extremely messy activities. Knowing this makes a mockery of judging a teacher by their results, or a school by its position in a league table. That our pay progression should be determined by what other people do is so ridiculous that you have to laugh if you’re going to avoid crying, or getting really angry.

I have been wedged up against the glass ceiling at the top of the upper pay spine for a number of years now, so pay progression is less of an issue for me than for many other teachers. However, there is always the nagging suspicion that there may be snakes as well as ladders in this game. What I’m really concerned with, however, is protecting my department from unnecessary levels of scrutiny.

Unless your school regime is guilty of cruel and unusual punishment, levels of scrutiny – and I mean ‘checking up

on’ here – will be inversely proportional to your latest ALPS score/relative performance indicator. In other words, the better your exam results, the more you will be left alone to get on with things.

It is this independence, this lebensraum, that I prize most of all. Possibly more than the satisfaction of knowing that I’ve done the best I can for my students. Their results are theirs, after all. One of my frequently repeated

lines is ‘Come on, you have to get this GCSE – I’ve already got mine.’ This of course is a lie – I’ve got O levels, but let’s not dwell on trivial details: the fact is that we have manoeuvred ourselves into a place where responsibility for results has tipped mistakenly, horrifyingly, into the teacher’s domain. The world is turned into a topsy-turvy place where teachers work harder than their students. It will take a seismic shift of some proportion for the pendulum to swing back to where it belongs.

Jane Werry is an advanced skills teacher, director of music at Hayes School, Bromley and a moderator for OCR. She is also a regular contributor to MT’s online teaching materials – available at musicteachermagazine.co.uk.

In which Jane Werry wrestles with deadlines

DiaRy Of a HeaD Of muSiC

MT

a WiDe Range Of taCtiCS iS RequiReD tO CaJOle, flatteR, JOlly anD Bully StuDentS

intO CRaCking On

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Dilip Patel / D

ouble-Barrelled Ltd

A truly comprehensive guide to all the rock, pop and jazz exams available would result in a thick

book – and how many teachers would have time to read it? This condensed trawl through the established boards may enable teachers and students to make some simple comparisons.

London College of Music, Trinity College London and Rockschool all present accredited (and non-accredited alternative) grade exams for rock and pop instruments. Victoria College of Music has been offering non-accredited exams for 125 years. ABRSM’s suite of jazz exams complements its classical exams. Trinity and LCM also offer jazz

exams. LCM’s Popular Music Theory syllabus is to be joined by Rockschool’s similar offering.

As with classical exams, UCAS points are attached to the higher grades and most, after Grade 8, lead naturally to diploma levels.

Modal scales and extended/altered chords (especially dominant types) are regularly included, some tested separately as in the traditional classical model, while some build such scale and chord knowledge into the body of the exam with candidates demonstrating their ability to use appropriate scales and chords in context. Examining procedures generally apply the usual

criteria, many with an accent on performance over pure technique. Exams are industry-based and include some creativity and free choice, particularly at higher levels.

Trinity’s rock and pop 2015-17 exams cover guitar, drums, bass guitar, vocals and keyboards in grades from Initial to Eight (with a male/female split available in the vocal syllabus from Grade 6). Trinity also provides Grades 1 to 8 jazz exams (2015–16 syllabus) for flute, clarinet and the saxophone family as well as a drum kit syllabus and – perhaps a little off the beaten track here – its long-standing plectrum guitar option, covering folk, jazz and easy listening contemporary classical style pieces with classical exams as the model. Certificate and group certificate exams are available, with some emphasis on presentation, for those wishing for a less academic approach to rock and pop.

The wide range of music is impressive – from 1930s blues to Muse and Biffy Clyro via sixties and seventies rock/pop

Assessment is an integral part of teaching, but when it comes to the plethora of non-classical exams on the market it’s tough to know where to start. MT’s resident guitar expert Al Summers offers an overview

SCHOOL OF ROCK

20 MUSIC TEACHER | MARCH 2015 www.musicteachermagazine.co.uk

MT | THE ROCK, POP AND JAZZ ISSUE

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‘I felt honoured to be playing in such a beautiful location, on a lovely Steinway. The examiners

were friendly and supportive and I felt very comfortable, despite a degree of performance anxiety.’

So says pianist, teacher and blogger Frances Wilson of taking a piano performance diploma. Most instrumental and vocal teachers know what a diploma is – a demanding, professionally recognised qualification for those with Grade 8 easily behind them.

While this is true, there are a range of diplomas to chose from. The three main exam boards all provide three or four levels, each boasting different content, structure, prerequisites and mark schemes. Qualifications are available not just in performance, but in teaching, directing and composition. This article focuses on the performance qualifications, based on classical repertoire, offered by the Associated Board of the Royal Schools of Music (ABRSM), London College of Music (LCM) and Trinity College London.

