2017

MEDIA PACK

Innovative and dynamic opportunities to promote your brand

www.musicteachermagazine.co.uk

LIPA

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

» reviews, news, comment and debate

» the latest jobs and professional development opportunities across the UK

» interesting features on new projects and initiatives

» Q&As with key music education industry figures

» a spotlight on new and emerging technologies

www.musicteachermagazine.co.uk

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 & Drama Education Expo, the UK’s largest professional development conference and exhibition for music teachers, and receives extensive branding on all Music & Drama 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.

THE FACTS» Frequency: monthly

» Readership: 20,000

» Regular advertisers: Musicians’ Union, ISM, Black Cat Music, MusicPracticeRooms.com, Schott, Stentor, Turner Violins, Alfred Publishing, Yamaha, ABRSM, Trinity College London Exams, Guildhall School of Music & Drama, Trinity Laban Conservatoire of Music & Dance

» 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

There may have been significant changes to the local provision of music education in recent years,

notably England’s introduction of hubs and a continuing decline in Wales. Striking a balance between providing tuition that is free to those who need it to be and the new necessity of a business model that works in austerity Britain is as hard as ever for hub and music service heads.

However, it seems to me that the real erosion to our children’s educational development occurs at the level of middle-class, private music lessons. I have seen a depressing decline in the commitment and application of most instrumental music students, which has had a tangible and trackable effect on the standards of instrumental learning over the last 20 years.

Opportunities for allIn a career of more than 30 years as a musician, I have taught at all ends of the spectrum: my first experience of instrumental teaching was with the Inner London Education Authority. Now defunct, the ILEA formed part of the left-wing dream of comprehensive education and music for all; while there were economic flaws in this ideology, there is no doubt that the aspiration to put an instrument in the hands of all the children in London was ground-breaking. Equally beyond doubt is that many people would never have had the opportunity to learn an instrument had music services such as the ILEA not provided them with it.

I know a large number of professional musicians who owe their musical origins to their local music service. Alison Kelly the violinist (no relation) tells the moving story of her introduction to the violin: she suffered from health problems as a young child, and spent months in hospital in a spinal frame. At

some point during her hospitalisation, she was given a violin by the local music service, and lessons were arranged for her. Her ability was quickly recognised, and she was nurtured through her

school years by that same music service, until she won a scholarship to the Royal Academy of Music.

This is one of countless similar stories – successful musicians who as children would otherwise have had no opportunity to learn an instrument, either through lack of cultural access (with no family background in music) or a lack of funds to support what can be an expensive pastime. It is no surprise that, in these days of austerity, funding for music education is at a low ebb.

Access to instrumental lessons has become less egalitarian in recent decades, says Alison Moncrieff-Kelly, who in that time has seen music becoming more a commodity than an artistic endeavour. But middle-class money and aspiration are no substitute for children’s dedication and parents’ engaged support, and teachers can find themselves being asked to perform the impossible

MUSICAL ACHIEVEMENT: JUST A MIDDLE‑CLASS TROPHY?

PARENTS PAY, BUT THE TEACHER MUST PROVIDE EVERYTHING FROM THE TALENT TO THE PRACTICE,

WITH A NEATLY PACKAGED END PRODUCT

MUSIC TEACHER | MARCH 2017 45www.musicteachermagazine.co.uk

MT | OPINION

»

MT0317_045-047_Music - middle-class sport_RP_AS.indd 45 16/02/2017 15:44:10

Having completed the Teaching Musician PG Diploma means that I actually graduated from Trinity

Laban, something I wasn’t expecting to happen. As the conservatoire is newly validated to deliver the course to master’s level, I had to apply through UCAS to take the final year. Graduating meant donning robes and a mortar board and attending the ceremony along with other TL music graduates in the beautiful painted chapel of the Royal Naval College in Greenwich – very exciting, but certainly not the end!

Since submitting my dissertation in January 2016 I’ve been endeavouring to keep my grey cells operating at master’s level while waiting for the final section of the course to commence. Having focused my Personal Project on researching the effect of repertoire on engagement and progression in whole-class ensemble teaching (WCET), I put myself forward to take part in Music Mark’s recent study into WCET, led by Susan Hallam. This meant a visit to my school by this

eminent academic – deep breath! – and I read the whole of her resulting report with interest. Before taking the Teaching Musician course I doubt I would have put myself forward for something like that, but knowing I had a diploma up my sleeve meant I was willing to be observed without too much trepidation.

At the time of writing, the course start date is imminent and I’m looking forward to completing the final 60 credits needed to achieve the MA. So what does it involve?

