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                           Composer Debbie Wiseman receives her OBE

 

In the Queen’s Birthday Honour’s list, June 2018, BASCA member Debbie Wiseman was awarded the OBE for services to music.

Debbie is Classic FM’s Composer in Residence and her latest album “The Glorious Garden”, a collaboration with Alan Titchmarsh, topped the UK Classical Chart for three weeks.

In a ceremony at Buckingham Palace on November 16th, Wiseman was presented with her award by Prince Charles.

Also presented with her award that day was Grace Ladoja, founder of Metallic Inc and manager of UK grime star and Ivor Novello award winner, Skepta. She had  been awarded an MBE in the Queen’s 2018 New Year Honours list.

 

 

The best new works by Britain’s contemporary composers have been announced today, with thirty-seven composers nominated for the 2018 British Composer Awards across 12 categories including orchestral, jazz, sonic art, chamber ensemble, stage works and wind or brass band.

Highlighting the diversity and vibrancy of contemporary composition in the UK today, the 2018 British Composer Awards nominees include: numerous works demonstrating the ways in which today’s composers give a voice to marginalised groups in society; compositions inspired by poetry and other artforms such as visual art and literature; and works that breathe new life and meaning into history.

Nominees giving a voice to disenfranchised groups in society include: a work by the world’s only ‘recovery’ orchestra (Conall Gleeson), composed and performed by an orchestra in recovery from drug and alcohol addiction; an opera reviving forgotten music by history’s overlooked female composers (Tom Green); and music composed for disabled performers (Oliver SearleLiam Taylor-West).

Compositions taking inspiration from poetry and other artforms include: a piece drawing on world music and Indian poetry to build musical bridges between cultures (Roxanna Panufnik); a reimagining of The Rime of the Ancient Mariner to apply to refugees in the world today, first performed by children who are refugees themselves (Dee Isaacs); and a brass band composition based on coal mining strikes and inspired by poet Mervyn Peake (Gavin Higgins).

Nominated composers reinterpreting and breathing new life into history include: a brass band piece inspired by the life of Alan Turing (Simon Dobson); an orchestral work exploring the notion of ‘Deep Time’ through music (Harrison Birtwistle); a sonic art installation celebrating the rediscovery of a forgotten Baptist Burial Ground (Emily Peasgood); and a full-length string concert inspired by the North Sea Flood of 1953 (Oliver Coates).

A record-breaking year for entries, 2018 saw over 560 submissions, demonstrating the volume of quality new music being composed and debuted in the UK. This year all categories have been judged anonymously for the first time, and a second jazz category has been added. In 2018 51 per cent of the composer are aged under 40, and are first-time nominees.

The British Composer Awards are presented by BASCA and sponsored by PRS for Music. The event is in association with BBC Radio 3 providing exclusive broadcast coverage.

Crispin HuntChair at BASCA, said: “In this record-breaking year for entries, BASCA is delighted to celebrate the breadth of works for the British Composer Awards, representing a wealth of UK talent. As ever it’s hugely exciting and inspiring to see the fresh passion represented by our first-time nominees. Congratulations to everyone nominated today.”

Nigel EldertonPRS for Music Chairman, commented: “I am delighted for PRS for Music to once again be supporting the British Composer Awards, with its impeccable record of recognising the best contemporary classical works. It is inspiring to see that over half of this year’s nominated composers are aged under 40 and first-time nominees, showing that the UK classical music landscape is truly continuing to flourish. Congratulations to you all and I look forward to celebrating with you at the ceremony in December.”

Alan DaveyController BBC Radio 3, added: “Broadcasting the outstanding work of composers from across the UK – throughout our schedule – is an intrinsic part of our role to connect audiences with remarkable music and culture. We look forward to sharing highlights of this year’s awards and some of these marvellous new compositions on the station.”

Celebrating the art of composition and showcasing the creative talent of contemporary composers and sound artists, the winners in each category will be announced at a ceremony at the British Museum in London on Tuesday 4 December 2018.

Presented by BBC Radio 3’s Andrew McGregor and Sara Mohr-Pietsch, the ceremony will include a performance in memory of nominated composer, Oliver Knussen and the presentation of two Gift of BASCA awards – the British Composer Award for Innovation and the British Composer Award for Inspiration, presented in association with the Music Publishers Association.

