Transmitting Musical Heritage

  • David Judge

    Dave Judge

Planning and Doing

And what the money and the research project brought was a kind of ‘we have to do it now’ and in fact the timing of it is never perfect. I’ve got a gig the first night of the weekend because we just could not find a time that was suitable. But I think it’s ok, it’s just unusual to have, you know, the singing weekend we delivered, it took me a year but it was my first time doing it and this one we’ve basically got a few months.

Nancy Kerr


Yeah, we have a language of description of what’s going on but also in terms of Fay’s project we can say to people well actually if you’re transmitting musical heritage it’s all these things, it’s Sam sending frantic emails in the middle of the night, it’s setting up the sessions, it’s trying to get everybody to come on time to rehearsals, it’s trying to record a choir in a hall without sound interference, it’s all these things and actually it involves an awful lot of different practices. In the end of the day you’ve got something alive and moving that people are enjoying and hearing and you’re valuing different practices not just the same old kind of the stars but actually people doing music on all these different levels which I think is really good. It’s a very equitable project actually.

Kate Pahl