Yesterday saw the horrendous news of the conviction of and 11-year jail sentence for Philip Pickett on charges of rape and sexual assault of students while he was teaching at the Guildhall School. Here is the original list of charges against Pickett from last year; I do not wish to say much more specific to this case, not least because of the possibility of further trials; suffice to say that I believe a good deal more will be made public about both actions and the complicity of others.
If anything good is to come from this case, I hope it may help to put pressure for a proper international debate about the nature of music education and the possibilities for abuse and exploitation therein. I blogged in some detail about this last December, in response to an excellent article by Damian Thompson in the Spectator. Yesterday I published an article on the film Whiplash in terms of its representation of bullying and abuse in teaching, on The Conversation , and a wider article in The Telegraph about abuse and elite music teaching, in particular raising the controversial question of whether self-regulation is ever likely, and whether that a system which places enormous powers of patronage in a few people’s hands needs a greater degree of external accountability (which would mean political/governmental intervention). Naturally, I would expect there to be and would welcome a range of different opinions on these subjects, but feel strongly that the debate needs to be had amongst music educators worldwide, and more widely in the profession.
With this in mind, I wanted to post here a set of draft guidelines for instrumental and vocal teachers and students at a tertiary level (generally 18 or over) in terms of their dealings with one another, as a starting point for discussion. I drafted these around 18 months ago (which included other guidelines on such things as when it is/is not appropriate to cancel a lesson, not so relevant here), and whilst they have not yet been taken up, I hope very much at some point they or something like them will be.
I would welcome all thoughts on the below, including new suggestions, disagreements, and so on. I accept some will disagree with my views on physical touching (I suggest this is OK so long as one asks permission) and whether student-teacher relationships or sexual encounters are ever permissible (I argue that where they happen, or one or other party demonstrates agency with the intention of inducing such a thing, then both parties should act like adults and report things, their formal teacher-student relationship brought to an end without other negative consequences, then they are free to continue like any other two adults). But I think we should be talking about these things, in order to arrive at a humane system which protects both students and teachers.
Guidelines for Teachers
• In general, treat your student with respect as a human being, independently of your reflections on the quality and extent of their achievements as a performer. This should be borne in mind at all times.
• Remember that you are there to help the student, rather than their being there in order to enhance your own reputation.
• It is your choice how you wish your student to address you, whether by first name or title and surname. It is advised to clarify this to the student at the beginning of a lesson.
• Where there are serious problems concerning a student and their progress, you should try and discuss these with the relevant member of staff as soon as possible.
• It is accepted that teachers will naturally need to voice criticisms of a student’s playing or singing, sometimes severe criticisms. This should always be framed in such a way as to make clear that the criticisms relate solely to the student’s achievements (or lack of) specifically in terms of their work as a performer, not to their wider qualities as a person. Criticisms should be balanced with encouragement in the form of positive steps forward in order to improve.
• Use language which makes the above clear: for example, instead of saying ‘You are a very poor player’, say ‘You really do need to do considerable work in order to improve’, followed by suggestions of what form that work might take, or (if necessary) ‘It will be very difficult in the time available to you here to attain the level necessary in order to gain a high mark in your recital’. Similarly, avoid other generalities such as ‘You have no technique’ or ‘You are profoundly unmusical’, in favour of the likes of ‘I have to tell you that a good deal of work is necessary if you wish to achieve a higher technical level’, or in the second case, focusing on specific things the student needs to consider in order to be able to produce a more musically satisfying performance.
• You should always avoid any type of deliberately demeaning or belittling language of a personal nature towards a student, especially that designed to undermine their confidence. This can include undue and harsh sarcasm, deliberate aloofness and coldness, ignoring a student, negative comparisons with others, insensitive jokes, setting unrealistic demands, malicious rumour-mongering, threats, sexual or racial harassment, or anything which might be construed as ‘bitchy’. It is no justification for this to argue that such talk and attitudes are commonplace in the professional musical world.
• A student’s personal life is their own business, and discussions of this should generally only be undertaken when personal issues have a direct impact upon their performing. If a singer or other musician’s lifestyle – in terms of problems to do with sleep, maintaining good health, and so on – is impinging upon their singing, then it is legitimate to raise this issue. If a student raises the issue of difficulties arising from family, health or relationship issues, and wishes to talk about it, this is fine, but you should not feel under any obligation in this respect. In general, such matters are better discussed with the appropriate member of staff, who has pastoral responsibility, and who can communicate directly with you about them.
• When teaching a student, avoid befriending them on social media. [Personally I believe this is a principle worth observing for undergraduates, but which can be more flexible with postgraduates.]
• If you wish to make physical contact with a student in order to demonstrate some matter relating to performing, you must first ask their permission to do so. This can be done at the beginning of a series of lessons in order to facilitate so doing in general (but this must then be made clear to the student), or separately on individual occasion. If the student is unhappy with such physical contact and declines, this must be respected, and physical contact must then be avoided.
• Under absolutely no circumstances should there be any touching which can be construed as being of a sexual or unduly intimate nature.
• However, it is accepted that much music – especially for singers – relates to matters of an intimate and sometimes sexual nature, and it is legitimate to discuss this in lessons. But please always respect boundaries here, and be clear that you are talking about the music or the role, not directly about the student.
• Whilst in general conservatoire students are aged 18 or over and are technically adults, remember that they are still in a very early stage of adulthood, likely to be dealing with many pressures due to being away from home for the first time, having to negotiate possible loneliness, homesickness, coping with a degree of independence likely to be unprecedented for them, and of course a demanding course. It is best to work with the assumption that they are thus likely to be at a vulnerable stage in life, and should be treated with corresponding sensitivity.
Guidelines for Students
• You should always treat your teacher with respect and courtesy, be punctual for lessons, and acknowledge the help they are able to give you.
• Your teacher can choose how they wish you to address them, whether by first name, title and surname, or otherwise, and you should respect this. It is advised that this is clarified in the first lesson.