British Composer Awards 2018 Nominees:

Amateur or Young Performers
Works for voluntary, amateur or youth choirs and ensembles
• Fiery Tales by Richard Bullen
• Microscopic Dances by Oliver Searle
• The Caretaker’s Guide to the Orchestra by Jeremy Holland-Smith

Chamber Ensemble
Six or more instruments or voices written for one player or voice per part
• Libro di fiammelle e ombre by James Weeks
• O Hototogisu! by Oliver Knussen
• Tanz/haus : triptych 2017 by James Dillon

Choral
A cappella or accompanied, except works for choir and orchestra
• In the Land of Uz by Judith Weir
• Mielo by Raymond Yiu
• Unending Love by Roxanna Panufnik

Community or Educational Project
Works demonstrating a composer’s work in community engagement alongside compositional craft
• Solace by Conall Gleeson
• The Rime of the Ancient Mariner- a retelling for our times by Dee Isaacs
• The Umbrella by Liam Taylor-West

Jazz Composition for Large Ensemble
Nine or more instruments or voices that contain interactive improvisation as an essential element
• Afronaut by Cassie Kinoshi
• Rituals by Matt London
• Time by Finlay Panter

Jazz Composition for Small Ensemble
Up to eight instruments or voices that contain interactive improvisation as an essential element
• Close to Ecstasy by Simon Lasky
• Vegetarians by Ivo Neame
• You’ve Got to Play the Game by Johnny Richards

Orchestral
• Deep Time by Harrison Birtwistle
• Recorder Concerto by Graham Fitkin
• The Imaginary Museum by Julian Anderson

Small Chamber
Three to five instruments or voices written for one player or voice per part
• Chant by Charlotte Bray
• Lines Between by Robert Laidlow
• Unbreathed by Rebecca Saunders

Solo or Duo
Instrumental or vocal music performed by one or two players or voices
• A Damned Mob of Scribbling Women by Laura Bowler
• Belmont Chill by William Marsey
• The Harmonic Canon by Dominic Murcott

Sonic Art
Sound art installations, electronic music and works with live electronics
• Halfway to Heaven by Emily Peasgood
• The Otheroom by Rolf Wallin
• Two Machines by Cevanne Horrocks-Hopayian and Hugh Jones as ‘Crewdson & Cevanne’

Stage Works
Works specifically written for the stage, including opera, dance and musical theatre
• Shorelines by Oliver Coates
• The Exterminating Angel by Thomas Adès
• The World’s Wife by Tom Green

Wind Band or Brass Band
• Dark Arteries Suite by Gavin Higgins
• Mindscapes by Lucy Pankhurst
• The Turing Test by Simon Dobson

Works eligible for the 2018 British Composer Awards must have received a UK premiere between 1 April 2017 and 31 March 2018. Works are also composed by a composer born in the UK or ordinarily resident in the UK.

For more information visit the British Composer Awards website

New Industry Figures reveal surge in exports, recorded music and jobs in record £4.5BN boost to economy

  • UK Music’s 2018 Measuring Music report reveals UK music industry exports rose by 7% to a record £2.6 billion last year
  • Big rises in recorded music and publishing revenues help fuel export growth
  • Music industry jobs rose by 3% to a new high of 145,815 people
  • The UK music industry grew by 2% in 2017

The UK music industry grew by 2% in 2017 to contribute a record £4.5 billion to the economy – up by £100 million on 2016, a new report by UK Music reveals today.

UK Music published the findings of its Measuring Music 2018 report today (Thursday November 1) to highlight the scale of the industry’s contribution to the economy.

The flagship annual economic study by UK Music and its members showed that the music industry continued to grow last year across almost every sector.

Among the big success stories were the record music sector which saw a rise of 9% to £700 million and music publishing which grew by 7% to £505 million in 2017.

Successful British acts including Ed Sheeran, Dua Lipa, Rag’N’Bone Man, Stormzy, Harry Styles and Depeche Mode helped exports of UK music soar in 2017 by 7% to £2.6 billion.

Millions of fans who poured into concerts ranging from giant festivals to grassroots music venues generated a contribution of live music to the UK’s economy of around £1 billion (£991 million).

UK Music measures the health of the music business each year by collating data from our partners about the industry’s contribution in goods and services, known as Gross Value Added (GVA), to the UK’s national income or Gross Domestic Product (GDP).  Exports are part of this contribution.