The Teaching Musician course is flexible and is divided into three blocks: Block A (Certificate Modules), Block B (Contemporary Practice Modules), and Block C (Personal Project – dissertation). I will be taking Block B this year, which covers ‘Contemporary Music Pedagogy’, music technology, work with either a learning mentor or a series of one-to-one instrumental or composition lessons, and a ‘Creative Project’, working in collaboration with another student on the course to plan and carry out a project ‘with a demonstrable social outcome’.

As well as attending four days at Trinity Laban over the Easter break, there are written assignments for each section and a final viva voce. I’m anticipating a reading list on contemporary music pedagogy pinging into my inbox imminently – books and articles which I must not only read, but consider, argue with, debate and critique before discussions on the Easter course.

Music technology isn’t going away and it isn’t standing still. I’m on top of

GarageBand for my own use, but this could be my opportunity to actually teach it to Key Stage 2 instead of just talking about it. Raspberry Pi? Yes please, with ice cream preferably! Plenty to get to grips with here, and a great opportunity to increase my confidence with the use and teaching of music technologies.

Should I work with a learning mentor or take one-to-one lessons? It’s difficult to choose as the lessons cost extra, but I’m veering towards the tuition – after so many years of teaching others, some personal input into my playing would be welcome.

The Creative Project could be anything, but it has to be collaborative. At the moment I feel I would like to work on something around transition. After focusing on WCET for my personal project this feels like a natural progression for me. I put a lot of energy into the instrumental programme at my school: tuition is offered on eight instruments, we have WCET in Year 4 with continuation actively encouraged after that, and there are progression routes into school and hub ensembles with performance opportunities at events. But what happens when they move up to KS3? I would like to be able to ensure a smooth transition, a continuity in availability of instrumental lessons, with hub ensembles acting as a common thread. A project around this topic could certainly have a social outcome and potentially a practical application in my school and local secondaries.

Like most musicians, I have a ‘portfolio’ career. With the future of funding for schools uncertain, it seems inevitable that pressure on music teachers will increase, but in this context it is clearly vital to be seen as effective and to demonstrate the value of music to school life. I hope that working towards the MA, with all the practical research it entails, will increase my employability and underpin the diversity of my skillset. Here goes! MT

Kay Charlton is a trumpet player, composer and teacher who works in south-east London. She has spent the last two years enrolled on Trinity Laban’s The Teaching Musician postgraduate certificate and diploma, and is about to start on her third year to complete an MA. She reflects on what the course has meant for her, and what she hopes to gain from the final stage

THE TEACHING MUSICIAN

MUSIC TEACHER | MARCH 2017 57www.musicteachermagazine.co.uk

MT | THE TEACHING MUSICIAN

MT0317_057_The Teaching Musician_AS.indd 57 16/02/2017 17:35

It is easy to overlook the difficulty some children find with reading notes. Even distinguishing between

notes in spaces and on lines eludes some for a surprisingly long time. We know that involving senses in the widest possible way is the best way to learn, and also that children have different learning styles, which can make systems hard to grasp quickly via mainstream approaches.

The effect of colour on our brains and emotional state has been widely studied and discussed, with red, for example, increasing blood pressure, heart rate and respiration rate, while blue has the opposite effect. Synesthetes associate letters, numbers, sounds and other stimuli with colours. At the very least we can be sure that the perception of colour enriches our experience and so, whether neural pathways are being reinforced or not, the experience will be more entertaining in colour.

For the last 60 years or so music educators have been experimenting with the use of colour to introduce notation in the early stages of learning. From Candida Tobin’s method, first developed in the 1960s, to the Boomwhackers

phenomenon which has swept the world’s music classrooms since the late nineties, this article takes a look at what is popular now and what has stood the test of time.

Figurenotes, developed by teachers at Resonaari School in Finland and brought to the UK in 2010 by Drake Music Scotland, was originally designed

for students with SEND. You read coloured crosses, squares, circles or triangles – the shape denotes the octave – and match them to the corresponding colour and shape on an instrument. As the website says, ‘If you can match you can play’. Rhythm is indicated via either a line after a shape, or narrowed shapes to represent shorter notes (see image, ‘Skye Boat Song’).

Video resources available on the Figurenotes website make it easy to teach pulse as they make each note shape blink on the beat.

This very literal approach makes it intuitive, particularly useful for those with an autism spectrum disorder.

