Jack Littlewood began playing the piano when he was seven years old. He gained his London College of Music Diploma at the age of twelve but, always having had an interest in the sciences and medicine, his studies led him into the dental profession and musical activity took the form of occasional recitals with friends. 

In 1992 he met Jean Fletcher, former principal first violin with the Ulster Orchestra, and, inspired by her playing, a period of technical study followed, resulting in recitals with Jean, her two talented daughters Sarah and Sinead, and other musicians in Doncaster, Rotherham and Sheffield.  On retiring early from dentistry, he taught himself to play the viola and joined the Boyce Orchestra.

Adam White, BMus, MA

27 September 2008

Philip L. Scowcroft, M.A.LL.M (Cantab)

23 June 2007

The talk explores the richly varied connections between railways and music. Music, in all styles from classical to pop and for almost every conceivable instrument and ensemble, has depicted railways worldwide. This will be touched on with the aid of CD examples. Other interfaces between the two topics will also be mentioned, including how railwaymen have made music down the years.

Philip Scowcroft, born in Sheffield and a Doncaster resident since 1959, is a retired local government solicitor with a wide range of interests ouside the law. These include music, transport history, crime fiction, sport (especialy cricket) and military history - on all of which he lectures frequently. He has written thousands of articles for over a hundred periodical publications. His published books include British Light Music (1977) and Railways in British Crime Fiction (2004). He has organised many concerts in Doncaster, including an ongoing series of over one thousand lunch-time events at Doncaster Museum. His reviews of local concerts in the Free Press have been much valued by musicians in the Doncaster area.

Adam White, BMus, MA

Self-efficacy: how our perception of our own abilities can be developed and used to enhance our performances

24 March 2007

Adam White is the Programme Co-ordinator for Music and Creative Media in The Institute for Lifelong Learning

Adam studied for his B.Mus at the University of Sheffield. His postgraduate studies have thus far centred on education and the issues of assessment practice and of widening participation in adult education. He is currently preparing to undertake research in the area of music and the imagination and the implications that understanding more about the musical imagination will have for music teaching.

As a classical guitarist, Adam has performed as a soloist and as a member of a number of ensembles. These have most recently involved the arrangement and performance of Brazilian music, and of Renaissance lute duets. He has performed on BBC Radio Sheffield and has appeared as arranger and accompanist on several recordings. Adam has also given lecture recitals on the music of John Dowland and J S Bach for the Open University. As a lecturer in adult education, Adam has taught for the University of Sheffield and for the Open University since 1993. In addition to his role as a performer, Adam also has an active interest in composition.

Dr Lindsay Aitkenhead

18 November 2006

A talk/demonstration and a 'have-a-go' session.

Lindsay Aitkenhead has written her doctoral thesis about the viola in British folk music. She has conducted an ethnographic study of folk viola players and their music, mainly in the North of England. 

Lindsay performs professionally both klezmer and British and Macedonian folk music.

Mark Tolson

The Alexander Technique for Musicians

8 July 2006

The Alexander Technique is a way of unlearning the unconscious habitual patterns that interfere with our freedom of movement (and thought). Fixed patterns of muscle tension block our natural flow and poise. Our habits feel right and/or comfortable, which is why they are difficult to change.

An Alexander teacher uses quiet hands-on contact to listen and guide the pupil into a new, more expansive pattern of use. Through expanding their field of attention and projecting new messages through their neuromuscular system, the pupil can release or 'inhibit' old habits.

In playing a musical instrument this can heighten the pupil's sensitivity as well as allowing them to become a more effective channel for the music.

Mark Tolson qualified as an Alexander teacher in 1985 on a three-year Society for Teachers of the Alexander Technique (S.T.A.T.) approved training course in London. From 1991 to 2006 he taught as assistant director on an Alexander training course in Leeds and then in York, and during this time he taught a lot of voice work. Mark has had singing lessons, played the clarinet to grade 5 and is self-taught on the guitar. He can be contacted on 0114 2301647.

Ian Highfield

Viola Making and the History of the Instrument

18 March 2006

Ian Highfield, luthier. Buxton, Derbyshire.

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