KEY POINTS FROM MEASURING MUSIC:

(All figures are the music industry’s GVA to the economy in 2017 + the percentage rise on 2016 figures)

  • Whole sector’s contribution to economy – £4.5bn (+2%)
    • Musicians, composers, songwriters and lyricists – £2bn (+1%)
    • Recorded music – £700m (+9%)
    • Music publishing – £505m (+7%)
  • Exports (whole sector) – £2.6bn (+7%)
    • Recorded music – £468m (+11%)
    • Music publishing (exports) – £719m (+11%)
    • Music representatives (exports) £348m (+9%) (see footnote)
  • Employment (whole sector) – 145,815(+3%)

UK Music chief executive Michael Dugher welcomed the figures, but delivered a warning about the need to nurture the music industry’s talent pipeline.

Mr Dugher said: “British music brings enjoyment to millions and makes a massive contribution to the UK plc. I’m really proud of the fact that these figures show once again that when it comes to music, we in the UK are very, very good at what we do.

“We are a global leader in music and we continue to grow faster than other parts of the British economy and to punch well above our weight.

“Music exports are a particular British success story and organisations like PRS for Music and PPL, that help ensure creators and investors see a return for their work, have also performed particularly strongly in 2017.

“These figures show what can be achieved when we choose to back the British music industry.

“Every child from every background should have the opportunity to access music, to experience its transformative power and to try out a career in the industry if they want to – regardless of whether or not they have access to the Bank of Mum and Dad.

“That’s why we need further government support to help us ensure we produce the next generation of world-leading British talent by backing music in education, protecting grassroots music venues and making sure that creators are properly rewarded for their work. If we do that, we can be even more successful in the future.”

UK Music chairman Andy Heath said: “We are fortunate that levels of creativity in the music industry are really promising at the moment.

“It is a fantastic time for music-makers and for consumers – both in the variety of music on offer and the different ways that people can choose to listen to music.

“However, there are challenges.  It is difficult in the digital age to break new talent because of the sheer quantity of music out there in a crowded marketplace.

“That difficulty is growing and means brilliant creators have to fight harder than ever to get their music heard.

“In the years ahead, it will be a test to help audiences and consumers differentiate and find the musical gems that make our industry so unique.

Minister for Digital and the Creative Industries Margot James said: “The report demonstrates continued sustained growth with the music industry now contributing £4.5 billion to the economy. Exports have risen to £2.6 billion and the sector employs 145,815 people.

“2017 was a very successful year globally for the UK music industry. Ed Sheeran’s third album ÷ (Divide) was the biggest selling album of the year. The O2 in London was officially the most popular live music arena in the world. Five of the top ten most successful worldwide tours were from UK acts. 2018 is proving to be no different

“We need to build on these achievements and as the Minister responsible for the creative industries I am firmly committed to doing just that.”

The Gold Badge Awards return this month to honour and celebrate eleven outstanding individuals who have inspired or supported the creator community. Ahead of the ceremony on Friday 19th October, we meet composer Sarah Rodgers, who has dedicated herself to championing music creators and will be collecting an Award in recognition of her work…

How do you feel about receiving a Gold Badge Award from the songwriting and composing community?

“Honoured and delighted! Gold Badge is a very special occasion and I’m looking forward to seeing colleagues and friends.”

What has been the most pivotal moment in your career?

“Writing the music for a film about the National Trust, which meant I then had something for people to watch and listen to. Recordings are a much more commonplace resource these days but in the 1980s it was far harder to achieve and having an audio calling-card made all the difference. Not long after that, a composer exchange involving a two week visit to Russia in 1989 (about 6 months before the Berlin Wall came down) was key to my commitment to helping UK composers find a united voice and to speaking out in the interests of all music creators.”

Which person has been the most influential figure in your career and why?

“Without a shadow of doubt, the person who has given me the most support, encouraged me to say, ‘yes’ when I might have said, ‘maybe’, conjured amazing creative projects (and funding) out of thin air, been a total realist (something we all need!) and listened interminably, is my partner of 31 years, the clarinettist, Geraldine Allen.”

What one piece of advice would you give your young self, starting out in music?

“This has to be dual! On the creative front, keep writing and keep listening to all sorts of music. The more you exercise your skills, the more prepared you will be to take on whatever compositional challenges come your way. On the practical front, get connected to writer-representative organisations and writer communities. Sorry! Advice seldom comes in small packages!”