Candida Tobin developed her system in the 1960s to accelerate musical literacy, and it is similar in essence to Figurenotes, with each note assigned a colour and stickers placed on the corresponding piano keys, guitar frets or beside recorder holes. If you want to venture into diatonic or chromatic territory, the colour stays the same for sharps and flats: for example, D natural, D flat and D sharp are all brown in Figurenotes, with an arrow or pointer up to the right for sharps and to the left for flats.

These methods may have been designed with children in mind, but

Music doesn’t have to be in black and white, and for decades, educators have been using colour to help with the early stages of learning notation. Helena Ruinard surveys some of the options

PLAYING IN COLOUR

Skye Boat Song

26 MUSIC TEACHER | MARCH 2017 www.musicteachermagazine.co.uk

MT | COLOUR AND NOTATION

MT0317_026-027_Early Years notation_RP.indd 26 16/02/2017 13:07:03

National youth ensembles have been part of our cultural landscape for decades, and many readers will have fond memories of their own experiences performing

in such groups. I myself remember an open day with the National Youth Orchestra in Kettering (longer ago than I’d like to admit), in which novice musicians had the opportunity to shadow existing members. The day nurtured my fledging understanding and appreciation of orchestral music.

But what if your musical interests lie outside the classical canon? The National Youth Jazz Orchestra and National Youth Wind Orchestra have both been in existence since the late

sixties, and offer lively platforms for young musicians keen to explore alternative ensemble repertoire. There’s also the National Youth Brass Band – as well as children’s iterations of these groups for much younger musicians. However, until very recently, there was no national group for folk musicians. The English Folk Dance and Song Society (EFDSS) saw an opportunity to remedy this oversight.

COMMUNITY WORKINGIt might have been tempting to rush straight in, appoint a team and begin the auditions, but EFDSS education director Rachel Elliott wanted to have the backing of the sector, and for the ensemble’s inception to be informed by rigorous research. In 2013, she commissioned a consultation with musicians, educators and organisations that worked within folk music. The response was extremely positive, with 34% of the participants under 25. The organisation then secured funding from Arts Council England, which is fixed until 2018.

The newest national youth music organisation is an inclusive and creative place for the country’s top folk musicians. Claire Jackson reports

ALL TOGETHER NOW

18 MUSIC TEACHER | MARCH 2017 www.musicteachermagazine.co.uk

MT | NATIONAL YOUTH FOLK ENSEMBLE

CAMILLA GREENW

ELL

MT0317_018-021_Nat Youth Folk Ensemble_RP_AS.indd 18 16/02/2017 12:55:46

a quick internet search reveals adult learners too who are delighted by being able to play simple pieces much quicker than before they started using the method.

Adding to the mix we have Boomwhackers, which were developed as coloured, tuned percussion instruments in the late nineties. Notation resources came a few years later from Whacky Music and educationalist and composer Ellen Foncannon. The instruments are used in a range of settings: by professional performance groups; in corporate team building; by ‘big kids’, from amateur choirs to Harvard student revues; and by primary age learners. You can teach rhythms and ostinatos by rote and build up the rhythmic and melodic elements of a song to create a richly textured rendition by ear or using music.

For the purposes of teaching notation there are three main ways: hocketing;

coaching groups to play accompanying chords and harmonies to a pre-recorded melody, karaoke-style; and finally, composition. A nice extension of the karaoke-style method can be to build up texture by having them play a distinctive rhythm whenever their colours come up – there are some good resources for this from the Fun Music Company (funmusicco.com).

It’s a good idea to start off with a pentatonic set of Boomwhackers and to teach rhythms first. Children can move coloured dots on a board (with a rhythm inside each) to compose a melodic sequence, or even place the dots over one another to create chords. Resources for interactive whiteboards are also available from the Fun Music Company.

There are nearly as many different systems of Boomwhackers notation as there are teachers, so you can make it as simplified or as close to conventional notation as you like. If students are comfortable reading rhythms, it’s useful to know that the notation platform MuseScore has a ‘colour notes’ plugin which will instantly transform your score into one with the relevant colours for Boomwhackers.

Last but by no means least, in this survey of only a few, there is Colourstrings – which was developed in

the 1970s by Géza Szilvay after Kodály’s principles. First children learn songs by ear, then see them represented on the page, gradually learning to associate sounds with symbols. When they start learning their chosen string instrument, note reading is taught early, with each string represented by a different colour (and animal), using simplified notation and relative positioning instead of a stave. The idea is that when learning to play an instrument, children will return to the songs they know and learned to sing by ear and by symbol when they were younger. These songs are mainly Hungarian and Finnish, but I’m sure that British teachers would be grateful to see more songs familiar to these shores.