• Whilst you are certainly encouraged to solicit your teacher’s advice concerning the extent of your progress, or on future study, avoid asking such questions as ‘Do you think I can make it as a performer?’ or other such things which might put your teacher in a difficult position.
• If asking your teacher what they imagine would be your likely mark for a recital, on the basis of how you are performing at the time of asking the question, bear in mind that their answer will be an approximation, and is in no sense binding.
• Avoid flirtatious or overly ‘forward’ behaviour towards your teacher such as might place him or her in an awkward situation.
• Teachers may wish to make physical contact in order to demonstrate some matters relating to performance. They are required to ask your permission before so doing, either at the beginning of a series of lessons in order to establish that this is generally acceptable, or on individual occasions. If you do not wish this, you are entirely within your rights to refuse. Such physical contact should never be of a sexual or unduly intimate nature, nor should you respond to it in such a fashion.
• Never use any abusive or offensive language towards your teacher.
• When there are personal matters – for example relating to family, health or relationships – which might affect your performing, you are advised first to speak to your personal tutor, who can discuss these sensitively with your teacher.
• Your teacher often has a life and career outside of their work at your institution. Avoid gossiping about them, even amongst other students, including with respect to the nature of their other activities, as this can have the potential to be hurtful and demeaning. Any form of rumour-mongering, sexual or racial harassment, aggressive behaviour or threats towards your teacher will be treated with the utmost seriousness.
• Your teacher is not your friend on social media, and you should not request that they befriend you on there. [Personally I believe this is a principle worth observing for undergraduates, but which can be more flexible with postgraduates.]
• If you wish to record lessons for other reasons (so as to have a more permanent record for your own study purposes), you must ask your teacher first, and must also respect their wishes if they decline this request. (But see also Guidelines for both Teachers and Students below)
Guidelines for both Teachers and Students
• In the event of any serious worries about the nature of the relationship between teacher and student as made manifest verbally in lessons, either the teacher or student can request that the lessons be recorded. In this situation, the appropriate individual should be informed of this.
• In the event of any type of romantic or sexual liaison between a tutor and student – which can include any form of agency on either part with the intention of inducing such a thing, whether or not this is fulfilled – it is an essential requirement that both teacher and student report this to an appropriate individual. As a general rule it will be considered that in such a situation the relationship has assumed a degree of intimacy which is no longer compatible with a normal teaching relationship, and the student will be assigned to a different teacher, but without further consequences for either party.
The articles presented on this blog fall into four categories: those on music and musicology, politics, abuse-related material, and other articles. The articles on abuse are indexed separately here. Here I index the rest of my blog articles.
MUSIC AND MUSICOLOGY
Musicology is not Musical PR (25/8/13)
The fetish of the ‘contemporary’ (5/11/13)
In Praise of Mic Spencer (2/5/15)
Remembering Bob Gilmore (1961-2015) (3/1/15)
Alan Doggett, first conductor of Joseph and Jesus Christ Superstar, and the Paedophile Information Exchange (28/3/14) (an updated version of original post from 7/3/14)
Reported Cases of Abuse in Musical Education, 1990-2012, and Issues for a Public Inquiry (30/12/13) (this post is in need of some updating to mention other cases during the period in question)
The Working of Cultural Studies (11/4/15)
The cartoon by ‘Mac’ (Stanley McMurtry) in today’s Daily Mail, showing migrants entering Europe, visibly Muslim people, carrying a rifle and accompanied by rats, crosses new lines in its appropriation of imagery previously used for anti-semitic propaganda.
Various people on social media have pointed the resemblance to a cartoon in the Viennese newspaper in Das Kleine Blatt, published on February 2nd, 1939, depicting a group of rats, literally swept out from Germany, being denied entry to ‘democratic’ countries. This resemblance has been reported on in The Independent.
But the rat association has a long history in anti-semitic and Nazi propaganda. Cosima Wagner wrote in her diary in January 19th, 1879:
At supper yesterday he [Richard Wagner] talked about an article in the Illustrirte Zeitung, ‘The Elk Fighting the Wolves,’ and said it had taught him some very curious things – how in Nature even the most heroic must perish, men as well as animals, ‘and what remain are the rats and mice – the Jews. (cited in Richard H. Bell, Wagner’s Parsifal: An Appreciation in the Light of His Theological Journey (Eugene, OR: Cascade Books, 2013), p. 9, n. 50)
In December 1927, Der Stürmer printed a picture of a tree surrounded by dead rats, which are labelled ‘stock exchanges,’ ‘the press,’ and ‘trusts’, while the branches of the tree, labelled ‘Germany’ are industry, agriculture, commerce, the arts, business, the sciences, social welfare, civil service, and workers. The rats have been pumped with poison gas by a Nazi stormtrooper – the implications of this are obvious. The text says ‘Wenn das Ungeziefer tot ist, grünt die deutsche Eiche wieder!’ (If the vermin is dea, the German oak grows green again!)
Julius Streicher, the editor of Der Stürmer, would write the following in the journal in 1938:
The Jews are a people of bastards, afflicted with all diseases, They are a people of criminals and outcasts. They are the carriers of disease and vermin among men . . . A rotten apple cannot be assimilated by a basketful of healthy apples. Mice and rats cannot be acknowledged as useful pets and live within the community . . . . Bacteria, vermin and pests cannot be tolerated . . . for reasons of cleanliness and hygiene we must render them harmless by killing them off . . . Why should we repress our feeling for cleanliness and hygiene when it comes to the Jew?
In occupied Ukraine, the Nazis attempted to divide Ukranians and Jews, using a propaganda poster superimposing a rat on a star of David (which I think may be the image below, though this needs confirmation), whilst at the same time the NKVD, spying on Jews in New York, would refer to them as ‘polecats’ and ‘rats’ (Makubin Thomas Owens, ‘Divide and Conquer: The KGB disinformation campaign against Ukranians and Jews’, Ukranian Quarterly, Fall 2004).