You spent two years working with Voluntary Service Overseas in Sierra Leone before you began composing professionally. How would you say this experience impacted or influenced your composition style?

“Living in a different culture is a life-changing experience. Africa entered into my music as rhythm and colour, and persuaded me to avoid unnecessary complexity. It also became the stimulous for creating cross-cultural works, composing alongside and drawing on the traditions, at different times, of African, Indian, Indonesian, Chinese and Japanese music. Last but not least, it led me to try always to make my music, present and purposeful.”

You founded the British Composer Awards for BASCA in 2003. At the time, how important and necessary did you feel this was?

“I was a girl on a mission! The BCAs were the culmination of more than a decade of personal efforts to establish an occasion when composers could come together and celebrate the achievements of the classical composing community in the UK. I think the BCAs have done a great job in helping composers in the UK grow in confidence, become more collaborative and have a stronger artistic presence. The Awards have also helped to kick-start not a few careers! I couldn’t be happier that they are still thriving after 16 years.”

Serving as Chair of both the Composers’ Guild of Great Britain and BASCA, you have dedicated yourself to championing music creators. What are the main challenges that music creators face in today’s current climate?

“All creators face the challenge of dealing with conditions that stop them from being the best they can be – lack of time, opportunity and funding. We learn to manage our time and to create opportunities but being paid reasonably or even adequately for what we do is a constant battle, whether it is the streaming debate or changes to royalty rates driven by commercial factors or the sheer pressure of demand on finite funding budgets. In my world (classical music) it seems we have still not found an equitable way of rewarding the music that labours under the description of cultural.”

You have been working in partnership with Orchestras Live, whose mission is to ensure that communities across the country have access to world-class orchestral experiences. What is the best way to keep orchestral music relevant to people’s lives in 2018?

“I’ve been involved in a number of projects with Orchestras Live and this recent one was a commission for the Orchestra of the Age of Enlightenment, performed to a large and enthusiastic audience in Norfolk. Orchestral music at the blockbuster level is alive and well. Look at the constant stream of new film releases with massive scores, or film music at the Proms, or the audio content of video games now translated into live performances springing up around the country. The keener question, and this is where the work of Orchestras Live comes in, is how to lead those listeners into other repertoire so that they can enjoy the orchestral experience for its whole spectrum of musical richness.”

The 45th Gold Badge Awards are presented by BASCA and sponsored by PPL and PRS for Music, taking place at The Savoy in London from 11.30am to 4.30pm on Friday 19th October. 

www.goldbadgeawards.com

The Gold Badge Awards return this month to honour and celebrate eleven outstanding individuals who have inspired or supported the creator community. Ahead of the ceremony on Friday 19th October, we meet acclaimed conductor and Music Director of the English National Opera, Martyn Brabbins, who will be collecting an Award in recognition of his work…

How do you feel about receiving a Gold Badge Award from the songwriting and composing community?

“In my understanding of the world of music, the composer is at the top of the food chain. Without composers…..well, it is pretty obvious isn’t it! There would be no music. I spend my Conducting life supporting composers, both living and dead, thus to be honoured by BASCA is a huge privilege and something of a vindication of the musical priorities I espouse. I am delighted!”

What has been the most pivotal moment in your career?

“I guess had I not won the Leeds Conducting Competition in 1988, none of what I have done would have been possible.”

Which person has been the most influential figure in your career and why?

“Karen, my wife. We met at Goldsmiths in December 1977, and she has been the rock, the calm, the wisdom and the love in my life ever since.”

What one piece of advice would you give your young self, starting out in music?

“My young self made many mistakes, but the one I regret the most was refusing to take piano lessons from an early age. It didn’t seem relevant to a fairly high flying young brass player, but I now know what I missed!”

The conductor’s course you founded in 2013 has inspired a new generation of exciting directing talent. What attracted you to make a home for this course in Scotland?