IN CONCLUSIONWhat all these methods have in common is that they facilitate note-reading and aim to make it more engaging than it might be. This in turn facilitates music-making, but only up to a point. What truly helps the learner develop as a musician is a holistic solution which harnesses note-reading with playing and singing skills – allowing them to freely and creatively express what they perceive or imagine. MT

MUSIC TEACHER | MARCH 2017 27www.musicteachermagazine.co.uk

MT | COLOUR AND NOTATION

MT0317_026-027_Early Years notation_RP.indd 27 16/02/2017 13:07:07

The next step was to analyse the existing youth folk music groups, which would provide a basis for a national ensemble. ‘In 2015, we did a mapping survey to audit youth folk music provision to see what organisations were already running,’ says Sarah Jones, the ensemble’s programme manager. ‘We don’t want to drain talent away, we want to support these groups. It’s important to us that this is a two-way process. We worked with Sound Connections, who produced various reports on the state of folk music education provision. We also set up an advisory working party who helped us write the vision and mission statement ahead of recruiting an artistic director.’

STARTING OUTSam Sweeney was appointed to that post in October 2015, having had a successful career as a fiddler in touring folk band Bellowhead. ‘The interview was the first interview that I’d ever had; I became a gigging musician straight from school,’ says Sweeney. ‘So this is my first proper job – it’s brilliant.’

The NYFE advertised sampler days that were offered around England, says Sweeney, ‘from Exeter to Gateshead, and everywhere in between. All musicians aged 14 to 18 were invited to join in. We taught the students a little folk tune and then they each performed a short audition piece. We had more than 100 musicians taking part, which was really good considering that folk music is a minority interest, at least at the moment. From there, we selected 30 students who came to London for another audition.’

The group was then reduced to the final 17 musicians: six violins, two violas, a cello, two piano accordions, a melodeon, three guitars and two flutes. ‘We were open to anything, as long as it was an acoustic instrument,’ says Sweeney.

‘It’s a diverse group: some who have been playing folk music

WE DON’T WANT TO DRAIN TALENT AWAY, WE WANT TO SUPPORT THESE

GROUPS. IT’S IMPORTANT TO US THAT THIS IS A TWO-WAY PROCESS

CAMILLA GREENW

ELL

ELLY LUCAS

Artistic director Sam Sweeney: ‘We were open to anything’ Programme manager Sarah Jones: Mapping the landscape

MUSIC TEACHER | MARCH 2017 19www.musicteachermagazine.co.uk

MT | NATIONAL YOUTH FOLK ENSEMBLE

»

CAMILLA GREENW

ELL

MT0317_018-021_Nat Youth Folk Ensemble_RP_AS.indd 19 16/02/2017 12:55:52

THE

NATIONALCHILDREN’S CHOIR

GREAT BRITAINof

For children and young people who just love to sing!

Junior Choir: aged 9+. Senior Choir: Girls aged 15+, Boys with changed voices

PO Box 116 Alresford Hants SO24 0YN T: 07894 021279 E: info@nccgb.com Reg. Charity No. 1093292

Patrons: The Duchess of Kent, Sir David Willcocks CBE MC, Sir Richard Stilgoe OBE DL President: Bob Chilcott, Musical Director: Lissa Gray

Autumn auditions - Bursaries available

T: 01903 538844 F: 01903 536080 solutions@cmtc.co.uk www.cmtc.co.uk

Apple Solutionsfor Music and Media

Early bird fee £110.00 (if booked and paid for before May 31st) Thereafter £150.00 Some bursaries available

Venue: St Saviour’s and St Olave’s School SE1

Intermediate jazz course (prior knowledge of improvising may help but not essential)

CYM_NEW.indd 1 05/03/2014 12:38:47

000_MUT_0514.indd 4 16/04/2014 15:02:49

PRINT DISPLAY APP BANNER

@ISM_Musicfacebook.com/ISMusicians

ism.org

My ISM is

Paul HarrisMusic EducatorISM member since 1978

My ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM isMy ISM is

Paul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisPaul HarrisMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic EducatorMusic Educator

Three months’ free membership.

Use promo code 16FRG or 16GRG (graduate

membership). Offer ends 31 March 2017

Join our growing membership of professional musicians. Make us your ISM.

My name is Paul Harris. I’ve been a member of the ISM for a good many years and I

have what we now term a ‘portfolio’ career – teaching, performing and composition fill much of it, but quite a major slice is spent writing books on music education. And as a result of all this writing, I do a lot of presenting at seminars, conferences and events both in the UK and abroad.

