First look inside Scotland\u2019s National Centre for Music | Watch<\/a><\/p>\n\u00a0Jenny Jamison, with a background in music\u00a0 administration, latterly with the Scottish Ensemble, is the CEO and Creative Director of the Centre, and is in the process of recruiting further members of staff, including a Director of Partnerships (just announced) and then for a post to take charge of marketing. Jenny has also been engaged in extensive consultations at different venues across the country.<\/p>\n
Carol\u2019s position as Chair of the Board is unpaid and she\u2019s very clear about the importance of separating the Board\u2019s advisory\u00a0 and supportive role from the executive function of the paid staff. Her appointment was widely welcomed: with her extensive background in music administration, she has a network of contacts to draw on and to pass on to her colleagues. She\u2019s been recruiting other Board members, and is delighted with the wide music backgrounds from which they\u2019ve come. Jeff Sharkey is the Principal of the Royal Conservatoire of Scotland; Annie Gunner-Logan , who\u2019s worked in senior public policy roles, is also a singer song writer for her group AGL and the Alchemists; James Murphy is from the Royal Philharmonic Society and Emma Houston is a prominent marketing manager.<\/p>\n
The funding of the work of all of these teams has been guaranteed for the period up to the opening, scheduled for late 2027, and for the first operational year.<\/p>\n
Recruitment for staff members and for Board members will be ongoing throughout the next year. It\u2019s important, Carol says, that this is phased, as each person brings a specific set of skills which should link or complement those already in post.\u00a0 Currently the Centre has just successfully recruited the key role of Director of Partnerships, who will establish relationships with the bodies and individuals who will use the centre, both its physical spaces in Edinburgh and the expertise of its staff. There is much work to be done this year liaising with local government and music facilities and events throughout the country, discussing what the Centre can offer which is additional to the facilities and events which each organisation already has. Carol foresees that the Centre might act as a satellite for some of the smaller Festivals, sharing initiatives and musicians, possibly by providing the space for further performances of new music, and by sharing digital technology.\u00a0 <\/p>\n
When asked who the centre is for, Carol says \u201cEverybody!\u201d\u00a0 It will welcome all kinds of music groups to rehearse and perform in the spaces, and use the offices and recording equipment. There will be discussions about the prices charged but with the emphasis on accessibilty and affordability. \u00a0The Centre will also curate a programme of its own concerts and events, indoors and in the garden.\u00a0 The Dunard Centre, due to open in 2029, will be a near neighbour, and Carol sees the National Music Centre\u2019s \u00a0role as being complementary to the new Concert Hall. <\/p>\n
2026 and 2027 will be exciting years for all concerned.\u00a0\u00a0 Branding, or making the public aware of the Centre, will be an essential part of Carol\u2019s role and that of her fellow Board members. At some point the centre will be given a name. She is an enthusiastic advocate of the potential for the Centre to boost musical creativity in Scotland, and all music lovers should look forward to its opening in 2027.<\/p>\n
\u201cThe building\u201d, Carol Main says, \u201chas strong foundations. My role as Chair is to create strong \u00a0foundations for the project and its future.\u201d<\/p>\n
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