“The Orkney Conductors’ Course was the brainchild of Glenys Hughes and myself. Glenys was the Festival Director of the St Magnus Festival and woman who understood so well the value of music in a community and could really make things happen. Of course, behind the St Magnus Festival was the amazing spirit and personality of Max – Sir Peter Maxwell Davies. He had led a composers course for many years on the island of Hoy, and the precedent he set, led me to suggest to Glenys the establishment of a Conductors Course to run alongside the Festival. Around 100 aspiring Conductors are now OCC alumni, and it is wonderful for me to see so many of them active here and across the world stage. (I should mention my teacher, Ilya Musin, with whom I studied in Leningrad from 1986 to 1988. It was his extraordinary teaching that gave me the tools to teach myself!).

Having gained a wealth of experience in the recording studio working with several record companies, what’s your favourite aspect of the recording process?

“The constant striving for perfection and the energy generated in a recording situation, between all the performers, the engineers, the producer, are so stimulating. And then, one hopes, that a wonderful expression of musical creation is given to posterity!”

You have worked with several orchestral ensembles and opera companies in your career. Is there an ensemble or company that you haven’t worked with yet, but would like to and why?

“I am a strangely non-ambitious conductor….but am happy to work with anybody that would like to work with me. So I hope to make many new musical acquaintances in the future, as well as cementing existing relationships.”

As an award-winning interpreter of contemporary British classical music and supporter of creative performance and composition talent, what makes you positive about the future of contemporary classical music in the UK?

“The wealth of composing talent that the UK nurtures is extraordinary. All performing groups commission new work, the BBC support new talent to an unparalleled extent. The teaching of composition is stronger than ever. The only thing needed is an open minded public for all this incredible creativity. I am optimistic by nature, and given the quality of work that is produced by so many musical outfits in the UK, music will go on to provide levels of artistic excitement and stimulation that no other art form can reach.”

The 45th Gold Badge Awards are presented by BASCA and sponsored by PPL and PRS for Music, taking place at The Savoy in London from 11.30am to 4.30pm on Friday 19th October. The award ceremony follows a three course lunch and a limited amount of tickets are still on sale. For more information contact Cindy Truong at BASCA – cindy@basca.org.uk

www.goldbadgeawards.com

The Gold Badge Awards return this month to honour and celebrate eleven outstanding individuals who have inspired or supported the creator community. Ahead of the ceremony on Friday 19th October, we meet Grammy nominated and double Ivor Novello Award winning lyricist, Squeeze co-founder and solo artist Chris Difford, who will be collecting an Award in recognition of his work…

How do you feel about receiving a Gold Badge Award from the songwriting and composing community?

“I feel deeply honoured and full of pride, to receive this award is something very special.”

What has been the most pivotal moment in your career?

“Pivotal moments are like signposts, they point me in the right direction, there have been many. Possibly placing an add in a sweetshop window for a guitarist to join a band in 1973 would have been one of the most significant.”

Which person has been the most influential figure in your career and why?

“Elton John I first saw play at Wembley in 1974 supporting The Beach Boys, he played the whole of his new album to a hot and hungry crowd, which was brave. I admire his kindness and his giving back, his dedication to family and friends, his work ethic and his love. It’s inspiring.”

What one piece of advice would you give your young self, starting out in music?

“Speak up, be heard and be in the moment with everyone. Be the person you want to be and not the person others think you are.”

Your lyrical style has been described as ‘kitchen sink-drama’. Where do you draw inspiration from when writing?

“I find inspiration in day dreaming, listening and being that guy who writes songs for a living, he is the most important person. I try to always find inspiration in my day, it was easier back in the day, when there seemed to be more time.”

Why did you set up your songwriting retreats and what have you learnt since their conception over 25 years ago?

“I first went to a songwriting retreat in France run by my manager at the time, on the drive home I thought I could do that but not make it so exclusive. I wanted to open it up for everyone who picks up a pen or a guitar, and that’s what I hope to do. There is after all a song in all of us.”

In 2010, you curated Songs in the Key of London, a celebration of music from, and about, the capital. What do you think about the current climate of British music?

“The pond we look into as writers and singers is always welcoming another reflection, there are no boundaries and I think that’s great. The industry has changed so much since I began and I have no clue what the climate really is today. I think it’s always just about right, but we could do with a little more lyric.”

Your songwriting partnership with Glenn Tilbrook is one that’s definitely stood the test of time. What, in your opinion, is the key to a successful collaborative songwriting relationship?

“Good writing relationships I think depend on listening and learning, being open to change and being wrong. Knowing your boundaries strengths and weaknesses is essential. More than any of that you need a sharp pencil and a good sense of humour.”