As a music educator and portfolio musician who works and connects with many other music professionals, I feel that it is increasingly important for all of us to stick together to ensure our hugely valuable profession is sustained. To me, the ISM represents an important body of professional musicians, whatever stage we are at in our careers. It’s essential that we have this professional body. We need the ISM’s protection, support and all the advice and guidance that it can offer. I think it would be very unwise for any musician today not to be a member of the ISM.PAUL HARRIS, MUSIC EDUCATOR

The ISM is a growing membership of professional musicians who come from all areas of the profession. Many of our members, like Paul, have portfolio careers based in the music education sector and work as music educators, peripatetic music teachers, visiting classroom teachers or private music teachers.

We are here to support our members with a roster of high quality services including in-house specialist legal support and representation; teaching resources; discounted professional development sessions; public liability insurance; a DBS check service; and many opportunities to build connections with other music professionals.

We not only support our members as individuals but also form a powerful voice for music and music education. With our shared voice, we have led several successful campaigns on behalf of music educators, taking your concerns directly to government. These successes have all helped to safeguard our vibrant and important profession for future years to come.

MY ISM IS ENERGYEXCLUSIVE MEMBERSHIP OFFER FOR MT READERSIf you would like to join the ISM and get three months of your membership for free, simply go to ism.org/join and enter one of the following promo codes when you apply before 31 March 2017.• Code: 16FRG – full annual

membership for just £128.25 (normal rate is £171)

• Code: 16GRG – full annual membership at our special graduate rate for just £56.25 (normal rate is £75)

Full rate members get an additional £5 off if paying by annual Direct Debit. Alternatively you can spread the cost over ten months.

MT0317_050_ISM advertorial.indd 50 16/02/2017 15:45:30

PRINT ADVERTORIAL WEB BANNERS E-NEWS BESPOKE ESHOT

Contact us today on +44 20 7333 1733 or email amy.driscoll@rhinegold.co.uk / sarah.hoyal@rhinegold.co.uk

www.musicteachermagazine.co.uk

SIZES & PRICINGPrintCover Wrap – £POAAdvertorial - £1,900Double Page Spread – £2,800Trim size 420 × 276mm Bleed size 426 × 282mm

Full Page – £1,400 (Covers – £1,900)Trim size 210 × 276mm Bleed size 216 × 282mm

Half Page Vertical – £775Trim size 88 × 252mm

Half Page Horizontal – £775Trim size 182 × 123mm

Quarter Page – £400Trim size 88 × 123mm

Recruitment advertising – £44 per col/cm

E-news banner large – £750580px × 150pxE-news banner small – £550280px × 200pxE-news advertorial – £750Online prospectus hosting – £1,200 per yearAdditional media in digital editions – from £75

Audio from £75Specs on request Video from £150Specs on request

Image gallery from £45 per imageBanner (app, per month) – £250Sizes and templates available on requestSplash page (app, per month) – £325iPad 768px × 1024px / iPhone 320px × 480pxApp sponsorship (banner + splash page, per month) – £500Bespoke solus e-shot to the Rhinegold database – POA

DigitalHow it worksOption 1: Header Banner, this appears across the top of the web page (Size: 728px x 90px)

Option 2: Premium MPU, this advertisement appears as the top advertisement below the image of the magazine but above the current issue information (Size: 300px x 300px)

Option 3: Standard MPU, this appears below the current issue information (Size: 300px x 300px)

PricesWeb Ad Size Price

Header Banner per Month £1,250Premium MPU per Month £750Standard MPU per Month £550

SCHEDULE 2017–18 Issue Copy deadline Publishing date Issue themeMay 2017 13/04/2017 27/04/2017 Technology

June 2017 15/05/2017 29/05/2017 Vocal/Choral

July 2017 13/06/2017 27/06/2017 Percussion

August 2017 13/07/2017 27/07/2017 Woodwind

September 2017 16/08/2017 30/08/2017 Back to School/Musicals

October 2017 14/09/2017 26/09/2017 Strings

November 2017 12/10/2017 26/10/2017 Piano

December 2017 10/11/2017 24/11/2017 Brass

January 2018 08/12/2017 22/12/2017 World Music

February 2018 15/01/2018 29/01/2018 Rock/Pop and Jazz and Expo

March 2018 13/02/2018 25/02/2018 Early Years

April 2018 15/03/2018 28/03/2018 Courses and Careers

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 sarah.hoyal@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