The image of the Jew as rat, or lower than rats, was also exploited by T.S. Eliot (‘The rats are underneath the pile/The Jew is underneath the lot’) and Ezra Pound (writing of ‘importations ancient and modern from the sewers of Pal’stine’ and how ‘Christianity is verminous with semitic infections’), as has been traced by Anthony Julius (in his T.S. Eliot, Anti-Semitism, and Literary Form (London: Thames and Hudson, 2003), pp. 102-3).
But the most notorious use of this metaphor is in the 1940 Nazi propaganda film Der Ewige Jude (The Eternal Jew), directed by Fritz Hippler. In this a scene juxtaposes a passage about Jewish migration, especially from Eastern Europe, with rats emerging from a sewer, spreading disease wherever they go. The film explicitly says that ‘Parallel to these Jewish wanderings throughout the world is the migration of a similarly restless animal: the rat. Rats have been parasites on mankind from the very beginning. Their home is Asia, from which they migrated in gigantic hordes over Russia and the Balkans into Europe’. Watch the film from around 13’40” on here, especially the section at around 16’55”.
The Belgian pianist and scholar Luk Vaes has published a new blog post following two previous ones (here and here) responding both to the announcement of the debate on composition, performance and research on November 25th, and also to my article on the subject which is one of the texts for discussion there. I would like to publish here a response I have also added in the comments section of his post.
I do believe that Vaes, coming from a context of ‘artistic research’ rather than ‘practice-as-research’, is inclined towards too-fixed and narrow (and sometimes counterproductive) conceptions of research, at least implicitly. But I would also like to ask him whether he thinks practice-based outputs alone can suffice as research (ever?) or only with substantial written documentation? This debate has recurred often in wider literature on practice-as-research. And should these standards be applied differently to composition and performance?
The major objection given to documentation of practice is that research councils, academic promotion panels and others simply read that and do not bother to listen to/watch/etc the actual artistic work involved. This is a very real danger, especially when (outside of the REF) non-artists may be involved with the decisions. If documentation is required as well as artistic output, only a mode of judging which looks at both in detail could ever be satisfactory.
Luk Vaes writes:
I don’t agree with the jump from “opening up research questions” to actually being “research as a result”, nor do I think performance-based research should be considered on the same level (much legitimate systematic musicology – e.g. performance science – is performance-based or -led). I more than agree with that “additional demand”, as I find the explication of the research to be essential to its identity. As long as it is impossible for me to assess how (and how exactly) Ian has learned from Gieseking, Cziffra, et all., how exactly this has opened up new questions, how exactly this worked in a certain way (and not in perhaps certain other ways), what the conclusions are, etc., it is not worth it to use a new term to describe the age-old process he described. Research is a collective effort, with peer-interaction as a fundamental, i.e. peer-based and peer-oriented. Contrary to matters of composition, I can consider myself to be a peer of Ian’s, but, from his performances, I cannot tell any of the above to a level that informs me about his research.
As far as the first ‘leap’ is concerned, let me put the ‘research as a result’ comment in context:
But my approach is far from uncommon, and in this sense the articulation of practice in research terms is a positive and productive activity. It may be less spectacular than some of the wilder fringes of theatre and visual performance – such as Lee Miller and Joanne “Bob” Whalley’s joint PhD project, collecting of urine-filled bottles on the M6, replacing them with other detritus, renewing their wedding vows in a service station, then grounding this in the thought of Deleuze and Guattari, Bakhtin, dialogism, heteroglossia and semiotic multi-accentuality, deliberately framed in such a way as to frustrate Popper’s criteria of falsifiability – but is no less ‘research’ as a result.
The only point here is that whilst critical engagement with aesthetic, technical and interpretive questions doesn’t look as spectacular as the above, that doesn’t mean such work should not equally warrant being considered research.
As far as practice-based research is concerned, this is a bit of a nebulous term, for sure; I had in mind in this context written work produced by practitioners relating to their own work, rather than just any musicology dealing with performance. But we need a more specific term for this, for which the term practice-as-research is often used in my view erroneously.
As far as needing to understand how the engagement with Gieseking, Cziffra, or whoever impacts upon the final output (which might be in the form of a marked negation of aspects of this playing, or adoption and mediation of aspects which are far from obvious), well a piece of written work might be able to explain this, and such research is useful, but one might say exactly the same about being able to know how complex row transformations impact upon a composition when these are not perceptible without guidance. Note that earlier in my article I say:
At a REF panel discussion in February 2015, it was argued that the REF can entail a large amount of financial support for innovative practice-based work. There remain various obstacles towards achieving this (not least from individual institutions inclined to downgrade practice-based work in general), but it is not an unrealistic goal. If this requires practitioners to articulate ways in which their work has value and consequences not just in and of itself but also to others as a contribution to knowledge, this seems a fair price to pay.
Nor does musical practice become research simply by virtue of being accompanied by a programme note, which funding and other committees can look at and ignore the practical work.
I have some doubts as to whether some composition- and performance-based PhDs, especially those not even requiring a written component, are really equivalent in terms of effort, depth and rigour with the more conventional types.
Others will argue that simply the final output should suffice to demonstrate the quality of the research; I am not going that far, though do see the danger of the documentation of the process being judged practically independently of the result. To convince you that engagement with various other musicians’ work, in a myriad different ways, has significantly informed my practice, is something which I do not think would be difficult given sufficient space (certainly more than the 300 words required by the REF). This is not a reflection on the quality of the performance, but whether the process involved in its creation can fairly be judged as research.
I bring this up primarily, though, because composers are frequently able simply to submit their compositions with a 300 word statements, and that suffices to justify their work as research, in a way which is much rarer for performers. Numerous composers working in UK university departments produce only compositions, no written work, whilst there are significant differences in terms of expectations made by departments upon performers in this respect. I think this is a major inequity, and also that these debates in a musical context are too heavily dominated by composers.