‘Diploma’ commonly refers to the DipRSM, DipLCM and ATCL qualifications. These are the next level available after Grade 8 – but ‘Grade 9’ they are not. All are recognised as equivalent to music college or university modules. The main element is a full recital, where the ‘whole performance’ is scrutinised, and hitting the right notes is only the beginning.

‘For my ATCL, I spent nearly two years immersed in advanced-level repertoire, ranging from Bach to Messiaen,’ says Wilson. ‘I never lost sight of why I had selected those particular pieces and what I loved about them. The detailed work required to play at diploma standard taught me a great deal about how to practise deeply

and thoughtfully. I became extremely organised in order to complete the requisite amount of practising – three hours a day.’

Each exam board has different requirements. For the DipRSM (pre-requisite Grade 8), the 35-minute recital makes up 60 per cent, a ‘quick study’ (performing a previously unseen piece of Grade 6 level) 15 per cent, and a viva voce and 1,100-word written programme note the remaining 25 per cent. Unlike at graded exam level, it is not possible to pass the diploma (pass mark 40 per cent) without achieving

a pass in each individual section (also 40 per cent). Distinction is awarded at 70 per cent. Two examiners are normally present, one a specialist in the candidate’s discipline.

ABRSM and Trinity offer three levels of diploma, while LCM offers four: DipLCM, ALCM, LLCM and FLCM. Standard and recital options are offered for each level of performance diploma, and the former involves a shorter recital (15-20 minutes compared with 25-30). Original and creative approaches to programme-building are encouraged, the syllabus states, and a post-1945 piece is compulsory in the recital exam. The recital DipLCM does not have a viva voce, while the standard DipLCM does. The prerequisite for both is Grade

5 theory. Written programme notes and sight reading appear in both. In the Trinity ATCL, the recital (32-38 minutes) makes up a full 90 per cent of the exam, with the remaining 10 per cent devoted to presentation skills and programme notes (400-700 words). There are no prerequisites. The pass mark is 60 per cent, with distinction at 80 per cent. For both Trinity and LCM diplomas at diploma and associate level, one examiner is present.

None of the exam boards publish figures for the number of diploma entrants, instruments and age of candidates, or the pass rate, although anecdotally speaking, piano seems to be the most common subject, and the diploma and associate level qualifications are by far the most commonly taken. All the exam boards place a very strong emphasis on stagecraft and professional etiquette; the candidate is assessed as soon as they step into the recital room.

Pianist Susan Bailey took her DipLCM last year and found this aspect a challenge: ‘Exam nerves have always been a big problem and I would even resist attempts by teachers to do mock exams. When I was able to play through my programme I knew that if I was going to actually go ahead I would need to practise performing. I often wanted to back out at the last minute, but I learned to cope with the situation and to play somewhere close to my best. On the day I had to keep reminding myself how many stressful performing situations I’d managed to get through.’

Peter Wild is an experienced examiner who regularly examines diploma candidates for Trinity. ‘These exams aren’t only for professional musicians,’ he says. ‘Almost everyone who studies an instrument formally in the UK

Life after Grade 8Passed Grade 8 and need a new performance challenge? A diploma could be just the ticket, as Clarissa Payne discovers

‘I became extremely well-organIsed In order to complete the requIsIte amount of practIsIng –

three hours a day’

30 MUSIC TEACHER | APRIL 2015 www.musicteachermagazine.co.uk

MT | CPD

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classics. Some crossover allows different instruments to study the same pieces. Three songs are chosen (including one with technical focus). Improvisational and aural tests are conducted in a Session Skills section. Books and CDs provide syllabus material. Trinity’s comprehensive information is clear and easy to access, making this an attractive route for many students and tutors.

The widest coverage of rock and pop comes from the LCM with The Registry of Guitar Tutors setting and administering its exams for acoustic guitar, electric guitar, rock guitar, bass guitar and ukulele. LCM also has a Popular Music Vocals syllabus for Grades 1 to 8 in addition to jazz piano, brass and woodwind, drum kit and – a little outside this brief – Irish and Scottish Traditional Music.

With each syllabus specially geared to each instrument, there is not enough space here for details of exam formats. All are supported by a set of handbooks (with CDs where appropriate) – which also make useful lesson planning material – and easily accessible information, supplementary material, downloads and other publications. Most instruments have nine or ten grade exams, with an Initial and/or Preliminary before Grade 1, the newest set (ukulele’s five exams, Initial to Grade 3) being an exception. Diplomas

follow in many cases. (NB The difference between LCM’s Rock Guitar and Electric Guitar exams is considerable; the former is, like most here, a song-based syllabus while the latter has a highly respected and pragmatic approach, testing the candidate’s (prepared) knowledge in various unprepared ways (and perhaps preparing better for further education). This professional aspect of LCM’s exams is reflected in its patrons, these top musicians giving considerable street-cred.