The 45th Gold Badge Awards are presented by BASCA and sponsored by PPL and PRS for Music, taking place at The Savoy in London from 11.30am to 4.30pm on Friday 19th October. The award ceremony follows a three course lunch and a limited amount of tickets are still on sale. For more information contact Cindy Truong at BASCA cindy@basca.org.uk

www.goldbadgeawards.com

BASCA believes that the creation of a Sony ‘major-superpower’ would limit creator choice and could potentially undermine the future autonomy of Creator Rights.

Sony is seeking approval of the European Commission for its acquisition of EMI Music Publishing. Sony is already the largest music publisher in the world, as well as the second biggest music label. If this sale goes through Sony stand to nearly double their publishing catalogue, growing it from 2.16m to 4.21m compositions, securing a potential hegemony of the global music market. Combined with Sony’s label interests, this merger would effectively create a ‘major-superpower’ with new capability to dominate licensing markets and (via direct online licensing deals) raise serious implications for the autonomy of collective rights management.

Commenting on the pending transaction BASCA Chair, Crispin Hunt said, “At a time when the EU is looking to restore a balanced, diverse and competitive online marketplace for music, to allow the concentration of market leverage in this way seems antithetical to that purpose. As yet, there appears little evidence that the (unchallengeable dogma of the) market-share-music-model will successfully deliver the flourishing musical environment that consumers desire. Sony is a great music company; indeed they acquired, publish and service much of my catalogue. But if we are to heed the economic lessons of ‘too big to fail’, it seems incautious to concede near absolute control of the music market to one player. Setting up the music ecosystem so that it once again runs on competition as opposed to oligopoly is the key to a flourishing market, both online and off.”

A Sony Super-Power could intimidate the creator’s voice and erode the autonomy of collective rights management.

 Creators rely on the transparency, governance and fair distribution of royalties. Collective rights management plays an integral role in ensuring this happens. Improvements are needed to how some CMOs are managed, but the Collective Rights Management Directive in Europe should soon address concerns. However, there is no such regulation over how labels and publishers license, collect and distribute royalties.

Hunt said: “While we recognise the advantage of large music companies in securing value for collective licenses, we also note that large catalogues can exert an asymmetric influence on CMO’s.  Naturally, such catalogues tend to optimise policies for the convenience of the big guys, which could disadvantage the expanding indie and self-releasing sector. The CMO network provides a critical lifeline for most music creators and indie publishers alike. Gigantic catalogues can be good for business — but a Titanic one?”

A super-sized Sony could reduce choice and service for creators

Historically, some creators have found a reduction of service and diligence inevitably accompanies the absorption of catalogue.  Aggregated catalogues, arguably, lack incentive to extract maximum value from each newly acquired work and one-to-one publisher/creator relationships can deteriorate accordingly. Commenting on behalf of the BASCA Songwriters Committee, Helienne Lindvall said, “Creators should expect that their copyrights will be known to the publisher and exploited fully. They should also expect their publishers to work closely with them on a personal level to develop their careers. The opposite has been found to be true for songwriters and composers – including myself – when their rights are transferred from their original publisher to a corporation such as Sony, in merging vast catalogues.”

BASCA is seeking for the Sony transaction to be blocked in favour of EMI being run as a standalone business or else combined with smaller music companies to guarantee a fair and competitive market for European talent.

BASCA is delighted to announce 11 exceptional individuals who will collect a Gold Badge Award this October in recognition of their unique contribution to the creator community.

Presented by the songwriting and composing community, the Awards celebrate exceptional talent in the UK music industry; individuals who inspire or support creativity and the professional lives of BASCA members.

Now in its 45th year, more than 500 awards have been presented by BASCA to acknowledge the diversity of contribution, dedication and talent that exists within the music industry, recognised from the worlds of jazz and classical, film, television and theatre music, and songwriting. BASCA is also delighted to announce the award ceremony will be hosted by broadcaster (and previous Gold Badge Award recipient) Janice Long.

The 2018 Gold Badge Awards will be presented to:

Annette Barrett, highly respected music publisher and Managing Director of Reservoir/Reverb Music.

Martyn Brabbins, acclaimed conductor and Music Director of the English National Opera.

Jackie Davidson, multi-faceted, award-winning music entrepreneur and manager. This award is presented in association with PRS for Music.