What we are sometimes left with is that only the most obvious (and often extremely basic) aspects of performance are considered ‘research’ – employing a few extended techniques, using a slightly new type of instrument, playing some unusual rhythms, and so on. The dutiful performer-scholar will play this music and write up a short amount of pragmatic ‘how to do it’ information, and leave the much more complex issues of interpretation, style, genre, and aesthetics to a handful of over-general and meaningless platitudes (‘it is important to phrase this music well’, ‘it should still be beautiful’, ‘one should make it sound like a real piece of music’, and so on). What I am trying to argue is that the whole business of fashioning and crafting strategies for these latter aspects more deserves to be considered research than simply writing something like ‘I tried playing this sonority by using this object to stop the string. I played it to the composer like that, and then with another object, and they preferred the first, so we went with that.’ This latter is really just a type of skills training rather than critical research.
Research Forum, ‘Can Composition and Performance be Research? Critical Perspectives’, City University, November 25th, 2015, 17:30Posted: November 4, 2015
On November 25th, 2015, at 17:30, a special Research Forum will take place at City University’s Department of Music, Performance Space, College Building. For further details and booking enquiries, please contact: Sam.MacKay.email@example.com . The City University event page for this is here.
In this special form a group of panellists will lead a discussion on current debates about the relationship between practice and research. The discussion will centre on two articles in particular: John Croft’s recent and significant article ‘Composition is not Research’ (Tempo, 69/272 (April 2015), pp. 6-11) and Ian Pace’s reply ‘Composition and Performance can be, and often have been, Research’ (forthcoming in Tempo, 70/275 (January 2016)). Both of these can be downloaded here.
Composers and performers in UK university music departments are often employed in full academic positions and are expected to produce research, participate in the Research Excellence Framework, apply for research funding, and demonstrate all these things in order to qualify for career advancement. This situation creates imperatives often distinct from, and sometimes conflicting with, those informing their practical work outside of an academic context. Different institutions can have hugely differing perspectives on the research credentials of practice-based work, and the experiences and fortunes of such practitioners working in academia have varied correspondingly.
John Croft’s article ‘Composition is not Research’ threw down a gauntlet in its rejection of the possibility that compositional outputs can be measured as research in the same manner as more conventional outputs. Croft called for an end to the integration of composers into existing research structures of universities, and a return to the idea of ‘research equivalence’ instead.
This article has generated a good deal of discussion on blogs and social media since its appearance, some of which has been markedly hostile. The January 2016 issue of Tempo will feature two articles in response, one by composer Camden Reeves, the other by City Head of Performance Ian Pace, entitled ‘Composition and Performance can be, and often have been, Research’.
In this article, Pace provides an extended critique of Croft’s arguments, drawing upon wider debates on practice-as-research from beyond the musical field, arguing that Croft’s definitions of research are too narrow, that composition and performance frequently constitute research as much as any other types of outputs, and that the real issue is deriving equitable criteria for judging very different types of research outputs, though this is equally a problem between divergent types of written work.
Christopher Fox (Professor of Composition at Brunel University and editor of Tempo)
Ian Pace (pianist and Head of Performance at City University)
Miguel Mera (composer and Head of the Department of Music at City University)
Annie Yim (pianist and DMA student at City University)
Christine Dysers (PhD student in Music at City University)
Camden Reeves (composer and Head of Music, University of Manchester)
Chair: Alexander Lingas (Reader in Music, City University)
Piers Hellawell, ‘Treating Composers as Researchers is Bonkers.’
Luk Vaes, ‘When Composition is not Research.’
Lawrence Dunn, ‘Squaring the damn composition-research circle.’
Martin Parker Dixon, ‘Composition can be research (some comments on John Croft’s recent article).’
David Pocknee, ‘Composition Is Not A Jaffa Cake, Research Is Not A Biscuit: A Riposte to John Croft.’
Lauren Redhead, ‘Is Composition Research?’
Nicholas Till, ‘Opus versus Output’
Huib Schippers, ‘The Marriage of Art and Academia: Challenges and Opportunities for Music Research in Practice-based Environments.’
Christopher Fox, ‘Music for a Dis-Uniting Kingdom?’ (Including some reflections on composition as research).
Ian Pace, ‘Musicological Observations 4: Can Commercial Music be Research?’ (distinct from the forthcoming Tempo article mentioned above)
And some earlier relevant articles more widely on practice and research:
Christopher Frayling, ‘Research in Art and Design.’
Linda Candy, ‘Practice Based Research: A Guide.’
Joanne ‘Bob’ Whalley and Lee Miller, ‘Partly Cloudy, Chance of Rain: A Case Study’, in John Freeman (ed) Blood, Sweat and Theory: Research through Practice in Performance. (Middlesex University Press, London, 2010), pp. 218-232.
[ADDENDUM: A link to a response to this by Luk Vaes, and then my own response, can be found here]
A talk given by the critic and composer Philip Clark published online around two weeks ago (‘What’s wrong with the classical concert experience in the 21st century?’) has received much praise, and deservedly so. I should here declare an interest: Philip is a good friend, several of whose piano works I have played, with whom I have organised concerts, and who has also written about my own work; furthermore, I played at his wedding. So I am far from an impartial judge of his writing (though we have major areas of disagreement, not least on opera or Adorno), but I am confident I would feel the same way if I did not know him personally.
Most striking to me in Philip’s article is the following passage, with which I wholeheartedly concur:
Julian Lloyd Webber, now principal of the Birmingham Conservatoire of Music, spoke recently of how we should consign ‘classical music’ to the dustbin of useless phraseology and – again – his use of language is revealing. ‘Musicians need to think outside the box and push boundaries, to work cross-genre with rock or jazz musicians, or be experimental,’ he said.