As well as exams that give students a unique University of West London accredited certificate, there are the less studious Leisure Play and Performance Award (DVD video ‘sittings’) possibilities. The Examinations Registry has looked after LCM’s Popular Music Theory

syllabus since the beginning of the century: nine grades (Preliminary to 8) with handbooks and past papers for each; downloadable worksheets for the early grades. ‘Popular’ here could mislead, as theory relevant to rock, jazz and folk is dealt with; ‘Non-classical’ is an (uninspiring but descriptive) alternative.

Rockschool was a popular 1980s BBC series by guitarist Deidre Cartwright, who also contributed some well-written rock pastiche for early grade books after the exam board Rockschool established itself in the early 1990s; since then it has turned to classic rock to provide material. Guitar, bass guitar and drums currently have a 2012-18 syllabus each, Preliminary and Debut exams preceding the usual eight grades. Band-based keys are covered from Debut to Grade 5 while piano has a fuller set of exams to Grade 8. Vocal grades (1 to 8, 2014-17) are presented for both male and female voices in two well thought-out sets of exams.

For those wishing to be examined as a band, Rockschool’s Group exams may suit. Performance Certificate exams will attract candidates unworried by the accreditation of full exams, while diplomas are there for the more ambitious. A comprehensive set of books with CDs (some with downloads) is available for each subject, including companion books to the basic set

Spot the differenceSome differences for teachers used to the classical model: formats may be more creative, more obviously performance-based as appropriate to the industry; scales not always tested directly; aural tests and viva voce more applied; knowledge of equipment and instrument functions required; examining style may appear less formal (but is no less rigorous) and possibly more gear to take to the exam!

MUSIC TEACHER | MARCH 2015 21www.musicteachermagazine.co.uk

MT | THE ROCK, POP AND JAZZ ISSUE

Rock-solid: Rockschools’ new series of theory books and study guides – available from 9 March – have been created to support aspiring rock and rollers through performance development and theory exams

MT_0315_20_Rock & Pop exams_CJ.indd 21 19/02/2015 12:26:03

takes grades, but these exams are for those who want to take their learning, appreciation and practice of music much further. It’s possible to get through eight grades and still have an “insular” approach, but at this level the performer has to truly take control.’

Graham Fitch, a busy London-based piano teacher and performer, has guided many candidates through their diplomas. ‘I think it’s very important that the teacher is an experienced performer,’ he says. ‘Teachers who no longer perform can lose touch with

what it’s like to struggle in the practice room or deal with nerves.’

While the majority of candidates take the diploma or associate level exam (LCM offers both – the ALCM is between the DipLCM and LLCM), some go on to complete a licentiate qualification (LRSM, LLCM, LTCL) – and a few even continue to become fellows (FRSM, FLCM, FTCL). Recitals and written work are longer, and sight reading more challenging.

Frances Wilson took her LTCL in 2013. ‘I felt it took my playing to another

level, and through that experience I have become a confident and authoritative performer with a clear idea of my own musical personality.’ Violinist and teacher Rhoda Barfoot, who took the LRSM exam, adds: ‘I appreciated the academic aspect of the exam; exploring violin history and the stories behind the music for the programme notes.’

While none of the boards have a compulsory minimum age, LCM has recommended minimum ages of 14, 15, 17 and 18 for each level of qualification. ‘If a young person has sufficient ability I don’t see why they should be discouraged,’ says Wilson. ‘What bothers me is students being pushed into any exam when they are not ready for it, because they have an over-ambitious parent or teacher.’

Wild agrees: ‘While it is unlikely that a pre-teen would be mature enough, there are young people with extraordinary gifts. Sometimes technical development can outstrip emotional development, but I have heard 12-year-olds conjure up wonderful musical atmospheres. My motto is “expect anything”, and sometimes what happens is complete magic.’

In the past resources specifically targeted at diploma candidates were thin on the ground, but that’s changed in recent years. ABRSM has a large range of publications, and publishers such as Spartan Press have brought out quick study practice books. Wilson also recommends using Spotify. ‘I put all my pieces into a playlist to hear how they worked as a programme.’

