The Power of Music

'Sheku believes that the future of classical music is bright, and in the hands of young musicians like him, it certainly is’ John Suchet Music is what makes us alive, mindful and connected to each other. Music is what makes us human. This is the power of music. Cellist Sheku Kanneh-Mason knows and feels the transformative power of music as much as any musician alive. From winning the prestigious BBC Young Musician Award to performing at Harry and Meghan’s wedding; from Bach’s solo suites to Bob Marley’s reggae; his ferocious passion shines through in every single performance, whether in a packed-out concert hall or on record. But how was it that someone like him – a person of colour, from a state school in Nottingham – rose to the upper echelons of the classical music world? What were the obstacles that he had to overcome, what did he learn along the way, and how could a young person follow in his footsteps today? In The Power of Music , Sheku explores the experiences and values that led him here, from a childhood of football practice and family music sessions, to his work today in the world’s finest concert halls and in the less privileged communities that surround them. As his star continues to rise, he shows us the darker side of an industry ruled by exclusivity and stubborn adherence to tradition. With its power to transform our mental and physical health, to effect social change, and to make a house a home, Sheku shows us that classical music is for everyone, not just an elite few. The Power of Music is a celebration of music of all sorts and those who make it, and a rallying call to change. ‘A heartfelt plea for the importance of excellence in music performance and education, from one of the leading role models of our time' Sir Nicholas Kenyon, former director of the BBC Proms and Barbican Centre 'Powerful and inspiring' Sir Stephen Hough

'Sheku believes that the future of classical music is bright, and in the hands of young musicians like him, it certainly is’ John Suchet Music is what makes us alive, mindful and connected to each other. Music is what makes us human. This is the power of music. Cellist Sheku Kanneh-Mason knows and feels the transformative power of music as much as any musician alive. From winning the prestigious BBC Young Musician Award to performing at Harry and Meghan’s wedding; from Bach’s solo suites to Bob Marley’s reggae; his ferocious passion shines through in every single performance, whether in a packed-out concert hall or on record. But how was it that someone like him – a person of colour, from a state school in Nottingham – rose to the upper echelons of the classical music world? What were the obstacles that he had to overcome, what did he learn along the way, and how could a young person follow in his footsteps today? In The Power of Music , Sheku explores the experiences and values that led him here, from a childhood of football practice and family music sessions, to his work today in the world’s finest concert halls and in the less privileged communities that surround them. As his star continues to rise, he shows us the darker side of an industry ruled by exclusivity and stubborn adherence to tradition. With its power to transform our mental and physical health, to effect social change, and to make a house a home, Sheku shows us that classical music is for everyone, not just an elite few. The Power of Music is a celebration of music of all sorts and those who make it, and a rallying call to change. ‘A heartfelt plea for the importance of excellence in music performance and education, from one of the leading role models of our time' Sir Nicholas Kenyon, former director of the BBC Proms and Barbican Centre 'Powerful and inspiring' Sir Stephen Hough

There is accruing evidence which indicates that actively making music can contribute to the enhancement of a range of non-musical skills and lead to other beneficial outcomes. Research continues to explore the circumstances under which these benefits may occur. A recent review of the evidence from neuroscience suggests that early engagement may be important (before the age of seven), the length of musical engagement and commitment to it, the type of training, and the instrument learned. The quality of teaching is also crucial as to whether any benefits are realised. When teaching is poor there may be no benefits and negative outcomes. The common characteristics of musical programmes which are beneficial are emerging. They need to be highly interactive and enjoyable with opportunities for: developing new skills and performing; acquiring cultural capital; developing interpersonal bonds and solidarity in pursuing shared goals; on-going intensity and frequency of contact; developing mutual respect; and recognition and rewards for excellence. Receiving positive affirmation from others relating to musical activities, particularly performance is crucial in enhancing self-beliefs whatever the age of the participants. If performances are in high status cultural venues the impact is enhanced. The research undertaken to date suggests that: - active engagement with making music should start early for the greatest benefits to be realised; - engagement needs to be sustained over a long period of time to maximise the benefits; - the activities need to include group work; - opportunities need to be available for performance; - the quality of teaching needs to be high; - the curriculum needs to be broadly based including activities related to pitch and rhythm, singing, instrumental work, composition and improvisation, and the reading of notation; - to have a positive impact on disaffected and at-risk young people, the musical activities need to be in a genre with which they can relate.

There is accruing evidence which indicates that actively making music can contribute to the enhancement of a range of non-musical skills and lead to other beneficial outcomes. Research continues to explore the circumstances under which these benefits may occur. A recent review of the evidence from neuroscience suggests that early engagement may be important (before the age of seven), the length of musical engagement and commitment to it, the type of training, and the instrument learned. The quality of teaching is also crucial as to whether any benefits are realised. When teaching is poor there may be no benefits and negative outcomes. The common characteristics of musical programmes which are beneficial are emerging. They need to be highly interactive and enjoyable with opportunities for: developing new skills and performing; acquiring cultural capital; developing interpersonal bonds and solidarity in pursuing shared goals; on-going intensity and frequency of contact; developing mutual respect; and recognition and rewards for excellence. Receiving positive affirmation from others relating to musical activities, particularly performance is crucial in enhancing self-beliefs whatever the age of the participants. If performances are in high status cultural venues the impact is enhanced. The research undertaken to date suggests that: - active engagement with making music should start early for the greatest benefits to be realised; - engagement needs to be sustained over a long period of time to maximise the benefits; - the activities need to include group work; - opportunities need to be available for performance; - the quality of teaching needs to be high; - the curriculum needs to be broadly based including activities related to pitch and rhythm, singing, instrumental work, composition and improvisation, and the reading of notation; - to have a positive impact on disaffected and at-risk young people, the musical activities need to be in a genre with which they can relate.

Building on her earlier work, The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People, this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well signposted text with helpful subheadings, The Power of Music: An Exploration of the Evidence gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music's relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community. The Power of Music defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.

Building on her earlier work, The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People , this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well signposted text with helpful subheadings, The Power of Music: An Exploration of the Evidence gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music's relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community. The Power of Music defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.