Putting aside that middle-management speak about thinking outside boxes, the very idea that suddenly you can ‘be’ experimental as a lifestyle choice is as dubious as the notion that you could suddenly have a sense of humour – or speak Japanese. Because to experiment with music in any meaningful way, you need to have a deep understanding of how it operates technically and emotionally.
What I’ve called in my writings ‘pretendy’ classical music serves up the spectacle of classical music – you see an orchestra or an ensemble on stage, you see opera singers producing vaguely operatic sounds as they open their mouths. But invariably tepid cross-over projects exist precisely because musicians have failed to grapple with the big questions at play here. Fusions of minimalism, ambient electronica, pop structures drizzled with world music ‘flavas’ – Karl Jenkins, Max Richter, Ludovico Einaudi, Roxanna Panufnik – have become a ubiquitous sub-genre with relevance to the future of classical music only in the sense that EL James is relevant to the future of the novel. No boundaries are being pushed at all. Instead, this is a corporate, boardroom idea of music designed specifically to shift units of CDs.
This is what few commentators have bothered to consider when lauding anything ‘crossover’ – that simply dabbling in a genre, extracting a few superficial stylistic elements in the manner of a tourist, does scant justice to a music which is sophisticated, skilled, historically varied, and with its own intricate social and cultural history. Many of the composers he mentions (and others) who plunder jazz for a bit of exotic colour are not significantly different to nineteenth-century orientalists who found the odd scale with augmented intervals, static harmonies or added chromatic notes in melodic progressions, would suffice to signify ‘the East’ and all it meant to a colonial mindset.
This is significant because Philip is a major writer on jazz and free improvisation (and a very talented improviser himself) as well as a writer on classical music. And it is because, not despite, this that he becomes so impatient with those who claim ownership of musical traditions with which they have only a passing acquaintance, but which he knows intimately.
But reading this again made me think about the relationship between ‘crossover’ music and the ubiquitous buzzword ‘interdisciplinarity’ in academia. I have written critically about this latter term before, arguing that in the case of music, research and funding pressure to demonstrate interdisciplinarity frequently has the musical content of the work as the first casuality.
There are however problems of a slightly different nature, as with musical crossover. There has undoubtedly been important scholarly work undertaken by social/cultural historians, sociologists, anthropologists, psychologists, philosophers, physicists, even economists, on music, yielding insights and perspectives unlikely to have been attainable by many musicologists. But those doing these have a highly skilled and specialised training and expertise in those disciplines; in some sense they take music as their object, but rarely investigate sounding music to the level of close engagement one would expect of a musicologist. This is not a criticism; it is not what they are trained to do, and their attentions are better spent on other aspects of music’s social situation, physical properties, the wages of musicians, and so on.
I have spent a lot of time reading a large amount of historical scholarship – and especially a lot of historiography – and political theory in particular. I would like to think I have a reasonable grounding in historiography, after studying it for over ten years, sufficient to be able to think and write intelligently on the historiography of music, but this has been hard coming, and I know those engaged with historical writing at the centre of their work will always have a more intimate form of engagement. Similarly, others bring a long-term study of literature or philosophy or other things to bear upon their writing on music, with fruitful results.
But what I see in terms of much box-ticking ‘interdisciplinary’ work is much closer to what Philip describes in music. Much of this involves a handful of token references to one or other fashionable thinker (at various points it has been Jean Baudrillard, Mikhail Bahktin, Gilles Deleuze, and more recently Bruno Latour – see also this post with Judith Butler’s response to blanket application of canonical theorists). These are usually derived from secondary or tertiary literature, rarely entail an independent critical perspective on these thinkers’ work, let alone any familiarity with the wider critical tradition surrounding it. This is just scholarly tourism, a type of ‘fusion scholarship’. A handful of platitudes from an introductory cultural studies primer do not indicate a scholarly engagement with wider issues of culture, nor do a few tawdry mentions of some 25-year old work of sociology mostly disregarded now by sociologists in light of subsequent research make one into a sociologist.
To adapt Philip’s words: a musicologist cannot quickly become a philosopher or a sociologist or an historian any more than they can speak Japanese in the same amount of time. And tepid interdisciplinary projects exist precisely because musicologists have failed to grapple with highly developed scholarly and critical apparatuses in other disciplinary fields. Fusions of ‘bluff your way in sociology/cultural history/philosophy/etc’ with music have become an ubiquitous scholarly sub-genre which may win plaudits and advancement for their authors from others who either know no better, or are engaged in a comparably cynical game themselves, but are relevant to the future of musicology only in the sense that Katherine Jenkins is relevant to the future of opera.
Genuinely expert and skilled interdisciplinary work is important, and all scholars should read widely around other disciplines. But let us stop pretending musicians can become qualified to work within another disciplinary field without an extended period of study, any more than a cultural historian can quickly gain expertise in neo-Riemannian analysis when they approach it with little if any analytical background. Except to naive readers, a decorative smattering of terms from Deleuze does not a scholarly work make.
This afternoon (Wednesday October 21st, 2015), the Home Affairs Select Committee (HASC) will be taking evidence relating to allegations and investigations into the abuse of children committed by VIPs (and in at least one case, alleged rape of an adult woman) from five important people: Detective Chief Inspector Paul Settle, formerly of Operation Fernbridge, Assistant Commissioner Patricia Gallan and Deputy Assistant Commissioner Steve Rodhouse of the Metropolitan Police, Tom Watson MP, Deputy Leader of the Labour Party and a prominent campaigner on child abuse, and Alison Saunders, Director of Public Prosecutions. A report this morning makes clear that the committee have decided not to interview Zac Goldsmith, MP for Richmond Park and Conservative candidate for London Mayor.