Chris Difford, Grammy nominated and double Ivor Novello Award winning lyricist, Squeeze co-founder and solo artist.

Guy Fletcher OBE, Ivor Novello Award winning songwriter and former Chairman of BASCA and PRS.

Guy Garvey, lead singer and lyricist of elbow, renowned DJ for 6 Music and solo artist. This award is presented in association with PPL.

Claire Martin OBE, critically acclaimed jazz singer and broadcaster.

Sarah Rodgers, composer who has dedicated herself to championing music creators.

Matthew Scott, composer, arranger, producer and former Head of Music at the National Theatre.

Scott Stroman, inspirational conductor, composer, trombonist and singer in a uniquely broad range of musical styles.

Nick Wollage, respected and sought after engineer working across a diverse collection of projects from major Hollywood film scores to individual artists.

Commenting on the announcement, Crispin Hunt, Chair of BASCA has said:

“The Gold Badge Awards always provide a fantastic opportunity and platform to recognise those who have achieved excellence in their chosen fields whilst contributing to the betterment of the wider musical community. This year’s list of recipients is full of inspiring individuals who we are honoured to celebrate.”

The 45th Gold Badge Awards are presented by BASCA and sponsored by PPL and PRS for Music. They take place at The Savoy in London from 11.30am to 4.30pm on Friday 19th October. The award ceremony follows a three course lunch and tickets are currently on sale. For more information contact Cindy Truong at BASCA (cindy@basca.org.uk).

www.goldbadgeawards.com

Whilst commending yesterdays EU Copyright Directive vote result, The UK Council of Music Makers (CMM) launches today comprising of BASCA, the Featured Artist Coalition, the Music Managers Forum, the Music Producers Guild and the Musician’s Union.

The CMM campaigns for a better future for music makers, to ensure that they can thrive in the digital age. The CMM’s mission is to fight for the rights of songwriters, musicians, music producers, music managers, and performing recorded artists that contribute to the music industry’s £4.4bn GVA contribution to the UK economy.

Following the result of the EU Copyright Directive vote, (announced September 12th), the CMM says: “The CMM commends the positive progress made with the vote result. We have supported the activity of our UK and European counterparts on this matter and lobbied at home and in Brussels, to ensure that our message is heard on the importance of the Copyright Directive as an opportunity to modernise the laws and commercial landscape governing how music makers get paid and how music fans engage with music. Music makers bring untold joy and entertainment to the masses. They are significant contributors to culture, as well as providing a grand boost to the economy beyond most other sectors. The CMM believes that the full package of the proposed EU Copyright Directive as a whole will support our community, help modernise the industry, encourage a healthier market with fairness and transparency and promote a sustainable, innovative music business with music makers at its heart. This is vital in ensuring music makers are clearly and adequately remunerated for their work.”

To mark its launch, the CMM teamed up with creative and executive talent at London’s Strongrooms.

Pictured left to right: Top row – Keith Ames (MU), Graham Davies (BASCA), Crispin Hunt (Music maker/BASCA), Fiona McGugan (MMF), Cameron Craig (Producer/Engineer/Mixer/MPG), Frank Carter (Artist), Matt Greer (ATC Management) and Dean Richardson (Frank Carter and the Rattlesnakes). Middle row – Andrew Hunt (Record Producer/MPG), Annabella Coldrick (MMF), Jess Iszatt (BBC), Kevin Brennan MP, Dave Rowntree (Musician/FAC), Olga Fitzroy (Recording and Mixing Engineer), Richard Lightman (Producer/Composer/Sound Designer/MPG). Bottom row – Jill Hollywood (Producer manager, Echo Beach Management), Jack Savoretti (Artist), Helienne Lindvall (Songwriter/Musician/BASCA), Ninja (Artist), Issie Barratt (BASCA), Naomi Pohl (MU), Ric Salmon (ATC Management/MMF), Cam Blackwood (Record Producer/MPG). Photo credit: Joanna Dudderidge

As the business of being a music maker continues to evolve, the CMM will continue to campaign for a music ecosystem that is fully fair and fit for purpose – post-Brexit this will be at UK level with government and the IPO, for modernisation of the legal framework.

The CMM is keen to engage partners to collaboratively aid its mission. It calls for government to convene representatives of the rights holders and creators in the music industry, to instigate a thorough discussion on transparency, updating pre-digital era contracts, ensuring contracts are fair, addressing value gaps and inequalities and reviewing revenue flows. The CMM reminds government of its manifesto pledge of; “We will ensure content creators are appropriately rewarded for the content they make available online.”