There’s a lot to consider – whether to play from memory, finding the right accompanist and/or page turner, how to act between pieces. All the students and teachers interviewed agree on the importance of dry runs and mock exams. ‘Having a dress rehearsal in the outfit I intended to wear for the exam was really helpful – it highlighted areas which needed tweaking, it was a dry run for the page-turner, and it helped with performance anxiety. It’s important to practise being a performer: how you behave in front of an audience is often very different from how you work at home alone,’ concludes Wilson – who is now working towards her FTCL. MT

Diplomas place a strong emphasis on stagecraft and professional etiquette

MUSIC TEACHER | APRIL 2015 31www.musicteachermagazine.co.uk

MT | CPD

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MT | ADVERTORIAL

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SCHEduLE 2015–16 Issue Copy deadline Publishing date Issue themeMay 2015 15/04/2015 27/04/2015 Technology

June 2015 19/05/2015 01/06/2015 Vocal and Choral

July 2015 18/06/2015 30/06/2015 Percussion

August 2015 20/07/2015 01/08/2015 Woodwind

September 2015 18/08/2015 29/08/2015 Musicals/Back to School

October 2015 17/09/2015 29/09/2015 Strings/Guitar

november 2015 20/10/2015 28/10/2015 Piano

December 2015 19/11/2015 01/12/2015 Brass

January 2016 14/12/2015 28/12/2015 World Music

February 2016 19/01/2016 30/01/2016 Early Years

March 2016 15/02/2016 27/02/2016 Rock & Pop

April 2016 17/03/2016 30/01/2016 Careers & Courses

IMPoRtAnt InFoRMAtIon PrintDimensions are shown as width x height in millimetres. Artwork should be at least 300dpi and measure, at least, the actual size to be printed.All colour artwork must be supplied as CMYK PDFs.All fonts should be embedded within the PDF.Vital information should be positioned 15mm from all edges.InSERtS: magazine inserts should be sent to the printer as specified on your insert booking sheet. The insert booking sheet must be completed in full and emailed as per the booking sheet instructions.

digitalArtwork should be 72dpi and measure the actual size.All artwork must be supplied as RGB.Digital artwork formats acceptable: PDF, TIFF, JPG, EPS, designed to the correct size in pixels.

All formatsAdvertisers are fully responsible for supplying advertising artwork as per the above specifications.If you have booked Rhinegold to design your artwork, please supply all content a week before the briefed copy deadline.

For all production queries, please call us on +44 20 7333 1721 or email production@rhinegold.co.uk

AddItIonAL oPPoRtunItIESMusic Education SupplementsThroughout the year, the MT editorial team produce a range of supplements that are distributed to subscribers as part of their subscription, and are available for non-subscribers to buy from the Rhinegold Online Shop. They are:

» Strings × 3» ABRSM Teaching notes (violin and piano) » Scholarships» Summer Schools

Music Education GuidesThe team also produces three guides which are available to view online for free. These are:

» Parent Guide to Music Education» Student Guide to Music Education» Teachers’ Guide to Performing Arts Trips,

in association with Teaching Drama magazine

SponsorshipAdvertisers have the opportunity to sponsor these supplements and guides, which includes a logo on the front cover, the opportunity to be involved in the production of the product, and the chance to distribute it to your customers.

AdvertisingWe offer full page, half page and quarter page advertising in these publications, as well as digital enhancement opportunities. Please contact us on +44 20 7333 1733 or email amy.driscoll@rhinegold.co.uk or ben.anderton@rhinegold.co.uk for more information.

www.musicteachermagazine.co.uk

RHInEGoLd MEdIA & EvEntS Rhinegold Media & Events Ltd is an associate company of Rhinegold Publishing Ltd, and specialises in live events and digital media.

Our events include Music Education Expo, now the UK’s largest conference and exhibition for music education, and Rhinegold LIVE, a free concert series at London’s Conway Hall which aims to bring exceptional classical music to all in a relaxed and informal environment.

WHAt RHInEGoLd MEdIA & EvEntS CAn oFFER you

» Innovative sponsorship & branding opportunities

» On-site advertising in programmes and showguides

» Exhibition floor space with direct access to your target market

RHInEGoLd PubLISHInGMusic teacher is published by Rhinegold Publishing, a leading music and performing arts publisher that produces a range of magazines, directories, supplements, guides, handbooks and teaching materials.

WHy WoRk WItH RHInEGoLd PubLISHInG?One of the leading UK publishers for music and the performing arts

A brand that has been built up over the past twenty years

Reach all parts of the music sector:» Industry professionals » Competitions and venues» Educators and students» Enthusiasts and specialist interest groups» Suppliers» Multiple routes to market

WHAt RHInEGoLd PubLISHInG CAn oFFER you

» Print advertising » Digital advertising » Embedded video & audio links» Online advertising » Recruitment» Listings» Product and website sponsorship» Advertorials» Bespoke email marketing» Media partnering & promotion» Co-marketing opportunities

ContACt uS todAy to FInd out HoW RHInEGoLd CAn HELP youCALL uS on +44 20 7333 1733 oR EMAIL AdvERtISInG@RHInEGoLd.Co.uk

Dilip Patel / Double-Barrelled Ltd