Over the last two weeks, ever since the broadcast on October 5th of the BBC Panorama programme on the alleged VIP Paedophile Ring, there has been a concerted media campaign targeting Tom Watson above all, who has been labelled a ‘witchfinder general’, as responsible for supposedly unfounded claims of high level abuse. I do know Tom personally, vouched for the importance of his work on abuse as part of his deputy leadership campaign materials, and so obviously am far from impartial, but can see in absolute honesty that I do not recognise the figure portrayed by much of the press, and also have very strong reason to believe Tom has acted with integrity and in good faith. I suspect that his conciliatory position as deputy to new Labour leader Jeremy Corbyn, despised by the right-wing media and many Blairite elements in the party, is fuelling this campaign. Furthermore, there are complicated reasons which may become apparent this afternoon why some conflicts have arisen between various parties all devoted to uncovering and preventing child abuse by prominent persons. Last week I posted a detailed timeline of events relating to Leon Brittan, which I believe show clearly that the decision to pursue further the rape investigation into him, after it had been dropped, came from the Met, not from Tom.
The following are issues I implore all members of HASC to consider before questioning this afternoon.
Allegations of a statement taken by an ex-customs officer about the late Lord Brittan
The distinguished journalist Tim Tate has written what to my mind is the most important piece on the allegations surrounding Leon Brittan (later Lord Brittan). Tate does not accept the claims, printed in Exaro and elsewhere, that a video seized in 1982 from Russell Tricker featured the Home Secretary themselves, but crucially claims that a statement was taken from the customs official in question, Maganlal Solanki, attesting to having seized video tapes from Brittan upon entering the country at some point in the 1980s. If a written statement exists attesting to this, it is of crucial importance in establishing whether there might be any truth in the allegations against Brittan. HASC should ask Settle to explain whether this exists or not. Furthermore, at the time of the 1982 siege of Elm Guest House, a then-eight-year-old boy was found and questioned, later (now an adult living in the US) questioned by detectives from Operation Fernbridge. On at least one occasion, this boy identified an ‘Uncle Leon’ from the ‘big house’ as being involved. It is equally vital that Settle is questioned about this. Furthermore, Solanki should also be summoned to speak to HASC.
Tate sent the following questions to the Independent Inquiry on Child Sexual Abuse (to the best of my knowledge he has not yet received an answer) – I suggest these are equally relevant for HASC:
1. Has the Inquiry yet established direct contact with Operation Fernbridge ?
2. Will the Inquiry be examining documentary evidence held by Operation Fernbridge concerning its investigations into the late Baron Brittan ?
3. Specifically, will the Inquiry secure from Operation Fernbridge copies of all such documents including, but not limited to, formal statements made under caution, officers’ notebooks, internal memoranda and historical documents acquired during its investigation into the late Baron Brittan ?
4. Does the Inquiry plan to require public testimony from the current head of Operation Fernbridge, AND its former senior investigating officer, [NAME REDACTED HERE] concerning the late Baron Brittan?
5. Does the Inquiry plan to require public testimony from the former Customs and Excise officer Maganlal Solanki who gave evidence to Operation Fernbridge concerning the alleged seizure of child pornography from the late Baron Brittan ?
6. Does the Inquiry plan to take evidence from the US Marshall formerly attached to Operation Fernbridge in connection with a visit he made at the request of Operation Fernbridge to a suspected victim of Baron Brittan ?
7. Does the Inquiry plan to publish the documents acquired and/or generated by Operation Fernbridge during the course of its investigation into Baron Brittan ?
Involvement of other MPs
By far the majority of the focus has been on Tom Watson, but other MPs have been equally involved with campaigning on abuse, and some have made more extravagant claims or threats. Specifically:
1. The Labour MP John Mann has handed police a list of 22 politicians alleged to have been involved with the abuse of children. Furthermore, in July last year, Mann indicated the possibility of using Parliamentary privilege to name abusers.
2. The Labour MP Simon Danczuk also threatened to use Parliamentary privilege to name a politician alleged to have visited Elm Guest House; whilst Danczuk did not ultimately do so, it is widely believed to have been Brittan.
3. On October 28th, 2014, the Labour MP Jim Hood did indeed name Brittan in Parliament. The following day, Danczuk backed Hood for having done so.
4. On November 27th, 2014, Conservative MP Zac Goldsmith said the following:
We need only consider the Elm guest house in Barnes, which was run by Haroon and Carole Kasir. It was raided more than 30 years ago, back in 1982. The couple were fined and given suspended sentences for running a disorderly house, but at the time there were already questions and allegations around the abuse of young children at the house. Allegedly—we are reliably told this—12 boys gave evidence in 1982 that they had been abused, yet all these allegations simply evaporated at the time, some 30 years ago. They are only resurfacing now.
When Mrs Kasir died a few years after the house was raided, in very odd circumstances, a child protection campaigner from the National Association Of Young People In Care called for a criminal investigation into events at Elm guest house. He said he had been told by Mrs Kasir that boys had been brought in from a local children’s home—Grafton Close, also in Richmond—for sex, and that she had photographs of establishment figures at her hotel. One of them apparently showed a former Cabinet Minister in a sauna with a naked boy. She had logbooks, names, times, dates, pictures of her customers and so on. All that evidence simply disappeared after the raids and no longer exists. That is astonishing.
The Met has since confirmed that Cyril Smith visited the place—the hon. Member for Rochdale has made this point—and at least three other men named in documents as visitors to the Elm guest house were later convicted of multiple sexual offences against children. It is impossible to believe there was not a cover up. This is not sloppiness; there has to be more to it than that.
I was quite surprised when I watched the broadcast of this debate in November to hear these claims, which are thought to be tenuous by many campaigners, presented in Parliament. Questions have been rightly asked about Goldsmith’s source for the claims – the Mail journalist Guy Adams suggests it was like to be either Chris Fay or Mike Broad (Fay has e-mailed me to indicate that he has never met nor had any contact with Goldsmith). Furthermore, Goldsmith participated in an Australian documentary Spies, Lords and Predators, broadcast in July this year and heavily influenced by the reporting of Exaro, which has come under severe criticism.
