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By Amy Lee of Evanescence

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2 (summary version). 13 Cited in a letter to the author from Roger Taylor, President, International Association of Music Libraries, Archives and Documentation Centres, 2 January 1997. Ensembles, music societies and choirs are largely self-financing and depend on support from their local communities. The arts funding system helps with money towards new commissions. Local authorities and educational establishments have been able to make their own venues available at subsidised rates, although government pressure to maximise commercial revenues means that this avenue of support is increasingly being closed off.

In schools teaching in Welsh, the choral tradition is vigorous, if patchy. The Urdd Eisteddfod, for example, which involves thousands of young people in singing and other competitions, works closely with schools (especially Welsh-speaking schools). In 1996 there have been nearly 250 applications to join the National Youth Choir of Wales – more than double any previous entry. While adult male voice choirs are looking increasingly elderly, there has been a rise in the number of ‘chamber choirs’ (in part, because of unwanted reductions in membership, but also – and more significantly – out of financial considerations).

It is a stirring tale. 1 They formed a working-class conurbation, where there were few JOINING IN 35 representatives of the middle or upper classes and few public buildings apart from churches, nor many other facilities. There was little in the way of musical tradition, as there was in a city such as Birmingham with its choral festivals. The most important cultural force was Methodism and this led to a strong desire to improve the quality of congregational singing. 2 The development in the middle of the century of the Tonic Sol-fa system of music notation made it possible for two local amateurs, Burslem’s Town Clerk and a pottery manufacturer, to organise singing classes, junior and adult choirs and competitions.

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