Without music and someone to perform it, there is no music business.

BASCA Chair, Crispin Hunt says “As CMM, Music Makers provide the UK with a ‘one stop shop’ forum allowing labels, publishers, innovators,  platforms, politicians or lobbies of any kind to commence constructive dialogue towards the fairer , more accurate, more transparent , more progressive, more innovative , more competitive music marketplace we all seek and the future demands. We look forward to that journey’.  Crispin Hunt Chair BASCA. 

Music Maker / FAC / MyCelia, Imogen Heap, says  “As a Music Maker in the digital era, and as part of CMM, I want to ensure the future is positive, progressive, and flourishing for creators in their development and beyond. The current climate around the economics of streaming and the digital transition of the music business has been hampered by outdated laws and outmoded contracts which can be convoluted, confusing and unfair – particularly for those music makers without the resources to fully understand or challenge them. With collective voice and clout as the CMM, we pledge to take action on such issues with government, working with the IPO and others, to create an economy in which music makers can progress and thrive alongside innovations in technology.”

Record Producer / MPG, Cam Blackwood,  adds: “Music makers are the foundation and the future of the music business. The CMM wants to change the broken economics creatives face. The current model is failing future talent while it is based on the past. The CMM is here to make sure it’s sustainable.”

 

CMM launch – Imogen Heap Message from CouncilofMusicMakers on Vimeo.

 

The European Parliament has voted to support the Copyright Directive, with a landslide victory of 438 votes in favour, 226 against and 39 abstentions. BASCA has been instrumental in making this happen. We have campaigned to bring about a fair copyright environment that stops big tech hiding behind ‘safe harbours’ to avoid taking out a licence and ensure that creators get more transparent and equitable payments.

Ahead of the vote, BASCA and the UK music industry launched major campaign ‘#LoveMusic’ to help fight for the best possible future for everyone who works in the industry and who relies on music to make a living.

Commenting on the success, Chair of BASCA Crispin Hunt said:

“This is a significant victory for music, for journalism, for photography; indeed for art of any kind. The Directive will help re-balance the digital market for music, providing an online framework to ensure the internet once again runs on competition as opposed to oligopoly.

Active platforms like YouTube are now obliged to properly license our work and at a competitive, negotiable, market rate. YouTube is the biggest and arguably the best streaming service on the planet, now it should have to pay like one.

The fight is not over by a long shot, but this victory is a milestone in our movement’s goals. BASCA led the way in this endeavour and was hugely instrumental in the global campaign to re-assert creativity’s sovereignty over those platforms that exploit our work without paying creators fairly. This is a demonstration of the power of our collective voice – join us to strengthen our voice. Congratulations one and all.”

Graham Davies, Interim CEO of BASCA, has commented:

“Creators are powerful when they come together. BASCA mobilised the music creative community and their voice has been listened to. Working with our industry partners we have brought about significant victory. This is the start. We ask more creators to join our movement and strengthen our voice asking for positive change.” 

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ARTICLE 13

Use of protected content by information society service providers storing and giving access to large amounts of works and other subject-matter uploaded by their users:

  1. Information society service providers that store and provide to the public access to large amounts of works or other subject-matter uploaded by their users shall, in cooperation with rightholders, take measures to ensure the functioning of agreements concluded with rightholders for the use of their works or other subject-matter or to prevent the availability on their services of works or other subject-matter identified by rightholders through the cooperation with the service providers. Those measures, such as the use of effective content recognition technologies, shall be appropriate and proportionate. The service providers shall provide rightholders with adequate information on the functioning and the deployment of the measures, as well as, when relevant, adequate reporting on the recognition and use of the works and other subject-matter.
  2. Member States shall ensure that the service providers referred to in paragraph 1 put in place complaints and redress mechanisms that are available to users in case of disputes over the application of the measures referred to in paragraph 1.
  3. Member States shall facilitate, where appropriate, the cooperation between the information society service providers and rightholders through stakeholder dialogues to define best practices, such as appropriate and proportionate content recognition technologies, taking into account, among others, the nature of the services, the availability of the technologies and their effectiveness in light of technological developments.
Created by DigitalMovement