5. The Conservative MP and HASC member Tim Loughton, who has in the last few days started charging Watson with setting himself up as ‘judge, jury, and executioner’ over individual cases, himself threatened in July 2014 to use what he called the ‘nuclear option’ to name suspected paedophiles in Parliament. He also called for action from the inquiry in November 2014 following allegations from Exaro about MPs throwing sex parties involving the abuse of children, murder, and more.
Many of these are stronger claims or threats than anything by Tom Watson, who in a November 2014 interview with Guardian journalist Decca Aitkenhead said just that at least one politician had abused children.
HASC needs to speak to Mann, Danczuk, Hood, Goldsmith, and Loughton.
Allegations of a Westminster paedophile ring
It is often claimed that Tom Watson has alleged the existence of a Westminster paedophile ring. This would be truer of Danczuk (I am not absolutely sure if he has specifically used the term, but will check); Watson’s question to the Prime Minister on October 24th, 2012 contained the following words:
The evidence file used to convict paedophile Peter Righton, if it still exists, contains clear intelligence of a widespread paedophile ring. One of its members boasts of his links to a senior aide of a former Prime Minister, who says he could smuggle indecent images of children from abroad. The leads were not followed up, but if the file still exists I want to ensure that the Metropolitan police secure the evidence, re-examine it and investigate clear intelligence suggesting a powerful paedophile network linked to Parliament and No. 10.
A network which is linked to Parliament and No. 10 is not the same thing as a Westminster paedophile ring. There is no doubt that a network existed around Righton, at the very least featuring other committee members of the Paedophile Information Exchange, such as Charles Napier, convicted and sentenced last December to 13 years for hundreds of sexual assaults upon young boys, or Righton’s partner Richard Alston, jailed in September for 21 months for child abuse charges, in a trial at which claims emerged of sessions involving Alston, Righton and Napier together.
The link to Parliament and No. 10 rests upon claims made in a document about which I am not at liberty to write now. Tom Watson’s source for his original PMQ was retired child protection worker Peter McKelvie, who last week resigned from the Victims and Survivors Consultative Panel to the inquiry.
Scapegoats are being made of McKelvie and Watson in a bid to stop further investigation of a wide range of claims about politicians of which both are aware. It is vital that HASC also summon McKelvie and ask him about this specific claim mentioned by Watson in 2012.
If HASC will deal seriously with these claims, they will be carrying out their proper role, and not serving simply as a front for political point-scoring. The issue of high-level child abuse is far too serious for this, and it would be a tragedy if the cross-party consensus which was previously built on this were now to be abandoned.
Timeline of the Metropolitan Police Investigation of Leon Brittan in context – Tom Watson exoneratedPosted: October 16, 2015
[Since the evidence given to the Home Affairs Select Committee on October 21st, 2015, this timeline needs updating. I will do so as soon as time permits]
Following the various claims and counter-claims about the Metropolitan Police investigation into the allegations of rape against Leon (Lord) Brittan, the Met have released their key findings today, which clarify a great deal. I have combined this with other information to clarify context to produce a timeline. All information for which a link is not provided comes from the Met report.
Brittan had been named in the press in 1984 as being the Cabinet Minister about whom rumours of sexual acts with boys had been circulating, but most of the press declared these to be false, as did Paul Foot in his 1989 book Who Framed Colin Wallace?. Furthermore, the scandals concerning Elm Guest House (about which a comprehensive series of links can be found here) date back to the police raid in 1982, at which time reports referred to MPs and other VIPs being present, as well as drawing links to the disappearance/murder of eight-year old Vishal Mehrotra and fifteen-year old Martin Allen. It has been claimed by the Times journalist David Aaronovitch (in an article behind a paywall) that most information to do with Elm Guest House comes from Chris Fay, whose reliability has been attacked recently in the press. Documents published online by Fay’s colleague Mary Moss named Brittan as an attendee at the guest house; this was not in the 1982 reports, but certainly claims of high-level MP involvement was.
For wider consideration of the remaining questions about Leon Brittan, there is nowhere better to look than this excellent post by Tim Tate.
Timeline: The Investigations into Leon Brittan
October 24th, 2012: Labour MP Tom Watson asks a question of the Prime Minister, David Cameron, about evidence of a high-level paedophile ring linked to Parliament and No. 10, relating to the evidence files used to convict Peter Righton (see this documentary).
November 2012: Initial allegation of rape against Leon Brittan made by ‘Jane’ to South Yorkshire Police. Passed to Met as alleged incident occurred in London.
September 2013: Investigating officer decides no further action to be taken.
February 17th, 2014: ‘Jane’ has a meeting with the Metropolitan Police which causes her some discontent (this appears to be the case from a redacted letter from Alison Saunders to Tom Watson)
April 2014: Commander Graham McNulty requests an update into this investigation
April 28th, 2014: Upon receiving the update, McNulty orders a review
April 28th, 2014: Tom Watson writes to Director of Public Prosecutions Alison Saunders about the case
May 17th, 2014: Exaro and the Sunday People report on the case of ‘Jane’ claiming she was raped in 1967 by a former cabinet minister. Both news agencies also report Tom Watson saying he finds Jane ‘a very credible witness’ and has written to Saunders requesting the case be reviewed.
May 19th, 2014: Review concludes that Brittan should be interviewed under caution.
May 20th, 2014: Most details of Watson letter now made public by Exaro.
May 30th, 2014: Brittan interviewed under caution.
June 2nd, 2014: Met receives Tom Watson’s letter to Saunders.
June 3rd, 2014: Seven MPs: Tim Loughton, Zac Goldsmith (Conservative); John Hemming, Tessa Munt (Liberal Democrat); Tom Watson, Simon Danczuk (Labour); Caroline Lucas (Green); call for a full national inquiry into child abuse, citing various particular cases.
