Expert Advisory Panel:
Peter Bosher, Soundlinks
Jacqueline Clifton MBE, Royal College of Music
Kevin Kern, Official Steinway Artist and Composer
Lord Colin Low of Dalston CBE
Lydia Machell, Prima Vista Braille Music Services
Miss Vasuki Sivagnanavel FRCOphth, MD, BSc, MBBS
PG Cert (healthcare management)
Consultant Ophthalmic Surgeon
Royal Eye Unit, Kingston Hospital
David Baker read for his undergraduate degree at University College, Cardiff and, subsequently, completed Master of Music and Doctor of Philosophy degrees at Reading University. David is a trumpeter and Associate of the Royal College of Music, London. He was taught to play the trumpet by the late David Mason, who can be heard on "Penny Lane" by the Beatles. David became a member of the Royal Society of Musicians of Great Britain in 2000.
David's pursuits have embraced research into: musicians' life histories, visual impairment and music-making, music service provision, conceptions of musical ability in the primary school, and playing by ear. He has published articles in journals such as the British Journal of Music Education, Research Studies in Music Education and the International Journal of Music Education. In 2007, David collaborated with John Miller, Director of Wind and Percussion, Royal Northern College of Music, on an investigation into conservatoire students' pedagogical training. More recently, he has contributed two chapters to the Ashgate book Developing the Musician (2013), one on musical ability (co-authored with Mary Stakelum) and the other on Lucy Green's Ear Playing Project (EPP). David worked for Lucy on the latter (2011–12), a national investigation into ear-playing in instrumental lessons funded by the Esmée Fairbairn Foundation, as her Research Officer. Alongside research, David has published book reviews in the British Journal of Music Education, Journal of Historical Research in Music Education, Philosophy of Music Education Review and Psychology of Music.
David comes from a background as an instrumental teacher. David taught brass instruments in various primary and secondary schools for a Local Education Authority (LEA) music service for over 10 years. In 1999, Peters Edition published Fast Track Trumpet, two volumes of his educational music. After participating as External Academic Assessor for a University of Plymouth approval panel for a new foundation degree in music at Exeter College, David was appointed External Examiner in 2010. In tandem with his current role at the University of London, David is Course Tutor for the MA in Instrumental Teaching programme at Reading University. This programme is a venture with the Incorporated Society of Musicians. David has supervised the collaborative practitioner research of instrumental teachers at Reading and also Master of Arts dissertations on various areas of music pedagogy.
Lucy Green is Professor of Music Education at the UCL Institute of Education, UK. Her research interests are in the sociology of music education, specializing in meaning, ideology, gender, popular music, inclusion and equality, informal learning, and new pedagogies. She is the author of Music on Deaf Ears: Musical Meaning, Ideology and Education (1988/2008), Music, Gender, Education (1997), How Popular Musicians Learn: A Way Ahead For Music Education (2001) and Music, Informal Learning and the School: A New Classroom Pedagogy (2008) as well as numerous articles and book chapters. Her edited book, Learning, Teaching and Musical Identities: Voices Across Cultures came out in 2011. She has lectured in countries around the world, and serves on the Editorial Boards of twelve journals, including Music Education Research, Radical Musicology, Popular Music, the British Journal of Music Education, the Journal of World Popular Music, and Research Studies in Music Education. Lucy led the research and development project "Informal Learning in the Music Classroom" within the British movement Musical Futures, and this work is now being implemented in schools across the UK and in Australia, Canada, Singapore, and parts of the USA, Brazil and other countries. Her more recent research took that work forward into instrumental tuition with the Ear Playing Project. Her next book, to be published in 2014, is a practical handbook for teachers bringing together work in classrooms and instrumental tuition, entitled Hear, Listen, Play! How to Free Your Students' Aural, Improvisation and Performance Skills.
Anthony Gritten co-edited two volumes on Music and Gesture (Ashgate, 2006, 2011), and is co-editing Music and Value Judgement (Indiana). He has written for visual artists' exhibition catalogues, on Jean-Francois Lyotard, and on issues in Performing for the journals Musicae Scientiae, Performance Research, Dutch Journal of Music Theory, and the volumes Music Semiotics: A Network of Significations, Performers' Voices Across Centuries, Cultures, and Disciplines, Recorded Music: Philosophical and Critical Reflections, The Routledge Companion to Philosophy and Music, In(ter)discipline: New Languages for Criticism, and Phrase and Subject: Studies in Literature and Music. He is Head of Undergraduate Programmes at the Royal Academy of Music, having previously worked at the University of East Anglia and the Royal Northern College of Music. As a concert organist, he has played all over the UK, France and Canada, including several premieres of works by the French organist-composer Daniel Roth.
James Risdon is the Music Officer at the Royal National Institute of Blind People (RNIB) where his role is to support the music-making of blind and partially sighted people. His notable work has included: evaluating Braille music software as part of the Contrapunctus project, which received funding from the ICT strand of the EU's Sixth Framework Programme for research; creating a range of professional development workshops for blind and partially-sighted musicians in partnership with the Incorporated Society of Musicians, the Department for Work and Pensions, the Wigmore Hall, Handel House Museum and the Musicians' Benevolent Fund. James has also expanded the music section of the RNIB website with various articles and support materials. His work has seen him perform in a pod on the London Eye, deliver a keynote speech at a reception hosted by Sir George Martin and make his debut at the Wigmore Hall as a frog.
James maintains a busy performing schedule as a recorder player with recent performances at St. Martin-in-the-Fields, the Handel House Museum, the Treasury Music Society and Dartington Great Hall. He was a founding member of the British Paraorchestra performing at the closing ceremony of the London 2012 Paralympics with Coldplay. He holds his Licentiate of the Royal Schools of Music (LRSM) with Distinction and undertakes some private recorder teaching.
Sally Zimmermann is the Music Adviser at the Royal National Institute of Blind People (RNIB) where she has worked since 1994. Previously, she was a class teacher in mainstream and special schools in Battersea, Bermondsey and Brixton. In her MA in Music Education, she focussed on the educational uses of steel pans and, in her Special Needs Diploma at Birmingham University, she investigated an alternative notation system to Braille music. With Professor Graham Welch and Adam Ockelford, she also wrote the PROMISE report published in 2001, which examined the provision of music in special schools in England. This led to her participation in the development of the Sounds of Intent musical assessment scheme. Sally also works for English and Welsh examination boards and is on the editorial board of the British Journal of Music Education. Sally is involved in a broad range of music-making in her spare time.