June 5th, 2014: A lobbying campaign of MPs begins to garner wider support for an inquiry.
June 5th, 2014: Met submits evidence to the Crown Prosecution Service, including Brittan statement and recording of interview. CPS requested other things be completed, including formal identification process from complainant
June 13th, 2014: Saunders replies to Tom Watson.
June 16th, 2014: The specific letter from the seven MPs is published drawing attention to cases including Elm Guest House and that of Jane.
July 1st, 2014: Labour MP Simon Danczuk gives evidence to the Home Affairs Select Committee, in which he raises the issue of the dossier given by Geoffrey Dickens to Leon Brittan, when the latter was Home Secretary. Danczuk had earlier hinted that he might name a former MP involved in abuse at Elm Guest House if asked – this was sure to be Brittan – and a Labour MP as well. In the event he did not do so, but this select committee appearance is the major trigger for widespread media coverage of claims of a Westminster paedophile ring, and especially on Brittan and the question of what happened to the Dickens dossier.
July 6th, 2014: Brittan named in press as having been interviewed by police over a historic rape allegation.
July 7th, 2014: Home Secretary Theresa May announces the setting up of an Independent Inquiry into Child Sexual Abuse (IICSA), in light of the lobbying campaign and widespread allegations of new cases in the press following Danczuk’s Select Committee appearance.
July 7th, 2014: Deputy Assistant Commissioner Steve Rodhouse takes over as Gold Commander of the investigation.
July 8th, 2014: Baroness Butler-Sloss, formerly chair of the Cleveland Child Abuse Inquiry, is announced as Chair of the IICSA.
July 14th, 2014: Butler-Sloss steps down from chair of inquiry.because of family and other connections.
September 5th, 2014: Lord Mayor of London Fiona Woolf is appointed by Home Secretary as the new Chair of the IICSA.
September 7th, 2014: After chatter from the outset, a report in the Mail on Sunday reveals close links between Woolf and Lord and Lady Brittan. The pressure on Woolf grows from this point onwards, with further revelations during the course of the next week.
October 7th, 2014: Formal identification process for ‘Jane’ re Brittan takes place
October 21st, 2014: Woolf appears before Home Affairs Select Committee about her role as inquiry chair, and gives an unconvincing performance.
October 28th, 2014: Labour MP Jim Hood names Leon Brittan in Parliament, saying that ‘the current exposé of Sir Leon Brittan, the then Home Secretary, with accusations of improper conduct with children, will not come as a surprise to the striking miners of 1984’ and referring to ‘The rumours that Sir Leon Brittan was involved in misconduct with children’
October 29th, 2014: Simon Danczuk backs Jim Hood’s naming of Brittan.
October 31st, 2014: Following a heated meeting with survivors and campaigners by the Inquiry Secretariat, Woolf stands down as chair of the inquiry.
November 2014: New file submitted to CPS by Met
November 22nd, 2014: CPS wrote back saying it would not consider the file because it did not meet the appropriate criteria.
November 25th, 2014: DAC Rodhouse decides to appeal the decision.
November 27th, 2014: Major (but poorly attended) debate in House of Commons on child abuse. Zac Goldsmith speaks at length about allegations concerning Elm Guest House and a cabinet minister said to have been photographed in a sauna with a naked boy.
January 15th, 2015: Matter raised with Deputy Chief Crown Prosecutor for London
January 21st, 2015: Brittan dies.
January 22nd, 2015: Met confirm that investigation into rape allegation in which a man in his 70s had been questioned was ongoing. CPS say: ‘A charging decision has not been made in this case and the matter remains with the police.
January 24th, 2015: Tom Watson publishes article in the Mirror, detailing the various allegations he had heard about Brittan, and indicating his belief they should still be investigated.
February 12th, 2015: DAC Rodhouse meets Chief Prosecutor for London, requests file of evidence be reviewed and a decision reached on whether prosecution would have followed had Brittan been alive.
March 5th, 2015: Assistant Commissioner Patricia Gallan writes to Saunders to request change of CPS policy to allow files to be considered where there was ‘significant public interest’.
April 1st, 2015: A further letter sent repeating the request, referring to the case of Lord Brittan. Accepted that as Brittan is dead, the CPS may not wish to review the file, but still sought a change of approach.
April 2015: Investigating officers meet with ‘Jane’, in line with the ‘Victim’s Code’, and inform her that there would not have been a prosecution had Brittan been alive.
June 24th, 2015: Final response received from Chief Crown Prosecutor for London, confirming that the CPS will not review the request.
October 6th, 2015: Met apologise in letter to Lady Brittan’s solicitors for not informing her at same time as complainant.
Thus it was the Met’s own review, started well before the publication of the interview with ‘Jane’ and Tom’s intervention, which decided to continue with the case. This exonerates Tom. There have been many malicious articles on this in the last two weeks – compared to only a few peeps from the Guardian and Mail on Zac Goldsmith’s intervention in Parliament – now more in the press should stop for thought and realise the vast importance of Tom’s work on a range of cases which are far from over.
An extended and extremely important article by Tim Tate on Leon Brittan.
Originally posted on theneedleblog:
Written by journalist and filmmaker Tim Tate and reproduced in full with permission. Originally posted – timtate.co.uk
Over recent months two separate police forces have been carrying out enquiries into a snippet of 30-year-old gossip about a dead man. The Met and North Yorkshire Police have been interviewing people who, in the early to mid 1980s, heard a rumour that the then Home Secretary Leon Brittan had molested a young boy at a weekend retreat. I am one of them.
There are a number of oddities to this story, and, together with the rest of the strange saga of Leon Brittan, they shine a light on the frustratingly opaque progress of historic child sex abuse investigations. They also provide a litmus test for Lord Justice Goddard’s Independent panel Inquiry into Child Sexual Abuse.
The rumour first. In the early 1980s I was a researcher on Roger Cook’s BBC…
View original 3,126 more words